Rhythms and blues , commonly abbreviated as R & amp; B , is a popular music genre that originated in the African American community in the 1940s. The term was originally used by record companies to describe recordings that were predominantly marketed to urban African-Americans, at a time when "gamma-based music, rocking, jazz-based with loud and urgent beats" became more popular. In the rhythm of commercial and blues music typical of the 1950s to the 1970s, bands usually consist of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. Themes lyrics R & amp; B often summarizes the African-American experience of suffering and seeks freedom and joy, as well as triumph and failure in relationships, economics, aspirations, and sex.
The term "rhythm and blues" has undergone a number of shifting meanings. In the early 1950s, it was often applied to the blues record. Beginning in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R & amp; B" was used to refer to the style of music developed from and combine electric blues, as well as gospel and soul music. In the 1960s, some British rock bands such as Rolling Stones, Who and the Animals were referred and promoted as an R & D band; B; poster for the residency Who at the Marquee Club in 1964 contained the slogan, "Maximum R & amp; B". Mix them rock and roll and R & amp; B is now known as "rhythm and blues English". In the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for the soul and funk. In the 1980s, a new style of R & amp; B developed, became known as "contemporary R & amp; B". It combines elements of rhythm and blues, pop, soul, funk, hip hop, and electronic music. Vocalist R & amp; B popular in the late 20th century including Michael Jackson, Prince, R. Kelly, Stevie Wonder, Chaka Khan, Whitney Houston, and Mariah Carey.
Video Rhythm and blues
Etymology, definitions and descriptions
Although Jerry Wexler of the Billboard magazine was credited with coining the term "rhythm and blues" as a musical term in the United States in 1948, the term was used in the Billboard as early as 1943. It replaced the term "musical race," originally comes from within the black community, but is considered offensive in the postwar world. The term "rhythm and blues" was used by Billboard in its charts from June 1949 to August 1969, when the "Hot Rhythm & Blues Singles" chart changed its name to "Best Selling Soul Singles." Before the name "Rhythm and Blues" has been set, various record companies have begun to replace the term "racing music" with "sepia series".
Author and producer Robert Palmer defines rhythm & amp; blues as "catchall terms referring to any music made by and for black Americans". He has used the term "R & amp; B" as a synonym for jump blues. However, AllMusic separates it from the jump blues because of the influence of the Gospel R & amp; B is stronger. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" is an umbrella term created for industrial comfort. According to him, the term includes all black music except classical music and religious music, unless a Gospel song sells enough to get into the charts. Until the 21st century, the term R & amp; B continues to be used (in some contexts) to categorize music created by black musicians, which is different from the style of music created by other musicians.
In the rhythm of commercial and blues music typical of the 1950s to the 1970s, bands usually consist of piano, one or two guitars, bass, drums, and saxophone. Settings are trained to the point of no effort and sometimes accompanied by a background vocalist. Simple repetition parts, creating momentum and rhythmic interactions that produce mellow, lilting, and often hypnotic textures while drawing attention to no individual sound. While the singers are emotionally involved with the lyrics, often very intense, they remain calm, relaxed, and under control. Bands wear suits, and even uniforms, a practice associated with popular modern music played by rhythm and blues players to dominate. Lyrics often seem fatalistic, and music usually follows predictable patterns and chords.
Maps Rhythm and blues
History
Precursors
African-American migration to urban industrial centers in Chicago, Detroit, New York City, Los Angeles and elsewhere in the 1920s and 1930s created new markets for jazz, blues, and related music genres. This music genre is often performed by full-time musicians, either self-employed or in small groups. The rhythm and blues precursors came from jazz and blues, which overlapped in the late 1920s and 1930s through the work of musicians such as Harlem Hamfats, with the 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There is also an increasing emphasis on electric guitars as the main instruments, such as piano and saxophone.
