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From Wikipedia, the free encyclopedia
This article is about the original form of R&B. For the modern form, mixed with
other genres, see Contemporary R&B.
For other uses, see Rhythm and blues (disambiguation).
"RnB" redirects here. For the Japanese television station that uses the
abbreviation RNB, see Nankai Broadcasting.
Rhythm and blues

Big Joe Turner in 1955

Stylistic origins
Jazz[1]blues[1][2]spirituals[1]gospel[1][2]boogie-woogie[2]jump blues[2]swing[2]
Cultural origins 1940s–1950s, U.S.
Typical instruments
Double bassdrum kitelectric guitarelectric organhornspianosaxophone
Derivative forms
Beat musicBrill Buildingdiscohard bophip hopmod revivalrock and rollreggaeskasmooth
jazzzydeco
Subgenres
Alternative R&BChristian R&Bcontemporary R&Bdoo-wopfunkMotown soundquiet stormsoul
Fusion genres
Jazz fusionLatin R&Bnew jack swingraï'n'Brhythm & grimevarious hip hop fusions
Local scenes
DetroitNew OrleansUnited Kingdom
Other topics
Black gospel musicblue-eyed soulbrown-eyed soulrare grooveslow jamurban
contemporary music
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular
music that originated within African-American communities in the 1940s. The term
was originally used by record companies to describe recordings marketed
predominantly to African Americans, at a time when "rocking, jazz based music ...
[with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm
and blues music typical of the 1950s through the 1970s, the bands usually consisted
of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes
background vocalists. R&B lyrical themes often encapsulate the African-American
history and experience of pain and the quest for freedom and joy, as well as
triumphs and failures in terms of societal racism, oppression, relationships,
economics, and aspirations.

The term "rhythm and blues" has undergone a number of shifts in meaning. In the
early 1950s, it was frequently applied to blues records. Starting in the mid-1950s,
after this style of music had contributed to the development of rock and roll, the
term "R&B" became used in a wider context. It referred to music styles that
developed from and incorporated electric blues, as well as gospel and soul music.
From 1960s to 70s, some British groups were referred to and promoted as being R&B
bands. By the 1970s, the term "rhythm and blues" had changed once again and was
used as a blanket term for soul and funk.

In the late 1980s, a newer style of R&B developed, becoming known as "contemporary
R&B". This contemporary form combines rhythm and blues with various elements of
pop, soul, funk, disco, hip hop, and electronic music.
Etymology, definitions and description
Although Jerry Wexler of Billboard magazine is credited with coining the term
"rhythm and blues" as a musical term in the United States in 1948,[3] the term had
been used in Billboard as early as 1943.[4][5] However, the company's first list of
songs popular among African Americans was named Harlem Hit Parade; created in 1942,
it listed the "most popular records in Harlem"[6] and this replaced the common term
"race music", which originally came from within the black community, but was deemed
offensive in the postwar world.[7][8] The term "rhythm and blues" was then used by
Billboard in its chart listings from June 1949 until August 1969, when its "Hot
Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles".[9] Before
the "Rhythm and Blues" name was instated, various record companies had already
begun replacing the term "race music" with the term "sepia series".[10] "Rhythm and
blues" is often abbreviated as "R&B" or "R'n'B".[11]

In the early 1950s, the term "rhythm & blues" was frequently applied to blues
records.[12] Writer and producer Robert Palmer defined rhythm & blues as "a
catchall term referring to any music that was made by and for black Americans".[13]
He has also used the term "R&B" as a synonym for jump blues.[14] However, AllMusic
separates it from jump blues because of R&B's stronger gospel influences.[15]
Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was
an umbrella term invented for industry convenience. According to him, the term
embraced all black music except classical music and religious music, unless a
gospel song sold enough to break into the charts.[7] Well into the 21st century,
the term R&B continues in use (in some contexts) to categorize music made by black
musicians, as distinct from styles of music made by other musicians.

