Hip-hop’s many lyrical and musical homages to doo-wop

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Similar to early doo-wop groups, the initial phase of rap was characterized by numerous collectives and crews, frequently identified by numbers within their names. These groups were renowned for taking turns to deliver verses, with frequent transitions into rhyming exchanges, often accompanied by melodious choruses.

Since its beginning, hip-hop has consistently acknowledged its roots on the street corners by frequently incorporating references and homages into its music or lyrics.

On a larger note, hip-hop often draws inspiration from doo-wop music, adopting a particular style or essence reminiscent of it, particularly during its early stages. This influence has been carried forward.

We went from doo-woppin’ to what now?

In simpler terms, when early rap groups like the Furious Five or the Fearless Four would alternate and perform their lyrics together and individually, it sounds a lot like the harmonies heard in songs by Dion and The Belmonts, such as “I Wonder Why”, or the Valentines’ “Lily Maybelle”. This suggests that there is a similarity between these different music styles when it comes to the way the vocals are arranged.

Despite the fact that several hip-hop artists were quite young during the ’70s, it seems to me that the relationship between hip-hop and doo-wop is more about a genetic link, as opposed to a direct connection.

In the “Underground to the Mainstream” episode of the series Hip-Hop Evolution (2016), directed by Darby Wheeler, DJ Grand Wizzard Theodore from the Fantastic Five shared that their synchronized performances and dance moves were influenced by the Jackson 5, a prominent youth vocal group in the early ’70s, as many kids who loved the Jackson 5 helped shape hip-hop during its formation.

The Jackson 5 didn’t originate from the doo-wop genre, but they carry on its legacy, with some members being descendants of that time period.

Prior to forming their own singing group, Joe Jackson was connected to Thornton James “Pookie” Hudson and Billy Shelton, having sung together previously. They had initially met as choir friends and later teamed up to create their group, the Three Bees, in the late ’40s. Calvin Fossett, a fellow student from Gary Roosevelt High School, joined them to complete the band’s lineup.

As mentioned in Jeff Harrell’s 2014 article published in the South Bend Tribune, by the year 1952, Thornton Hudson had remodeled and extended the group, which eventually evolved into what we now know as the Spaniels.

The Spaniels, particularly recognized for their hit song “Goodnite, Sweetheart, Goodnite” from 1954, gained widespread popularity when they were frequently performed by Sha Na Na as the closing number on their variety show during the late ’70s and early ’80s.

In a more casual context, outside of typical group dynamics, allusions to doo-wop music are noticeable in the colloquial rapping style adopted by some solo artists during that same time period.

Starkey, a well-known master of ceremonies famed for his boastful stage presence and interactive rhyming patterns, often incorporated nonsensical syllables akin to those found in doo-wop music within his performances.

In simpler terms, Busy Bee often used to say “ba-bidda-ba-ba-dang-ga-dang-digga-digga,” but Kool Moe Dee ridiculed this during their notorious rap battle at Harlem World in 1981. This event was also known as an ambush, as Busy Bee hadn’t expected Moe Dee to criticize him.

It’s unclear where Busy Bee drew his inspiration directly from when using these made-up syllables. However, it seems that one of the most widely recognized sources for this phrase comes from The Marcells, a group originating in Pittsburgh. They made a significant impact on doo-wop music with their 1961 cover version of “Blue Moon.

In the 1930s, the classic tune “Blue Moon” was first written by composers Richard Rodgers and Lorenz Hart. Over time, it became a widely recognized and frequently reinterpreted song. The Marcels later covered this popular standard, adding their unique twist to it.

As a gamer, I can’t help but tap my fingers in rhythm with the captivating intro of “The Marcels” song. Fred Johnson’s bass voice delivers a catchy sequence that, for me, boils down to this: “Ba-bomma, bom-fa, dang-ga, dang-dang-fa, ding-ga, dong-ding.” It’s a rhythmic symphony that hooks you right from the start.

In my article, I mentioned that the distinctive opening bass vocal and overall arrangement of The Marcels’ song were strongly influenced by “Zoom Zoom Zoom,” a track by The Collegians from 1958. This single was produced on Winley Records and was jointly penned by Paul Winley, a subject I previously covered in my writing.

This particular rendition of “Blue Moon” is widely recognized, featuring a well-known sequence of meaningless syllables typical in doo-wop music. It’s notably famous among newer generations for being played at the surprising ending of John Landis’ film, “An American Werewolf in London,” released in 1981.

Melle Mel uses similar nonsensical syllables (“ba-bidda-ba”) in the first verse of the Furious Five’s “Step Off” from 1984. More specifically, Melle Mel raps, ‘Before my rule, it was always the same old thing, the street talk game being “to the baw-bidda-baw”.’

