The Chords, an American doo-wop vocal group formed in 1951 in The Bronx, New York, are considered the pioneers of the genre. The group is closely associated with their 1954 hit Sh-Boom which achieved cross over success, and hold a prominent spot in music history because they were one of the first African-American groups to enter the mainstream pop charts with an R&B song. They did not achieve much commercial success afterwards. However, Sh-Boom grew their notoriety and is often cited as a foundational song for the emergence of rock and roll.
Floyd “Buddy” McRae, William “Ricky” Edwards, Jimmy Keyes, Claude Feaster, and Carl Feaster made up the group’s original lineup, with Branker playing the piano as soon as he was added to the lineup. Along with Branker, the group showcased complex vocal harmonies with energetic rhythms as was popular amongst the African-American youth of the time.
As they started to receive local attention, The Chords signed with Cat Records, a newly created subsidiary of Atlantic Records. Their first single was “Cross Over the Bridge” by Patti Page. Although the label intended for it to be A-side, it was actually the self-written B-side, “Sh-Boom” that captured the audience’s attention. The intersection of the song’s catchy melody along with the upbeat optimism mixed with harmonized, upbeat, and nonsensical singing grabs was what made the hit song shine.
Sh-Boom ascended quickly within the Billboard charts reaching the No. 2 spot on the R&B chart and breaking into the Top 10 on the mainstream pop chart which was remarkable achievement for a Black group at that time. The success of the song was so great that a white Canadian vocal group called The Crew-Cuts recorded a version. Like many other white covers of Black songs, their rendition sanitized the original lyrics and arrangement to broaden appeal. While their version also peaked at No. 1 on the pop chart, further popularizing the song, it highlighted the racial discrimination present in the music industry.
Even though the group had a breakthrough hit with “Sh-Boom”, The Chords were not able to build on that success. Gem Records ran into legal trouble when they started to use the name “The Chords.” because they were claimed to Gem Records, The group was forced to perform temporarily as “The Chordcats.”. A string of singles, Zippity Zum, A Girl to Love and Don’t Want to Set the World on Fire, went on to monumentally bracketed failure in the been marked as set to lack, unreleased label. For several years, the group continued to undergo countless lineup changes and released a shifting collection of albums, struggling to find the magic of “Sh-Boom”.
Other than these Sh-Boom White were also plagued by other tragedies. In 1961 the pianist Rupert Branker was killed, followed by the Bass William Edwards, who died in 1964. In the 1960s Joe “Ditto” Dias died, and together with Claude Feaster who died in 1978 and Carl Feaster who passed in 1981, and Diks, who died in 2001, the world lost the remaining collaborative vision, further known as the Fragments Quartet.” Buddy McRae was the last alive original member, which he claimed in 2013, passing at 85.
The Chords’ Sh-Boom earned them a spot within American Classics, encapsulating the doe-wop of the 1950’s and often referred to as ‘the turning point of rock and roll.’ Although their endeavors as an American band were short lived, their contribution to music culture was indeed profound. As vibrant as that time was, so were the struggles Black musicians had to face with the heavily racially divided mid-20th century music industry.
Contents
Top Songs
Sh-Boom (1954)
Regarded as The Chords’s trademark song, Sh-Boom earns its merit as one of the earliest and most pivotal tracks during the initial steps of the Rock and Roll movement. The song soared to popularity, and eventually claimed number 2 spot on the R&B chart, later reaching the Top 10 on the United States pop chart. marked as a definitive doo-wop song, its catchy hooks combined with the tight harmonies made for a very joyful experience.
Zippity Zum (I’m in Love) (1954)
It seems as Sh-Boom opened way for The Chords production, Zippity zum intended to continue the success as a follow up single. Even though there was a share of upbeat tempo mixed with doo-wop style, it sadly did not capture public imagination and never charted.
Don’t Want to Set the World on Fire (1957)
The group’s smoother side was showcased with a soulful cover of a classic pop ballad. Even with strong vocals, the song never received much airplay.
Discography
Singles
1954
- Cross Over the Bridge
- Sh-Boom — US Pop: Top 10, US R&B: #2
- Zippity Zum (I’m In Love)
- A Girl to Love
1955
- Could It Be
1957
- Don’t Want to Set the World on Fire
1960
- Blue Moon
Compilation Albums
- The Best of The Chords (2005, Cat Records)
This compilation released after the group’s passing contains the major tracks along with some lesser known recordings which allows fans to have a glimpse into their short but impactful career.
Top Albums
Since The Chords were primarily a singles based act who did not release studio albums during their active years, much of their music has been kept in compilations. The most notable is
The Best of The Chords (2005)
This album was released years after the original recordings and includes all their hits as well as several B-sides, featuring different Sh-Boom recordings, some rarities, and remastered versions. It stands as the collection for anyone interested in early doo-wop.
Awards and Recognition
The Chords did not gain any significant accolades in their career, however, they have been recognized in the following ways
- Sh-Boom has received recognition in many “best songs” lists and is often featured in documentaries and retrospectives dealing with the inception of rock and roll.
- The song is also featured in collections of 1950’s rock, doo-wop, and early R&B, which speaks to its timeless popularity.
- Though The Chords were not included as a group in the Rock and Roll Hall of Fame, numerous musicologists consider The Chords to be one of the first crossover artists and thus, early contributors to the crossover movement.
Although The Chords’ chart impact may suggest underwhelming success, their contribution to musical history is certainly immense. During Sh-Boom’s peak popularity, America was grappling with intense racial divisions in every industry. An R&B song from Black musicians topping the charts and competing with other pop songs was unprecedented. Their narrative captures both the possibilities and the inequities of mid-century American music.
With limited chart success, The Chords’ foundational works in doo-wop, R&B, and the early rock and roll movement stand as integral milestones in the genre’s evolution.