In the commercial rhythm and blues music typical of the 1950s through the 1970s,
the bands usually consisted of piano, one or two guitars, bass, drums, and
saxophone. Arrangements were rehearsed to the point of effortlessness and were
sometimes accompanied by background vocalists. Simple repetitive parts mesh,
creating momentum and rhythmic interplay producing mellow, lilting, and often
hypnotic textures while calling attention to no individual sound. While singers are
emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed,
and in control. The bands dressed in suits, and even uniforms, a practice
associated with the modern popular music that rhythm and blues performers aspired
to dominate. Lyrics often seemed fatalistic, and the music typically followed
predictable patterns of chords and structure.[16] R&B lyrical themes often
encapsulate the African-American experience of pain and the quest for freedom and
joy,[17][page needed] as well as triumphs and failures in terms of relationships,
economics, and aspirations.[citation needed]

One publication of the Smithsonian Institution provided this summary of the origins
of the genre in 2016.

"A distinctly African American music drawing from the deep tributaries of African
American expressive culture, it is an amalgam of jump blues, big band swing,
gospel, boogie, and blues that was initially developed during a thirty-year period
that bridges the era of legally sanctioned racial segregation, international
conflicts, and the struggle for civil rights".[2]

The Rock & Roll Hall of Fame defines some of the originators of R&B, including Joe
Turner's big band, Louis Jordan's Tympany Five, James Brown and LaVern Baker. In
fact, this source states that "Louis Jordan joined Turner in laying the foundation
for R&B in the 1940s, cutting one swinging rhythm & blues masterpiece after
another". Other artists who were "cornerstones of R&B and its transformation into
rock & roll" include Etta James, Fats Domino, Roy Brown, Little Richard and Ruth
Brown. The "doo wop" groups were also noteworthy, including the Orioles, the Ravens
and the Dominoes.[18]
The term "rock and roll" had a strong sexual connotation in jump blues and R&B, but
when DJ Alan Freed referred to rock and roll on mainstream radio in the mid-1950s,
"the sexual component had been dialed down enough that it simply became an
acceptable term for dancing".[19]

History
Precursors

Louis Jordan in New York City, c. July 1946

The great migration of Black Americans to the urban industrial centers of Chicago,
Detroit, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a
new market for jazz, blues, and related genres of music. These genres of music were
often performed by full-time musicians, either working alone or in small groups.
The precursors of rhythm and blues came from jazz and blues, which overlapped in
the late-1920s and 30s through the work of musicians such as the Harlem Hamfats,
with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway,
Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric
guitar as a lead instrument, as well as the piano and saxophone.[20]

Late 1940s
R&B originated in African-American communities in the 1940s.[21] In 1948, RCA
Victor was marketing black music under the name "Blues and Rhythm". In that year,
Louis Jordan dominated the top five listings of the R&B charts with three songs,
and two of the top five songs were based on the boogie-woogie rhythms that had come
to prominence during the 1940s.[22] Jordan's band, the Tympany Five (formed in
1938), consisted of him on saxophone and vocals, along with musicians on trumpet,
tenor saxophone, piano, bass and drums.[23][24] Lawrence Cohn described the music
as "grittier than his boogie-era jazz-tinged blues".[7]: 173 Robert Palmer
described it as "urbane, rocking, jazz-based music ... [with a] heavy, insistent
beat".[25] Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy
Wright, and Wynonie Harris, is now also referred to as jump blues. Already Paul
Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm
and blues. In 1948, Wynonie Harris's remake of Brown's 1947 recording "Good Rockin'
Tonight" reached number two on the charts, following band leader Sonny Thompson's
"Long Gone" at number one.[26][27]

