
In the Still of the Night
February 1956, a New Haven church basement, and a song Parris had written on Army guard duty.

February 1956, a New Haven church basement, and a song Parris had written on Army guard duty.

Cut as a demo in Ted Brinson's garage, pillows on the drums, then three weeks atop the R&B chart.

Holland and Dozier said the Marvelettes turned it down; Ross sang lower over Mike Valvano's foot stomps to number one.

Herman Santiago built it from a neighbor's love letters; Lymon, thirteen, took the lead and the credit fight ran decades.

Strings, timpani and a Brazilian baion; Wexler reportedly dismissed the playback as a radio caught between two stations.

Terry Johnson dreamed the arrangement, called the group to rehearse at 4 a.m., and Goldner drowned it in reverb.

Toni Stern wrote the words in a day after her romance with James Taylor ended, and Curtis Amy's sax answers.

Marvin Gaye played the drums, Gladys Horton pleaded the lead, and Motown had its first Hot 100 number one.

Nonsense syllables meant to be replaced by real words, La La Brooks on lead, and Spector's Gold Star thunder.
Twenty minutes in a Las Vegas hotel washroom, by Ram's account, and Tony Williams sings heartbreak behind a smile.
Kenny's tenor floats, Jones talks the lyric back in bass, and doo-wop inherited that top-and-bottom trick wholesale.

Syd Nathan hated it and fired Ralph Bass for cutting it, then rehired him when it reached R&B's top five.

Goffin and King built it for Little Eva; the Chiffons got the track, King's piano intro intact.

Bell Sound in 1961, the Del-Satins behind him, Ernie Maresca's co-write, and Dion's only American number one.

Cut as a throwaway B-side to a Patti Page cover, and doo-wop crossed into the pop top ten.

Airmen stationed in Pittsburgh, a demo cut in a DJ's basement, and bass singer Clarence Quick's nonsense-syllable hook.

Every voice on the record is Joel's, stacked over Doug Stegmeyer's bass; doo-wop rebuilt by one man.

A Manhattan church studio, Richard Barrett's piano figure, and a sixteen-year-old lead vocal that opened the girl-group era.

Vee-Jay released it in 1956 as doo-wop; the Dells recut it thirteen years later and reached the pop ten.

Five Mount Vernon high schoolers, a Billy Myles song, and Bob Scholl's lead floating over the sweetest doo-wop changes.