Essentially, Melle Mel highlighted his role as a trailblazer of contemporary rapping, implying that he raised the bar for rap music, which was previously popular in the streets. This means that phrases such as “baw-bidda-baw” and similar rhymes were common expressions used during street-level freestyling or performances, much like how people engaged in the art of trading insults (the dozens) or recited tales like “Stagger Lee.

Given that doo-wop music is often linked to singing on street corners, it seems plausible that Melle Mel would attribute elements of the genre’s unique vocal style as influencing street slang when he was growing up. Notably, The Marcels’ rendition of “Blue Moon” was released in the same year as Melle Mel’s birth.

Beyond any potential impact doo-wop might have had on rap’s lyrical style, certain rappers explicitly tapped into the soulful spirit of earlier vocal harmony ensembles.

As a dedicated gaming enthusiast (and an occasional history buff), I’d say it like this:

“One of the groups that really stuck out to me, especially as a fan of hip-hop, was The Force M.D.’s. Originally known as DJ Dr. Rock and The Force M.C.’s, they hail from Staten Island and got their start way back in 1981. I actually learned about their journey from JayQuan The Hip Hop Historian’s YouTube video, which was based on interviews he did with some of the original members.

The Force M.D.’s is made up of numerous family members primarily due to the initial lineup of the Force M.C.’s merging with a vocal family group, known as the Fantastic L.D.’s, forming the group.

L.D.” represents the combined surnames of Lundy and Daniels, encompassing Stevie D, Rodney or Khalil, T.C.D. or Antoine (the Lundy brothers) and their uncle Jessie Lee Daniels. Notably, Stevie D was a member in both groups before they consolidated.

Instead of performing regularly on Staten Island Ferries like the L.D.’s, the Force M.C.’s – led by DJ Dr. Rock – played live shows across New York City, often competing against other hip-hop groups. They also got airplay on WHBI-FM 105.9 radio, appearing on a show hosted by Sedivine the Mastermind and Just Allah the Superstar from the World’s Famous Supreme Team.

Eventually, the influential radio DJ, Mr. Magic, discovered the Force M.C.’s. Through this connection, they were introduced to Tom Silverman, the founder of Tommy Boy Records. It is believed that the group signed with him in 1984.

Tom Silverman played a key role in changing the band’s name from its original one to The Force M.D.’s, with “M.D.” signifying “Musical Diversity.” This rebranding was aimed at showcasing their versatility as they were skilled not only in rapping but also in singing.

One choice that seems to have been Silverman’s was to dress the group in sweaters bearing the letter “F”. This choice is a nod to the sweaters sported by Frankie Lymon and the Teenagers on the cover of their 1956 debut album, where they were decked out with the letter “T”.

On the cover of their first album, “Love Letters” (1984), The Force M.D.’s are depicted wearing these sweaters. They can also be spotted in this attire during their performance of “Let Me Love You” at Mr. Magic’s birthday bash in 1984. Additionally, the sweaters are visible in their performance of “Itchin’ for a Scratch,” which was part of the 1985 film “Rappin’,” directed by Joel Silberg, who also helmed “Breakin'” (1984).

As a dedicated gamer diving into the world of ’80s hip-hop, I was rocking along with The Force M.D.’s and their rad retro look on their first album cover. But when it came time for their next release, Chillin’ (1985), they decided to level up their style, sporting a fresh, modern vibe that had me bobbing my head in no time!

One of my preferred instances where hip-hop honored doo-wop was in LL Cool J’s song titled “The Wop,” a track that I think acknowledges the genre and also references the popular hip hop dance, commonly connected with B-Fat’s 1986 hit “Wop.

On LL Cool J’s second album, “Bigger and Deffer” (1987), the final track is titled “The Do Wop.” This song is followed by a skit called “On The Ill Tip.” In this piece, LL shares a dream sequence where he describes an ideal day filled with romantic experiences, earning money through performances, and boasting about his talents.

As a die-hard music enthusiast, I can’t help but notice the subtle yet significant nod to doo-wop in this track. The production cleverly reuses the opening seconds of the Moonglows’ timeless hit “Over and Over Again” from 1956, weaving a piece of history seamlessly into its fabric.

The main production of the album was primarily handled by the Los Angeles-based production group, the L.A. Posse, with key contributions from Darryl Pierce, Dwayne Simon, and Bobby Ervin, also known as “DJ Bobcat.” Notably, he ended up being one of LL’s DJs.

DJ Pooh played a significant role in the creation of the album, earning production credits on tracks like “The Bristol Hotel” and “.357 – Break It On Down.” Additionally, there are hints suggesting he may have collaborated with LL Cool J as an ally to help him overcome the mob in the music video for “I’m Bad,” which serves as the album’s opening track and alludes to the wop dance in its first verse.

For me, “The Do Wop” serves as a fundamental hip-hop track, and I continue to be intrigued by the selection of samples used in it.

As a music enthusiast, I can’t help but draw a parallel between the strategic approach Def Jam took back then and my current appreciation for tunes from the rock ‘n’ roll era. They cleverly positioned LL Cool J, as well as acts like Public Enemy and the Beastie Boys, in a way that blurred the lines between hip-hop and rock – a strategy that resonates deeply with me.