In 1949, the term "Rhythm and Blues" (R&B) replaced the Billboard category Harlem
Hit Parade.[7] Also in that year, "The Huckle-Buck", recorded by band leader and
saxophonist Paul Williams, was the number one R&B tune, remaining on top of the
charts for nearly the entire year. Written by musician and arranger Andy Gibson,
the song was described as a "dirty boogie" because it was risque and raunchy.[28]
Paul Williams and His Hucklebuckers' concerts were sweaty riotous affairs that got
shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-
wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive,
and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance".
[29][30] Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's
Business" was a number four hit for Jimmy Witherspoon, and Louis Jordan and the
Tympany Five once again made the top five with "Saturday Night Fish Fry".[31] Many
of these hit records were issued on new independent record labels, such as Savoy
(founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded
1946), Chess (founded 1947), and Atlantic (founded 1948).[20]

Afro-Cuban rhythmic influence

African American music began incorporating Afro-Cuban rhythmic motifs in the 1800s
with the popularity of the Cuban contradanza (known outside of Cuba as the
habanera).[32] The habanera rhythm can be thought of as a combination of tresillo
and the backbeat.
The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).
For the more than a quarter-century in which the cakewalk, ragtime and proto-jazz
were forming and developing, the Cuban genre habanera exerted a constant presence
in African American popular music.[33] Jazz pioneer Jelly Roll Morton considered
the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential
ingredient of jazz.[34] There are examples of tresillo-like rhythms in some African
American folk music such as the hand-clapping and foot-stomping patterns in ring
shout, post-Civil War drum and fife music, and New Orleans second line music.[35]
Wynton Marsalis considers tresillo to be the New Orleans "clave" (although
technically, the pattern is only half a clave).[36] Tresillo is the most basic
duple-pulse rhythmic cell in Sub-Saharan African music traditions, and its use in
African American music is one of the clearest examples of African rhythmic
retention in the United States.[37] The use of tresillo was continuously reinforced
by the consecutive waves of Cuban music, which were adopted into North American
popular culture. In 1940 Bob Zurke released "Rhumboogie", a boogie-woogie with a
tresillo bass line, and lyrics proudly declaring the adoption of Cuban rhythm:

Harlem's got a new rhythm, man it's burning up the dance floors because it's so
hot! They took a little rhumba rhythm and added boogie-woogie and now look what
they got! Rhumboogie, it's Harlem's new creation with the Cuban syncopation, it's
the killer! Just plant your both feet on each side. Let both your hips and shoulder
glide. Then throw your body back and ride. There's nothing like rhumbaoogie,
rhumboogie, boogie-woogie. In Harlem or Havana, you can kiss the old Savannah. It's
a killer![38]

Although originating in the metropolis at the mouth of the Mississippi River, New
Orleans blues, with its Afro-Caribbean rhythmic traits, is distinct from the sound
of the Mississippi Delta blues.[39] In the late 1940s, New Orleans musicians were
especially receptive to Cuban influences precisely at the time when R&B was first
forming.[40] The first use of tresillo in R&B occurred in New Orleans. Robert
Palmer recalls:

Fats Domino in 1956

New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a
saxophone-section riff) on his own 1949 disc "Country Boy" and subsequently helped
make it the most over-used rhythmic pattern in 1950s rock 'n' roll. On numerous
recordings by Fats Domino, Little Richard and others, Bartholomew assigned this
repeating three-note pattern not just to the string bass, but also to electric
guitars and even baritone sax, making for a very heavy bottom. He recalls first
hearing the figure – as a bass pattern on a Cuban disc.[41]

In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band),
[42] revealed how he initially superimposed tresillo over swing rhythm:

I heard the bass playing that part on a 'rumba' record. On 'Country Boy' I had my
bass and drums playing a straight swing rhythm and wrote out that 'rumba' bass part
for the saxes to play on top of the swing rhythm. Later, especially after rock 'n'
roll came along, I made the 'rumba' bass part heavier and heavier. I'd have the
string bass, an electric guitar and a baritone all in unison.[43]

Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of
that time. Fats Domino's "Blue Monday", produced by Bartholomew, is another example
of this now classic use of tresillo in R&B. Bartholomew's 1949 tresillo-based "Oh
Cubanas" is an attempt to blend African American and Afro-Cuban music. The word
mambo, larger than any of the other text, is placed prominently on the record
label. In his composition "Misery", New Orleans pianist Professor Longhair plays a
habanera-like figure in his left hand.[44] The deft use of triplets is a
characteristic of Longhair's style.

