Editing Doo-wop (section)

===Jamaica===
The history of modern Jamaican music is relatively short. A sudden shift in its style began in the early 1950s with the importing of American rhythm and blues records to the island and the new availability of affordable transistor radios. Listeners whose tastes had been neglected by the lone Jamaican station at the time, [[RJR 94 FM#History|RJR]] (Real Jamaican Radio), tuned into the R&B music being broadcast on the powerful nighttime signals of American AM radio stations,<ref name="Kauppila2006">{{cite journal |author1=Paul Kauppila |title=From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska |journal=Social and Economic Studies |date=2006 |volume=55 |issue=1 & 2 |pages=78–83 |url=https://core.ac.uk/download/pdf/70410093.pdf |archive-url=https://web.archive.org/web/20210515204823/https://core.ac.uk/download/pdf/70410093.pdf |archive-date=2021-05-15 |url-status=live |access-date=15 November 2020}}</ref> especially [[WLAC#Late night rhythm and blues|WLAC]] in Nashville, WNOE in New Orleans, and [[WINZ (AM)|WINZ]] in Miami.<ref name="GuilloryGreen1998">{{cite book|author=Grant Fared|editor1=Monique Guillory|editor2=Richard Green|title=Soul: Black Power, Politics, and Pleasure|chapter-url=https://books.google.com/books?id=Ls7wHSpjed8C&pg=PA67|year=1998|publisher=NYU Press|isbn=978-0-8147-3084-3|pages=67–69|chapter=Wailin; Soul}}</ref><ref name="Fredericks2000">{{cite web |author1=Brad Fredericks |title=American Rhythm and Blues Influence on Early Jamaican Musical Style |url=https://debate.uvm.edu/dreadlibrary/fredericks.html |website=debate.uvm.edu |access-date=15 November 2020 |archive-url=https://web.archive.org/web/20001017195824/http://debate.uvm.edu/dreadlibrary/fredericks.html |archive-date=17 October 2000}}</ref><ref name="Lindsay2014">{{cite news |author1=Clinton Lindsay |title=Jamaican records fill R&B gap |url=http://jamaica-gleaner.com/gleaner/20140720/ent/ent3.html |access-date=15 November 2020 |work=jamaica-gleaner.com |date=20 July 2014 |archive-url=https://web.archive.org/web/20140720124359/http://jamaica-gleaner.com/gleaner/20140720/ent/ent3.html |archive-date=20 July 2014 |language=en}}</ref> On these stations Jamaicans could hear the likes of [[Fats Domino]] and doo-wop vocal groups.<ref name="Joyner2008">{{cite book|author=David Lee Joyner|title=American Popular Music|url=https://books.google.com/books?id=x-s3AQAAIAAJ&q=%22Jamaica%22%20%22doo-wop%22|date=27 June 2008|publisher=McGraw-Hill Education|isbn=978-0-07-352657-7|page=252}}</ref>

Jamaicans who worked as migrant agricultural workers in the southern US returned with R&B records, which sparked an active dance scene in [[Kingston, Jamaica|Kingston]].<ref name="Fredericks2000" /> In the late 1940s and early 1950s, many working-class Jamaicans who could not afford radios attended sound system dances, large outdoor dances featuring a deejay ([[Disc jockey#Dancehall/reggae deejays|selector]]) and his selection of records. Enterprising deejays used mobile sound systems to create impromptu street parties.<ref name="CampbellBrody2007">{{cite book|author1=Michael Campbell|author2=James Brody|title=Rock and Roll: An Introduction|url=https://books.google.com/books?id=XTo8AAAAQBAJ&pg=PA339|date=27 February 2007|publisher=Cengage Learning|isbn=978-1-111-79453-8|page=339}}</ref> These developments were the principal means by which new American R&B records were introduced to a mass Jamaican audience.<ref name="Kauppila2006" />