End of the 1940s
In 1948, RCA Victor sold black music under the name "Blues and Rhythm". That year, Louis Jordan dominated the top five charts of R & amp; B with three songs, and two of the top five songs based on the famous boogie-woogie rhythm during the 1940s. The Jordan Band, Tympany Five (formed in 1938), consists of him in saxophone and vocals, along with musicians on trumpets, saxophone tenants, piano, bass and drums. Lawrence Cohn describes music as "grittier" rather than his jazz-blues blues. "Robert Palmer describes it as" polite, rocking, jazz-based music with a loud and hard beat. "Jordan's music, along with Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, now also referred to as the jump blues.Already Paul Gayten, Roy Brown, and others have hits in the style now referred to as rhythm and blues.In 1948, Wynonie Harris remake of Brown's 1947 record "Good Rockin 'Tonight' reached number two on the charts, following "Long Gone" band leader Sonny Thompson at number one.
In 1949, the term "Rhythm and Blues" replaced the Billboard category Harlem Hit Parade . Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the number one R & amp; B, remaining at the top of the charts most of the year. Written by musician and arranger Andy Gibson, the song is described as a "dirty boogie" because it is obscene and vulgar. The Paul Williams and His Hucklebuckers concerts were full of commotion that had to be closed more than once. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were somewhat sexually suggestive, and a teenager from Philadelphia said "That Hucklebuck is a very evil dance". Also in 1949, a new version of the 1920s blues song, "Is not Nobody's Business" was the number four hit for Jimmy Witherspoon, and Louis Jordan and Tympany Five once again occupied the top five with "Saturday Night Fish Fry". Many of these hit records were published 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). ).
Effect of Afro-Cuban rhythm
African American music began to incorporate Afro-Cuban rhythmic motifs in the 1800s with the popularity of the Cuban contrradanza (known outside of Cuba as habanera). The habanera rhythm can be considered as a combination of tresillo and backbeat.
For more than a quarter of a century where cakewalk, ragtime and proto-jazz formed and evolved, the Cuban genre habanera has a constant presence in African American popular music. Jazz pioneer Jelly Roll Morton considers the tresillo/habanera rhythm (which he calls the Spanish tone) to be an important element of jazz. There are several examples of tresillo-like rhythms in some African American folk music such as clapping and jerking foot patterns in shouting tones, post-Civil War drums and fife music, and second row music of New Orleans. Wynton Marsalis considers tresillo to be a "clave" of New Orleans (though technically, the pattern is only half a clone). Tresillo is the most basic ritle-pulse cell rhythm in the Sub-Saharan African music tradition, and its use in African American music is one of the most obvious examples of African rhythmic retention in the United States. The use of tresillo continues to be reinforced by the successive wave of Cuban music, which is adopted into North American popular culture. In 1940 Bob Zurke released "Rhumboogie," a boogie woogie with a tresillo bass line, and the lyrics proudly declared the use of the Cuban rhythm:
Harlem had a new rhythm, he burned the dance floor because it was so hot! They take a small rhumba rhythm and add boogie woogie and now see what they get! Rhumboogie, this is a new Harlem creation with Cuban syncopation, it's the killer! Just plant your feet on each side. Let both your hips and shoulders slide. Then throw your body back and go up. Nothing like rhumbaoogie, rhumboogie, boogie woogie. In Harlem or Havana, you can kiss old Savannah. That's a killer!
Although it comes from the metropolis at the mouth of the Mississippi River, the New Orleans blues, with African-American rhythmic features, is different from the Mississippi Delta blues. In the late 1940s, New Orleans musicians received Cuban influences right at the time of R & D; B was first formed. The first use of tresillo in R & amp; B takes place in New Orleans. Robert Palmer recalled:
The New Orleans Bandleader producer Dave Bartholomew first used this figure (as a saxophone riff) in 1949 on his own "Country Boy" disc and then helped make it the most used rhythmic pattern of the 1950s rock 'n' roll. In many recordings by Fats Domino, Little Richard, and others, Bartholomew commissioned a repetition pattern of these three notes not only to the bass strings, but also to electric guitars and even the saxophone baritone, making the bottom very heavy. He remembered first hearing that figure - as a bass pattern on Cuban discs.