{
\new PianoStaff <<
\new Staff <<
\relative c'' {
\clef treble \key f \major \time 4/4
\tuplet 3/2 { r8 f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f
f } \tuplet 3/2 { f f f }
r4 r8 <e g> <d f>4 \acciaccatura { c16 d } <c e>8 <bes d>
\tuplet 3/2 { r8 f' f } \tuplet 3/2 { f f f } \tuplet 3/2 { f d bes
} \tuplet 3/2 { f g gis }
a
}
>>
\new Staff <<
\relative c, {
\clef bass \key f \major \time 4/4
f4 d'8 a c4 d8 a
bes4. d8 f4 d8 a
bes4. d8 f4 d8 e,
f4
}
>>
>> }
Gerhard Kubik notes that with the exception of New Orleans, early blues lacked
complex polyrhythms, and there was a "very specific absence of asymmetric time-line
patterns (key patterns) in virtually all early-twentieth-century African American
music ... only in some New Orleans genres does a hint of simple time line patterns
occasionally appear in the form of transient so-called 'stomp' patterns or stop-
time chorus. These do not function in the same way as African timelines."[45] In
the late 1940s, this changed somewhat when the two-celled timeline structure was
brought into the blues. New Orleans musicians such as Bartholomew and Longhair
incorporated Cuban instruments, as well as the clave pattern and related two-celled
figures in songs such as "Carnival Day", (Bartholomew 1949) and "Mardi Gras In New
Orleans" (Longhair 1949). While some of these early experiments were awkward
fusions, the Afro-Cuban elements were eventually integrated fully into the New
Orleans sound.

Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played
with musicians from the islands and "fell under the spell of Perez Prado's mambo
records."[46] He was especially enamored with Afro-Cuban music. Michael Campbell
states: "Professor Longhair's influence was ... far-reaching. In several of his
early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and
blues. The most explicit is 'Longhair's Blues Rhumba,' where he overlays a
straightforward blues with a clave rhythm."[47] Longhair's particular style was
known locally as rumba-boogie.[48] In his "Mardi Gras in New Orleans", the pianist
employs the 2–3 clave onbeat/offbeat motif in a rumba boogie "guajeo".[49]

Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor
Longhair. 2–3 claves are written above for rhythmic reference.
The syncopated, but straight subdivision feel of Cuban music (as opposed to swung
subdivisions) took root in New Orleans R&B during this time. Alexander Stewart
states that the popular feel was passed along from "New Orleans—through James
Brown's music, to the popular music of the 1970s," adding: "The singular style of
rhythm & blues that emerged from New Orleans in the years after World War II played
an important role in the development of funk. In a related development, the
underlying rhythms of American popular music underwent a basic, yet generally
unacknowledged transition from a triplet or shuffle feel to even or straight eighth
notes.[50] Concerning the various funk motifs, Stewart states that this model "...
is different from a time line (such as clave and tresillo) in that it is not an
exact pattern, but more of a loose organizing principle."[51]

Johnny Otis released the R&B mambo "Mambo Boogie" in January 1951, featuring
congas, maracas, claves, and mambo saxophone guajeos in a blues progression.[52]
Ike Turner recorded "Cubano Jump" (1954) an electric guitar instrumental, which is
built around several 2–3 clave figures, adopted from the mambo. The Hawketts, in
"Mardi Gras Mambo" (1955) (featuring the vocals of a young Art Neville), make a
clear reference to Perez Prado in their use of his trademark "Unhh!" in the break
after the introduction.[53]