The opening by [[Ken Khouri]] of Federal Studios, Jamaica's first recording facility, in 1954, marked the beginning of a prolific recording industry and a thriving rhythm and blues scene in Jamaica.<ref name="Fredericks2000" /> In 1957, American performers including [[Rosco Gordon]] and [[the Platters]] performed in Kingston.<ref name="Kauppila2006" /> In late August 1957, the doo-wop group Lewis Lymon and the Teenchords arrived in Kingston as part of the "Rock-a-rama" rhythm and blues troupe for two days of shows at the Carib Theatre.
[[The Four Coins]], a Greek American doo-wop group from Pittsburgh, did a show in Kingston in 1958.<ref name="Witmer1987">{{cite journal |author1=Robert Witmer |title="Local" and "Foreign": The Popular Music Culture of Kingston, Jamaica, before Ska, Rock Steady, and Reggae |journal=Latin American Music Review / Revista de Música Latinoamericana |date=1987 |volume=8 |issue=1 |doi=10.2307/948066 |url=https://www.jstor.org/stable/948066 |access-date=15 November 2020 |issn=0163-0350|page=13|jstor=948066}}</ref>

Like their American exemplars, many Jamaican vocalists began their careers by practicing harmonies in groups on street corners, before moving on to the talent contest circuit that was the [[wikt:proving ground|proving ground]] for new talent in the days before the rise of the first sound systems.<ref name="O'Hagan2020">{{cite news |author=Sean O'Hagan |title=A thousand teardrops: how doo-wop kickstarted Jamaica's pop revolution |url=https://www.theguardian.com/music/2020/oct/12/a-thousand-teardrops-how-doo-wop-kickstarted-jamaica-pop-revolution-reggae-rocksteady |access-date=16 November 2020 |work=The Guardian |publisher=Guardian News & Media |date=12 October 2020 |archive-url=https://web.archive.org/web/20201012150802/https://www.theguardian.com/music/2020/oct/12/a-thousand-teardrops-how-doo-wop-kickstarted-jamaica-pop-revolution-reggae-rocksteady |archive-date=12 October 2020}}</ref>

In 1959, while he was a student at [[Kingston College (Jamaica)|Kingston College]], [[Dobby Dobson]] wrote the doo-wop song "Cry a Little Cry" in honor of his shapely biology teacher, and recruited a group of his schoolmates to back him on a recording of the song under the name Dobby Dobson and the Deltas on the Tip-Top label. It climbed to number one on the RJR charts, where it spent some six weeks.<ref name="Black2015">{{cite news |author1=Roy Black |title=Roy Black Column: Dobby Dobson |url=http://jamaica-gleaner.com/article/entertainment/20150222/roy-black-column |access-date=16 November 2020 |work=The Gleaner |date=22 February 2015 |location=Kingston, Jamaica |language=en}}</ref>

The harmonizing of the American doo-wop groups [[the Drifters]] and [[the Impressions]] served as a vocal model for a newly formed (1963) group, [[Bob Marley and the Wailers|the Wailers]], in which [[Bob Marley]] sang lead while [[Bunny Wailer]] sang high harmony and [[Peter Tosh]] sang low harmony.<ref name="GuilloryGreen1998" /> The Wailers recorded an homage to doo-wop in 1965 with their version of Dion and the Belmonts' "[[A Teenager in Love]]".<ref name="O'Hagan2020" /> Bunny Wailer cited Frankie Lymon and the Teenagers, the Platters, and the Drifters as early influences on the group. The Wailers covered Harvey and the Moonglows' 1958 doo-wop hit, "Ten Commandments of Love", on their debut album, ''[[Wailing Wailers]]'', released in late 1965.<ref name="Unterberger2017">{{cite book|author=Richie Unterberger|title=Bob Marley and the Wailers: The Ultimate Illustrated History|url=https://books.google.com/books?id=_vEpDwAAQBAJ&pg=PA30|date=September 2017|publisher=Voyageur Press|isbn=978-0-7603-5241-0|pages=15, 30–31}}</ref> The same year, the Wailers cut the doo-wop song "Lonesome Feelings", with "There She Goes" on the [[A-side and B-side|B-side]], as a single produced by [[Coxsone Dodd]].<ref name="Thompson2002">{{cite book|author=Dave Thompson|title=Reggae & Caribbean Music|url=https://books.google.com/books?id=ARrDQKqFo7AC&pg=PA361|year=2002|publisher=Backbeat Books|isbn=978-0-87930-655-7|page=361}}</ref>