In a 1988 interview with Palmer, Bartholomew (who owns the band's first R & amp; B studio), reveals how he initially superimposed the tresillo over the rhythmic swing:
I heard the bass playing the part on the 'rumba' record. On 'Country Boy' I have a bass and drum playing a straight swing rhythm and writing that bass part 'rumba' for saxes to play over a swing rhythm. Then, especially after rock 'n' roll came in, I made the bass 'rumba' part heavier and heavier. I will have a string of bass, electric guitars and baritones all in unison.
Bartholomew referred to the son of Cuba by mistaken rumba , a common practice at the time. The fat of â € Å"Blue Monday, â € produced by Bartholomew, is another example of using this classic tresillo in R & amp; B. Bartholomew's 1949 tresillo-based "Oh Cubanas" is an attempt to blend African-American and Afro-Cuban music. The word mambo , greater than any other text, is clearly placed on the record label. In his composition "Tribulation," New Orleans pianist Professor Longhair plays a habanera-like figure in his left hand. The use of deft triplets is characteristic of the Longhair style.
Gerhard Kubik notes that with the exception of New Orleans, the early blues did not have elaborate polyrhythms, and there was "the absence of a very specific asymmetrical timeline pattern (pattern key) in almost all African American music early in the twentieth century ... in just a few New Orleans genres that show a simple timeline pattern that sometimes appears in transient form called a 'stomp' or stop-time chorus pattern.It does not work the same way as the African timeline. "At the end 1940s, this changed somewhat when the two-cell line structure was brought into the blues. New Orleans musicians such as Bartholomew and Longhair incorporated Cuban instruments, as well as claved patterns and figures in tones in songs such as "Carnival Day," (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). While some of these early experiments were a strange fusion, the Afro-Cuban elements eventually integrated fully into the sounds of New Orleans.
Robert Palmer reported that, in the 1940s, Professor Longhair listened and played with musicians from the islands and "fell under the motto of Perez Prado." He is so captivated by Afro-Cuban music. Michael Campbell states: "The influence of Professor Longhair is ... far reaching.In some early recordings, Professor Longhair combines Afro-Cuban rhythms with rhythm and blues.The most explicit is 'Longhair's Blues Rhumba,' Di where she spreads the blues directly with a clave rhythm. "Longhair's special style is known locally as" rumba-boogie ". In his book "Mardi Gras in New Orleans," the pianist uses a 2-3 clave onbeat/offbeat motif in rumba boogie "guajeo".
The sense of subdivision sync, but straight from Cuban music (as opposed to swinging subdivisions) is rooted in New Orleans R & amp; B during this time. Alexander Stewart states that popular nuances are passed from "New Orleans - through James Brown music, to popular 1970s music," adding: "The single-style rhythm & blues that emerged from New Orleans in later years. played an important role in the development of funk. In related developments, the underlying rhythms of American popular music undergo a basic transition, but are generally not recognized from triplets or even shuffle felt or straight eight notes. Regarding various funk motifs, Stewart states: "This model, recorded, is different from the time line (like clave and tresillo) because it's not a definite pattern, but more of a loose organizing principle. "
Johnny Otis releases R & amp; B mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in blues development. Ike Turner notes the "Cubano Jump" (1954) instrumental electric guitar, which is built around some 2-3 clave figures, adopted from mambo. The Hawketts, in "Mardi Gras Mambo" (1955) (featuring vocals from the young Art Neville), makes a clear reference to Perez Prado in the use of his trademark "Unhh!" in the break after the introduction.
Ned Sublette stated: "Electrical blues cats are well aware of Latin music, and there must be something like
Clave usage in R & amp; B coincides with the growing dominance of the backbeat, and the increasing popularity of Cuban music in the US. In a sense, claves can be filtered into tresillo (three sides) which are answered by a backbeat (two sides).
"Bo Diddley beat" (1955) may be the first true blend of 3-2 clave and R & amp; B/rock 'n' roll. Bo Diddley has given a different report about the origin of the riff. The sublette affirms: "In the context of time, and especially maracas [heard on the record], 'Bo Diddley' should be understood as a Latin-tone note.Shutting denied recorded in the same session is simply titled 'Rhumba' Above the track.Johnny Otis' Willie and the Hand Jive "(1958) is another example of the successful merging of 3-2 claves and R & amp; B. Otis using Cuban instruments and rampant on the song.