Ned Sublette states: "The electric blues cats were very well aware of Latin music,
and there was definitely such a thing as rhumba blues; you can hear Muddy Waters
and Howlin' Wolf playing it."[54] He also cites Otis Rush, Ike Turner and Ray
Charles, as R&B artists who employed this feel.[54]

The use of clave in R&B coincided with the growing dominance of the backbeat, and
the rising popularity of Cuban music in the U.S. In a sense, clave can be distilled
down to tresillo (three-side) answered by the backbeat (two-side).[55]

3–2 clave written in two measures in cut-time

Tresillo answered by the backbeat, the essence of clave in African American music
The "Bo Diddley beat" (1955) is perhaps the first true fusion of 3–2 clave and
R&B/rock 'n' roll. Bo Diddley has given different accounts of the riff's origins.
Sublette asserts: "In the context of the time, and especially those maracas [heard
on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A
rejected cut recorded at the same session was titled only 'Rhumba' on the track
sheets."[54] Johnny Otis's "Willie and the Hand Jive" (1958) is another example of
this successful blend of 3–2 claves and R&B. Otis used the Cuban instruments claves
and maracas on the song.

Bo Diddley's "Bo Diddley beat" is a clave-based motif.

Afro-Cuban music was the conduit by which African American music was "re-
Africanized", through the adoption of two-celled figures like clave and Afro-Cuban
instruments like the conga drum, bongos, maracas and claves. According to John
Storm Roberts, R&B became the vehicle for the return of Cuban elements into mass
popular music.[56] Ahmet Ertegun, producer for Atlantic Records, is reported to
have said that "Afro-Cuban rhythms added color and excitement to the basic drive of
R&B."[57] As Ned Sublette points out though: "By the 1960s, with Cuba the object of
a United States embargo that still remains in effect today, the island nation had
been forgotten as a source of music. By the time people began to talk about rock
and roll as having a history, Cuban music had vanished from North American
consciousness."[58]

Early to mid-1950s

Little Richard in 1967

At first, only African Americans were buying R&B discs. According to Jerry Wexler
of Atlantic Records, sales were localized in African-American markets; there were
no white sales or white radio play. During the early 1950s, more white teenagers
started to become aware of R&B and began purchasing the music. For example, 40% of
1952 sales at Dolphin's of Hollywood record shop, located in an African-American
area of Los Angeles, were to whites. Eventually, white teens across the country
turned their musical taste toward rhythm and blues.[59]

Johnny Otis, who had signed with the Newark, New Jersey-based Savoy Records,
produced many R&B hits in 1951, including "Double Crossing Blues", "Mistrustin'
Blues" and "Cupid's Boogie", all of which hit number one that year. Otis scored ten
top ten hits that year. Other hits include "Gee Baby", "Mambo Boogie" and "All Nite
Long".[60] The Clovers, a quintet consisting of a vocal quartet with accompanying
guitarist, sang a distinctive-sounding combination of blues and gospel.[61] They
had the number five hit of the year with "Don't You Know I Love You" on Atlantic.
[60][62][63] Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night
radio show called "The Moondog Rock Roll House Party" on WJW (850 AM).[64][65]
Freed's show was sponsored by Fred Mintz, whose R&B record store had a primarily
African American clientele. Freed began referring to the rhythm and blues music he
played as "rock and roll".

In 1951 Little Richard Penniman began recording for RCA Records in the jump blues
style of late 1940s stars Roy Brown and Billy Wright. However, it was not until he
recorded a demo in 1954 that caught the attention of Specialty Records that the
world would start to hear his new uptempo funky rhythm and blues that would
catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid
succession of rhythm and blues hits followed, beginning with "Tutti Frutti"[66] and
"Long Tall Sally", which would influence performers such as James Brown,[67] Elvis
Presley,[68] and Otis Redding.[67]