Interestingly, this isn’t too far from what Def Jam did during their heyday: they recognized the potential for synergy between these genres and creatively marketed their acts accordingly. The Beastie Boys, who once were a punk band, found themselves in a unique position where their past and present could harmoniously coexist under the Def Jam banner.

This blending of styles was truly groundbreaking and has undeniably left an indelible mark on modern music, inspiring many artists to experiment with diverse sounds and influences.

Just like Run-DMC, managed by Rush Artist Management, who collaborated with Aerosmith on “Walk This Way” in 1986, Def Jam’s rappers not only incorporated rock music but were marketed as aligning with it or its raw spirit, particularly to appeal to a young, mainstream white audience.

As a passionate gamer, I’d put it this way: “Def Jam, man, they were marketing a fresh take on music, not just in the rap scene, but daringly challenging rock and mainstream American tunes too. It was like a call to my fellow white folks, inviting us to explore something new yet somehow familiar – rap music with a raw edge that sampled history and delivered it with grit.

I’m wondering if the marketing approach that aimed to twist or redefine the norms of popular music had any influence on the sampling used in the album “Bigger and Deffer.” For instance, the track “Go Cut Creator Go” by the DJ, seems to borrow lyrics from both Chuck Berry’s “Johnny B. Goode” and “Rock Around the Clock” by Bill Haley & His Comets. Notably, the iconic boogie woogie guitar riff from Chuck Berry’s “Roll Over Beethoven” is directly sampled in this track.

LL Cool J, besides playing rock and roll, also had his rapper image marketed similarly to other artists of that time, notably in films. For instance, just like he showcased “I Can’t Live Without My Radio” in the 1985 movie “Krush Groove,” directed by Michael Schultz, the Moonglows performed the song used as a sample for “The Do Wop” in a film that boosted their profile.

In the 1956 movie “Rock, Rock, Rock!” – directed by Will Price – The Moonglows sang “Over and Over Again” and “I Knew From The Start”. These popular tracks were also issued as a single around the same time, presumably due to their connection with the film.

The songs from the soundtrack, including those by Moonglows, Flamingos, and Chuck Berry (who were all signed to Chess Records based in Chicago), were also included. Notably, Chuck Berry’s “Roll Over Beethoven” was part of this release as well. Since “Roll Over Beethoven” was used in the song “Go Cut Creator Go” from the album Bigger and Deffer, it can be assumed that L.A. Posse might have owned the Rock, Rock, Rock! soundtrack in their collection.

As a die-hard fan of the ’80s, I’d say movies like “Rock, Rock, Rock!” (1956) were the ultimate way for filmmakers to introduce us, the eager white teenage rock enthusiasts, to our favorite artists back in the day. Just like how “Krush Groove” and “Beat Street” promoted hip-hop culture, these films were all about showcasing the rock and roll scene, often wrapping it up in a heartwarming narrative of young love.

Movies similar to this one are “Jamboree” (1957), directed by Roy Lockwood and written collaboratively with Milton Subotsky, who also worked on “Rock, Rock, Rock!”. Notable black and white artists like LaVern Baker or Buddy Knox were featured in these films, along with popular radio figures such as Jocko Henderson and Dick Clark, particularly in the case of “Jamboree”.

In simpler terms, Alan Freed, a renowned radio host known for his “Rock, Rock, Rock!” show, also hosted a television program within the movie where many of the performances took place.

Alan Freed, a famous radio host who went by “Rock, Rock, Rock!”, hosted a TV program within the film that provided the stage for numerous performances.

According to an article written by radio DJ Jerry “The Geator” Blavat in 2000 about the Moonglows’ induction into the Rock and Roll Hall of Fame, Alan Freed temporarily managed and produced records for the group on his record label Champagne Records during the early ’50s.

This was during a time when they went by the name ‘Crazy Sounds’, hailing from Cleveland, where Freed was employed at radio station WJW. Freed gave them the name ‘Moonglows’ as a tribute to his nickname ‘Moondog’, which came from his radio show called the “Moondog Rock and Roll Party”. This name was also used for the Moondog Coronation Ball, an early rock and roll concert that took place at the Cleveland Arena in the spring of 1952.

Essentially, it seems Def Jam aimed to present LL Cool J as a more contemporary take on rock ‘n’ roll artists like Chuck Berry and the Moonglows. Given that doo-wop music, such as the Moonglows’, has often been categorized under both rock ‘n’ roll and rhythm and blues genres, incorporating their work into LL Cool J’s album makes perfect sense.

In addition to the instance I found intriguing in “The Do Wop,” there have been just a handful of occasions that I recall hip-hop drawing inspiration from doo-wop, although there are numerous other instances throughout these periods as well as more recent ones.

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2025-09-12 17:01