The Top 10 Biggest Doo-Wop Songs of All Time

The Most Popular Doo-Wop Songs Ever

Here are the biggest and most popular doo-wop songs of all time, as determined by Billboard chart rankings. These are not necessarily the best doo-wop songs ever -- although they're classics all -- but they remain the most popular, the ones that have stuck with us through decades of changing trends and styles.

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"At the Hop," Danny and the Juniors

Danny and the Juniors
Michael Ochs Archives / Stringer / Getty Images

Singular 711 (11 November 1957) b/w "Sometimes"
recorded October 1957, Philadelphia, PA

Originally conceived by the songwriter as "Do the Bop," no less an authority than Dick Clark convinced Danny and the Juniors to rename this song to take advantage of the record/sock hop craze (after all, Danny and the Juvenairs -- as they were known before their manager got to them -- were discovered at a hop). Modeled as a sort of doo-wop take on Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On," this went on to define an era where you could calypso and chicken.

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"Duke of Earl," Gene Chandler

Vee-Jay 416 (13 January 1962) b/w "Kissin' in the Kitchen"
recorded November 1961, New York, NY

Already dated when it was cut, perhaps, but time smooths out those edges in our memory, anyway, and Chandler's whole rep is based on this late-period doo-wop classic. The Dukays, Gene's group, turned their vocal "doo doo doo"s into "Duke"s, and Dukay Earl Edwards provided the finishing touch to the name. The result is a pledge of fidelity only matched in its era by Ben E. King's "Stand by Me."

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"Blue Moon," The Marcels

Colpix 186 (February 1961) b/w "Goodbye to Love"
recorded 15 February 1961, New York, NY

Laid down in the last ten minutes of a recording session and done in one unbelievable take, this came about because the Marcels' producer wanted the group to combine the intro of one song, the Collegians' "Zoom Zoom Zoom," with the Rodgers-Hart standard "Heart and Soul." One problem: the band didn't know that song. But they did know another standard by the same team. The rest, as they say, is history. Murray the K made this one a smash, playing the acetate over and over before it was even turned into a record!

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"The Lion Sleeps Tonight," The Tokens

RCA Victor 47-7954 (September 1961) b/w "Tina"
recorded 21 July 1961, New York, NY

One of the stranger anomalies in rock history, "Lion" began life as a spontaneous recorded outburst by a Zulu tribesman, morphed into a misinterpreted folk smash, found its way to a Noo Yawk doo-wop group, and eventually wound up in the hands of the Sam Cooke producing duo known as Hugo and Luigi, who added tympani, silly woodwinds, and an opera singer. You have to hear it to believe it. But you already have.

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"Little Star," The Elegants

Apt 25005 (June 1958) b/w "Getting Dizzy"
recorded October 1957, New York, NY

Staten Island made its most enduring contribution to New York Italian-American doo-wop with these five teens, who adapted the words if not the actual melody of Mozart's "Twinkle, Twinkle, Little Star" (itself an adaptation) to create one of the era's most breathlessly beautiful odes. Recast as a romantic idyll, it shot up the charts, but the Elegants, like many of their brethren, never found success again.

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"Stay," Maurice Williams and the Zodiacs

Herald 552 (October 1960) b/w "Do You Believe"
recorded July 1960, New York, NY

Written way back in '53 by the composer of "Little Darlin'," this was one of the finer entries in doo-wop's latter-day Golden Era; if it sounds flat, that's because the producer wanted the vocals sung just that way so that Joe Average could hum it on the street. And that's just what happened. Matters may have been helped by the abbreviated length (1:36), as this remains the shortest ever Number One record.

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"Little Darlin'," The Diamonds

Mercury 71060 (February 1957) b/w "Faithful and True"
recorded February 1957, Chicago, IL

When is a parody not a parody? This white quartet (Canadians, no less!) takes a lot of heat to this day for covering the (black) Gladiolas' original and then inserting a silly spoken-word bridge. But if it's just a joke, then why is it such an improvement, right down to those immortal opening castanets? Writer Maurice Williams went on to front the Zodiacs ("Stay") and the Diamonds went on to "The Stroll."

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"16 Candles," The Crests

Coed 506 (30 November 1958) b/w "Beside You"
recorded 12 August 1958, New York, NY

A real crowd favorite, this sweet little number -- originally titled "21 Candles" but quickly changed once the teenage market started booming -- retained its popularity long enough to inspire a Eighties teen sex comedy. The Crests never had another big hit after this ode to the coming-of-age milestone, but leader Johnny Maestro went on to success with the Brooklyn Bridge ("Worst That Could Happen"), while writer Luther Dixon went on to pen hits for the Shirelles.

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"There Goes My Baby," The Drifters

Atlantic 2025 (May 1959) b/w "Oh My Love"
recorded 6 March 1959, New York, NY

One of the strangest and yet most breathtaking productions in rock history, this number -- another important soul milestone, but more urbane and filled with Latin inflections and off-tune tympani -- caused Atlantic's Jerry Wexler to threaten to throw the master out the window. There's no denying the dizzying romantic swell of the Drifters' orchestration, however, which would guide singer Ben E. King through his own solo career.

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"Come Go With Me," The Del-Vikings

Fee Bee 205 (December 1956), Dot 15538 (16 February 1957) b/w "How Can I Find True Love"
recorded November 1956, Pittsburgh, PA

Another example of a hit that shouldn't have been; this integrated group of Air Force buddies recorded this classic, written by their bass vocalist, as the b-side. One of the rare doo-wop records from this era that incorporates the feel of a real rock and roll band, it led to two more hits -- rather, two more hits for members using the group name. (It's complicated.)