Also in 1951, the song Rocket 88 was recorded by Ike Turner and his Kings of Rhythm
at a studio owned by Sam Phillips with the vocal by Jackie Brenston. This song is
often cited as a precursor to rock and roll or as one of the first records in that
genre.[69] In a later interview, however, Ike Turner offered this comment: "I don't
think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I
think 'Rocket 88' is the cause of rock and roll existing".[70]

Ruth Brown was known as the "Queen of R&B".[71]

Ruth Brown, performing on the Atlantic label, placed hits in the top five every
year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours",
"(Mama) He Treats Your Daughter Mean" and "What a Dream".[61] Faye Adams's "Shake a
Hand" made it to number two in 1952. In 1953, the R&B record-buying public made
Willie Mae Thornton's original recording of Leiber and Stoller's "Hound Dog"[72]
the year's number three hit. Ruth Brown was very prominent among female R&B stars;
her popularity most likely came from "her deeply rooted vocal delivery in African
American tradition"[73] [74] That same year The Orioles, a doo-wop group, had the
number four hit of the year with "Crying in the Chapel".[75]

Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10
with "Ain't That a Shame".[76][77] Ray Charles came to national prominence in 1955
with "I Got a Woman".[78] Big Bill Broonzy said of Charles's music: "He's mixing
the blues with the spirituals ... I know that's wrong."[7]: 173

In 1954 the Chords' "Sh-Boom"[79] became the first hit to cross over from the R&B
chart to hit the top 10 early in the year. Late in the year, and into 1955, "Hearts
of Stone" by the Charms made the top 20.[80]

At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm
a Man" climbed to number two on the R&B charts and popularized Bo Diddley's own
original rhythm and blues clave-based vamp that would become a mainstay in rock and
roll.[81]

At the urging of Leonard Chess at Chess Records, Chuck Berry reworked a country
fiddle tune with a long history, entitled "Ida Red".[82] The resulting "Maybellene"
was not only a number three hit on the R&B charts in 1955, but also reached into
the top 30 on the pop charts. Alan Freed, who had moved to the much larger market
of New York City in 1954, helped the record become popular with white teenagers.
Freed had been given part of the writing credit by Chess in return for his
promotional activities, a common practice at the time.[83]

R&B was also a strong influence on rock and roll.[84] A 1985 article in The Wall
Street Journal, titled, "Rock! It's Still Rhythm and Blues"[full citation needed]
reported that the "two terms were used interchangeably" until about 1957. The other
sources quoted in the article said that rock and roll combined R&B with pop and
country music.[85]

Fats Domino was not convinced that there was any new genre. In 1957, he said, "What
they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years
in New Orleans".[86] According to Rolling Stone, "this is a valid statement ... all
Fifties rockers, black and white, country born and city bred, were fundamentally
influenced by R&B, the black popular music of the late Forties and early Fifties".
[87]

Late 1950s

Della Reese
In 1956, an R&B "Top Stars of '56" tour took place, with headliners Al Hibbler,
Frankie Lymon and the Teenagers, and Carl Perkins, whose "Blue Suede Shoes" was
very popular with R&B music buyers.[88] Some of the performers completing the bill
were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, Sam "T-Bird" Jensen, the
Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band.[89]
Cities visited by the tour included Columbia, South Carolina; Annapolis, Maryland;
Pittsburgh, Pennsylvania; Syracuse, Rochester and Buffalo, New York; and other
cities.[citation needed] In Columbia, the concert ended with a near riot as Perkins
began his first song as the closing act. Perkins is quoted as saying, "It was
dangerous. Lot of kids got hurt". In Annapolis, 50,000 to 70,000 people tried to
attend a sold-out performance with 8,000 seats. Roads were clogged for seven hours.
[90] Filmmakers took advantage of the popularity of "rhythm and blues" musicians as
"rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats
Domino, Big Joe Turner, the Treniers, the Platters, and the Flamingos all made it
onto the big screen.[91]

Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me
Nice" at number one, and "All Shook Up" at number five, an unprecedented acceptance
of a non-African American artist into a music category known for being created by
blacks.[92] Nat King Cole, also a jazz pianist who had two hits on the pop charts
in the early 1950s ("Mona Lisa" at number two in 1950 and "Too Young" at number one
in 1951), had a record in the top five in the R&B charts in 1958, "Looking
Back"/"Do I Like It".[93]

In 1959, two black-owned record labels, one of which would become hugely
successful, made their debut: Sam Cooke's Sar and Berry Gordy's Motown Records.[94]
Brook Benton was at the top of the R&B charts in 1959 and 1960 with one number one
and two number two hits.[95] Benton had a certain warmth in his voice that
attracted a wide variety of listeners, and his ballads led to comparisons with
performers such as Nat King Cole, Frank Sinatra and Tony Bennett.[96] Lloyd Price,
who in 1952 had a number one hit with "Lawdy Miss Clawdy", regained predominance
with a version of "Stagger Lee" at number one and "Personality" at number five in
1959.[97][98]

The white bandleader of the Bill Black Combo, Bill Black, who had helped start
Elvis Presley's career and was Elvis's bassist in the 1950s, was popular with black
listeners.[citation needed] Ninety percent of his record sales were from black
people, and his "Smokie, Part 2" (1959) rose to the number one position on black
music charts.[citation needed] He was once told that "a lot of those stations still
think you're a black group because the sound feels funky and black."[citation
needed] Hi Records did not feature pictures of the Combo on early records.[99]

1960s–1970s

Sam Cooke
Sam Cooke's number five hit "Chain Gang" is indicative of R&B in 1960, as is pop
rocker Chubby Checker's number five hit "The Twist".[98][100] By the early 1960s,
the music industry category previously known as rhythm and blues was being called
soul music, and similar music by white artists was labeled blue-eyed soul.[101][94]
Motown Records had its first million-selling single in 1960 with the Miracles'
"Shop Around",[102] and in 1961, Stax Records had its first hit with Carla Thomas's
"Gee Whiz (Look at His Eyes)".[103][104] Stax's next major hit, The Mar-Keys'
instrumental "Last Night" (also released in 1961), introduced the rawer Memphis
soul sound for which Stax became known.[105] In Jamaica, R&B influenced the
development of ska.[106][107] In 1969, black culture and rhythm and blues reached
another great achievement when the Grammys added the Rhythm and Blues category,
giving academic recognition to the category.[citation needed]

By the 1970s, the term "rhythm and blues" was being used as a blanket term for
soul, funk, and disco.[108]

1980s to present
Main article: Contemporary R&B
In the late 1980s and early 1990s, hip-hop started to capture the imagination of
America's youth. R&B started to become homogenized, with a group of high-profile
producers responsible for most R&B hits. It was hard for R&B artists of the era to
sell their music or even have their music heard because of the rise of hip-hop, but
some adopted a "hip-hop" image, were marketed as such, and often featured rappers
on their songs. In 1990, Billboard reintroduced R&B to categorize all of Black
popular music other than hip-hop.[109] Newer artists such as Usher, R. Kelly, Janet
Jackson, TLC, Aaliyah, Brandy, Destiny's Child, Tevin Campbell and Mary J. Blige
enjoyed success. L.A. Reid, the CEO of LaFace Records, was responsible for some of
R&B's greatest successes in the 1990s in the form of Usher, TLC and Toni Braxton.
Later, Reid successfully marketed Boyz II Men.[110] In 2004, 80% of the songs that
topped the R&B charts were also at the top of the Hot 100. That period was the all-
time peak for R&B and hip hop on the Billboard Hot 100 and on Top 40 Radio.[111]
From about 2005 to 2013, R&B sales declined.[112] However, since 2010, hip-hop has
started to take cues from the R&B sound, choosing to adopt a softer, smoother sound
that incorporates traditional R&B with rappers such as Drake, who has opened an
entire new door for the genre. This sound has gained in popularity and created
great controversy for both hip-hop and R&B as to how to identify it.[113] In 2010,
the National Rhythm & Blues Hall of Fame was founded by LaMont "ShowBoat" Robinson.
[114]

