DJ Bruce Morrow—Cousin Brucie to listeners—sits in his decidedly 1950s West Village townhouse, a curvy, lighted jukebox in one corner, and a wax replica of a retro malt shop meal—fries, hamburger and milkshake—on a table. Morrow is tall and welcoming, and his voice resonates as if he's on the radio as he talks about his new book, Doo Wop: The Music, the Times, the Era.
Of all the music you play on your show, why highlight doo wop in a book?
This was at the transition of pop—a short period between Vic Damone and rock 'n' roll. When I agreed to do this book, I realized that it has to be more than the music; it has to be the culture and history of the era.
How would you define doo wop?
It's a salad bowl of music: a huge amount of gospel, as well as elements of the blues, R&B, soul, jazz and rock 'n' roll. Vocal harmony is the most important part of it—this kind of harmonizing developed basically because of lack of funds for instruments. Doo wop got its name from the bass line of the music.
What is doo wop style?
Think of fast cars, tailfins and lights on the jukebox. These things all meant freedom, freedom of movement. It was rebellious.
Though to the ears of many people today, doo wop doesn't sound rebellious.
Compare doo wop to the popular music of the time—Fred Astaire, Doris Day, Mills Brothers. Nothing dangerous or challenging. In the 1950s, there was racial tension, political strife, financial strife, McCarthyism. Doo wop was gentle in the beginning, but in the late 1950s it changed. Dion and the Belmonts came on the scene. Dion had the black blues experience but was brought up in the Bronx.
Why is there is a great nostalgia for doo wop?
People need something to hang their hat on, and we are in a world of change. The generation that has the money today—that of the '50s and '60s—wants comfort food. The music we grew up with is very comfortable for us.
How has pop music changed since then?
The difference of course is the enhancement of the human voice by computers. It was different with doo wop—those were the voices, with all the imperfections. Of course, I still hear doo wop influences in today's music.
Even, say, in hip-hop?
Sure, some. Music has always reflected society. Today's music is angrier than doo wop, which was about love. Both hip-hop and doo wop are the music of the streets—but the streets have changed.