Afro-Cuban music is a channel where African-American music is "re-Africanized," through the adoption of double-celled characters such as clave and Afro-Cuban instruments such as conga drums, bongos, maracas, and claves. According to John Storm Roberts, R & amp; B became a vehicle for the return of Cuban elements into popular mass music. Ahmet Ertegun, producer for Atlantic Records, has reportedly said that "the Afro-Cuban rhythm adds color and excitement to the basic drive R & B." As Ned Sublette pointed out: "In the 1960s, with the Cuban object of the United States embargo still in force today, the island nation has been forgotten as a source of music.At the time people start talking about rock and roll over having a history, Cuban music has disappeared from North American consciousness. "
Beginning in the mid-1950s
Initially, only African-Americans purchased the R & D disks B. According to Jerry Wexler of Atlantic Records, sales are localized in African-American markets; no white sales or white radio playback. During the early 1950s, more white teenagers began to realize R & B and to buy music. For example, 40% of 1952 sales at the Dolphin's of Hollywood record store, located in the Los Angeles African-American region, are whites. Finally, white teenagers across the country changed their musical tastes into rhythm and blues.
Johnny Otis, who has signed a contract with Newark, Savoy Records based in New Jersey, produced many hit R & amp; B in 1951, including: "Double Crossing Blues", "Mistrustin 'Blues" and "Cupid's Boogie", all of which hit a year. Otis scored ten ten hits that year. Other hits include: "Gee Baby", "Mambo Boogie" and "All Nite Long". The Clovers, a vocal vocalist who sings a blues and gospel combination, has a number five this year with "Do not You Know I Love You" in Atlantic. Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "Rock Roll House Moondog Party" in WJW (850 AM). Freed event is sponsored by Fred Mintz, whose record store R & amp; B's are mainly African American customers. 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 late 1840s style leap blues of Roy Brown and Billy Wright stars. However, it was not until he set up a demo in 1954, which attracted Special Records's attention, that the world would begin to hear his new rhythms and blues, uptempo, funky that would catapult his fame in 1955 and help define sound. rock 'n' roll. A succession of successive rhythm and blues followed, starting with "Tutti Frutti" and "Long Tall Sally", which will affect players like James Brown, Elvis Presley, and Otis Redding.
Ruth Brown on the Atlantic label, placing hits in the top five every year from 1951 to 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) She Treats His Daughter Meaning" and "What a Dream". Faye Adams's "Shake a Hand" made him number two in 1952. In 1953, public recordings of R & B made the original recording of Willie Mae Thornton about Leiber and Stoller "Hound Dog" number three hit that year. Ruth Brown is very prominent among women R & amp; B star; its popularity is most likely derived from "a vocal introduction deeply rooted in African American tradition." That same year The Orioles, a doo-wop group, had # 4 hits this year with "Crying in the Chapel".
Fat Domino made the top 30 pop charts in 1952 and 1953, then the top 10 with "Is not That a Shame". Ray Charles became nationally famous in 1955 with "I Got a Woman". Big Bill Broonzy said of Charles's music: "He mixes blues with spiritual ... I know it's wrong."
In 1954, Chord "Sh-Boom" became the first hit crossed from the R & amp; B to reach the top 10 at the beginning of the year. The end of the year, and into 1955, "Hearts of Stone" by the Mantra makes the top 20.
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 and popularized his own original rhythm and blues clave-based vamp Bo Diddley who will become a mainstay in rock and roll.
At the urging of Leonard Chess at Chess Records, Chuck Berry has recreated the country's violin with a long history, titled "Ida Red". The resulting "Maybellene" is not just the number three hit on the R & amp charts; B in 1955, but also reached the top 30 on the pop charts. Alan Freed, who moved to a much bigger market in New York City in 1954, helped the record become popular among white teenagers. Freed has been part of the author's credit by Chess in exchange for promotional activities; a common practice at the time.