Jewish influence in the business end of rhythm and blues

Main article: Jewish influence in rhythm and blues
According to the Jewish writer, music publishing executive, and songwriter Arnold
Shaw, during the 1940s in the US, there was generally little opportunity for Jews
in the WASP-controlled realm of mass communications, but the music business was
"wide open for Jews as it was for blacks".[115] Jews played a key role in
developing and popularizing African American music, including rhythm and blues, and
the independent record business was dominated by young Jewish men who promoted the
sounds of black music.[116]

British rhythm and blues

Main article: British rhythm and blues
Eric Burdon & the Animals (1964)
British rhythm and blues and blues rock developed in the early 1960s, largely as a
response to the recordings of American artists, often brought over by African
American servicemen stationed in Britain or seamen visiting ports such as London,
Liverpool, Newcastle and Belfast.[117][118] Many bands, particularly in the
developing London club scene, tried to emulate black rhythm and blues performers,
resulting in a "rawer" or "grittier" sound than the more popular "beat groups".
[119] During the 1960s, Geno Washington, the Foundations, and the Equals gained pop
hits.[120] Many British black musicians helped form the British R&B scene. These
included Geno Washington, an American singer stationed in England with the Air
Force. He was invited to join what became Geno Washington & the Ram Jam Band by
guitarist Pete Gage in 1965 and enjoyed top 40 hit singles and two top 10 albums
before the band split up in 1969.[121] Another American GI, Jimmy James, born in
Jamaica, moved to London after two local number one hits in 1960 with The
Vagabonds, who built a strong reputation as a live act. They released a live album
and their studio debut, The New Religion, in 1966 and achieved moderate success
with a few singles before the original Vagabonds broke up in 1970.[122] White blues
rock musician Alexis Korner formed new jazz rock band CCS in 1970.[123] Interest in
the blues would influence major British rock musicians, including Eric Clapton,
Mick Taylor, Peter Green, and John Mayall, the groups Free and Cream adopted an
interest in a wider range of rhythm and blues styles.[119]

The Rolling Stones became the second most popular UK band (after the Beatles)[124]
and led the "British Invasion" of the US pop charts.[119] The Rolling Stones
covered Bobby Womack & the Valentinos'[125] song "It's All Over Now", giving them
their first UK number one in 1964.[126] Under the influence of blues and R&B, bands
such as the Rolling Stones, the Yardbirds, and the Animals, and more jazz-
influenced bands like the Graham Bond Organisation and Zoot Money, had blue-eyed
soul albums.[119] White R&B musicians popular in the UK included Steve Winwood,
Frankie Miller, Scott Walker & the Walker Brothers, the Animals from Newcastle,
[127] the Spencer Davis Group, and Van Morrison & Them from Belfast.[119] None of
these bands exclusively played rhythm and blues, but it remained at the core of
their early albums.[119]

Champion Jack Dupree was a New Orleans blues and boogie woogie pianist who toured
Europe and settled there from 1960, living in Switzerland and Denmark, then in
Halifax, England in the 1970s and 1980s, before finally settling in Germany.[128]
From the 1970s to 1980s, Carl Douglas, Hot Chocolate, Delegation, Junior, Central
Line, Princess, Jacki Graham, David Grant, the Loose Ends, the Pasadenas and Soul
II Soul gained hits on the pop or R&B charts.[129] The music of the British mod
subculture grew out of rhythm and blues and later soul performed by artists who
were not available to the small London clubs where the scene originated.[130] In
the late 1960s, the Who performed American R&B songs such as the Motown hit "Heat
Wave", a song which reflected the young mod lifestyle.[130] Many of these bands
enjoyed national success in the UK, but found it difficult to break into the
American music market.[130] The British white R&B bands produced music which was
very different in tone from that of African-American artists.[119]

See also