The late 1950s
In 1956, the tour "Top Stars of 56" R & amp; B takes place, with headliners Al Hibbler, Frankie Lymon and Teenagers, and Carl Perkins, the "Blue Suede Shoes" very popular with music buyers R & B. Some players settle the bill Chuck Berry, Cathy Carr, Shirley & amp; Lee, Della Reese, Cleftones, and Spaniel with Rhythm Big Rockin 'Illinois Jacquet Band. The cities visited by the tour include Columbia, South Carolina, Annapolis, Maryland, Pittsburgh, Pennsylvania, Syracuse, Rochester and Buffalo, New York, to Canada, and through the mid US West ends in Texas. At Columbia, the concert ended with a near riot when Perkins started his first song as a cover. Perkins was quoted as saying: "It's dangerous, lots of kids get hurt, there's a lot of riots going on, just crazy, mate! The music makes them crazy." In Annapolis, 70,000 to 50,000 people try to attend a sold-out show with 8,000 seats. The streets clogged for seven hours. Filmmakers took advantage of the popularity of "rhythm and blues" musicians as rock n roll musicians that began in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, Treniers, Platters, Flamingos, all made it to the big screen.
Two notes Elvis Presley makes R & amp; B's top five in 1957: "Jailhouse Rock"/"Treat Me Good" at number one, and "All Shook Up" at number five, the unprecedented acceptance of non-African American artists into the category of music known for being made by blacks. Nat King Cole, also a jazz pianist who had two hits on the pop charts in the early 1950s ("Mona Lisa" in second place in 1950 and "Too Young" at number one in 1951), has a record in the top five in the R & amp; B in 1958, "Looking Backward"/"Do I Like It".
In 1959, two black record labels, one of which would be very successful, made their debut: Sam Cooke's Sar, and Berry Gordy's Motown Records. Brook Benton is at the top of the R & amp; B in 1959 and 1960 with one number one and two number two hits. Benton has a certain warmth in his voice that attracts a wide range of listeners, and his ballads cause comparisons with players like Nat King Cole, Frank Sinatra, and Tony Bennett. Lloyd Price, who in 1952 had the number one hit with "Lawdy Miss Clawdy" regained dominance with the version of "Stagger Lee" at number one and "Personality" at number five in 1959.
The leader of the white band Bill Black Combo, Bill Black, who helped start Elvis Presley's career and was Elvis's bassist in the 1950s, was popular among black listeners. Ninety percent of its sales record came from blacks, and "Smokey, Part 2" (1959) climbed to the number one spot on the black music charts. He was once told that "many of those stations still think you are a black group because his voice feels funky and black." Hi Records does not display Combo images on the initial recording.
1960s-1970s
Sam Cooke's number five "Gang Chain" number is indicative of R & amp; B in 1960, as Chubby Checker's number five hit "The Twist". In the early 1960s, the music industry category formerly known as rhythm and blues was referred to as soul music, and similar music by white artists was labeled blue-eyed souls. Motown Records had the first single to sell millions in 1960 with Miracles '"Shop Around", and in 1961, Stax Records got his first hit with Carla Thomas' "Gee Whiz! (Look at his eyes)". The next big blow from Stax, The Mar-Keys "last night instrumentalist (also released in 1961) introduces a steady Memphis sound soul known as Stax. In Jamaica, R & amp; B affects the development of ska. In 1969, black culture and Rhythm and blues achieved another great achievement when the first Grammy added the Rhythm and Blues category, giving academic recognition for the category.
In the 1970s, the term rhythm and blues was used as a blanket term for soul, funk, and disco. Around the same time, previous R & amp; B is the influence on British rock pubs and then, mod awakening. Now the term R & amp; B is almost always used instead of rhythm and blues , and the main usage of this term usually refers to R & amp; B contemporary, more recent. pop music versions influenced by soul and funk coming from the disco faded from popularity.
1980s to present
In the late 1980s and early 1990s, hip-hop began to capture the imagination of American youth. R & amp; B began to become homogeneous, with a group of high-profile producers responsible for most hit R & B. Difficult for R & amp artists B in those days to sell their music or even listen to their music because of the emergence of hip-hop, but some adopted the "hip-hop" image, marketed in such a way, and often featured rappers. in their song. New artists such as Usher, R. Kelly, TLC, Aaliyah, Beyoncà © ©, Christina Aguilera, and Mary J. Blige, enjoyed the success. LA. Reid, CEO of LaFace Records, is responsible for some of the biggest success R & amp; B in the 1990s in the form of Usher, TLC and Toni Braxton. Later, Reid managed to market Boyz II Men. In 2004, 80% of the songs occupied the top of R & amp; B charts, also above the Hot 100. That period is the highest peak for R & amp; B and hip hop on Billboard Hot 100, and on Top 40 Radio. From about 2005 to 2013, sales of R & amp; B decreased. However; since 2010 Hip-Hop has started picking up from the sound of R & B to adopt a smoother soft sound that incorporates R & amp; B with rappers like Drake and Fetty Wap who have opened new doors for this genre. This voice has gained popularity and created great controversy for Hip-Hop and R & D; B in how to identify it.
English rhythms and blues
British rhythm and blues flourished in the early 1960s, mostly in response to American artist recording, often carried by African American soldiers stationed in Britain during the Cold War, or merchant seafarers visiting ports such as London, Liverpool, Newcastle upon Tyne and Belfast. Many bands, especially in the growing London club scene, try to emulate black rhythm and blues players, producing "rawer" or "grittier" sounds rather than the more popular "group beat". Originally developed out of trad jazz, skiffle and folk club scene, early artists tended to focus on blues mainstream and standard form, especially Alexis Korner, who acted as mentor to Rolling Stones members, the Yardbirds, Manfred Mann, Graham Bond Organization and Kinks. Although blues "purist" interest will affect major British rock musicians, including Eric Clapton, Jeff Beck, Peter Green and Jimmy Page, other artists have adopted interest in more types of rhythm and blues styles.
The most successful is the Rolling Stones, whose first album that was named in 1964 consisted mostly of rhythm and blues songs. They soon established themselves as the second most popular UK band (after the Beatles) and led the second wave of "British Invasion" from the US charts. In addition to the Chicago blues number, the Rolling Stones also covered songs by Chuck Berry and Bobby and Shirley Womack, with the last "It's All Over Now", giving them their first British number one in 1964. Blues songs and influences kept popping up in Rolling Stones music in the years to come. Other London-based bands include Yardbirds, Kinks, Manfred Mann and Pretty Things, in addition to more jazz-influenced acts such as Graham Bond Organization, Georgie Fame and Zoot Money. Bands emerging from other major UK cities include Animals from Newcastle upon Tyne, the Moody Blues and Spencer Davis Group from Birmingham, and Them from Belfast. None of these bands play rhythm and blues exclusively, but remain the core of their initial album.
The music of the English mod subculture grew out of rhythm and blues and then soul, performed by artists who were not available to small London clubs where the scene originated. As a result, a number of bands appear to fill this void, including Small Face, Creation, and the most successful is Who. The original promotional material Who marked it as producing the maximum "rhythm and blues", but around 1966 they switched from trying to imitate R & B American to produce songs that reflect the lifestyle of Mod. Many of these bands enjoy national success in the UK, but it is difficult to penetrate the American market.
Band R & amp; B English produces very different music in the tones of African-American artists, often with more emphasis on the guitar and sometimes with greater energy. They have been criticized for exploiting a huge catalog of African-American music, but it has also been noted that they both popularized the music, brought it to Britain, the world and in some cases of American audiences, and helped build an existing reputation and past rhythm and blues artists. Most of these bands quickly moved from recordings and featured American standards for writing and recording their own music, often leaving R & B's in the back. Many who helped pioneer psychedelic, and eventually progressive and hard rock, had a major influence on the nature and sound of rock music, making rhythm and blues the main component of his voice.
See also
- List of artists who reached number one on the Billboard R & D chart; B
- List of rhythm and blues hit number one (United States)
References
Further reading and hearing
- Gilliland, John (1969). "The Tribal Drum: Awakening rhythm and blues" (audio) . Pop Chronicles . University of North Texas Library.
- Guralnick, Peter. Sweet Soul Music: Rhythm and Blues and Southern Dream of Freedom . Ed first. New York: Harper & amp; Row, 1986. x, 438 p., Pain., Especially with b & amp; w. ISBN: 0-06-096049-3
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