Contemporary R&B (also known as simply R&B) is a music genre that combines elements of hip hop, soul, R&B and funk.

Although the abbreviation "R&B" originates from traditional rhythm and blues music, today the term R&B is most often used to describe a style of African-American music originating after the demise of disco in the 1980s. Some sources refer to the style as urban contemporary (the name of the radio format that plays hip hop and contemporary R&B).

Contemporary R&B has a polished record production style, drum machine-backed rhythms, an occasional saxophone-laced beat to give a jazz feel (mostly common in contemporary R&B songs prior to the year 1993), and a smooth, lush style of vocal arrangement. Electronic influences are becoming an increasing trend, and the use of hip hop or dance-inspired beats are typical, although the roughness and grit inherent in hip hop may be reduced and smoothed out. Contemporary R&B vocalists are often known for their use of melisma, popularized by vocalists such as Michael Jackson, Stevie Wonder,^[1] Whitney Houston^[1][2][3] and Mariah Carey.^[2][4][5]

History[link]

1980s[link]

As the disco era came to a close, a new generation of producers began adding synthesizers and slick drum machine beats to African-American music. Michael Jackson was among the first post-disco black musicians to cross over to mainstream audiences. In its early years, mainstream R&B was very pop-oriented. Notable 1980s R&B musicians include Luther Vandross, the SOS Band, Mtume, Freddie Jackson, DeBarge, Loose Ends, and Stephanie Mills.

Tina Turner made a comeback during the second half of the 1980s, while Whitney Houston and Janet Jackson broke into the pop music charts with a series of hits. Richard J. Ripani wrote that Janet Jackson's third studio album Control (1986) was "important to the development of R&B for a number of reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility."^[6] Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, and Janet Jackson was to continue to be one of the leaders in that development."^[6] That same year, Teddy Riley began producing R&B recordings that included hip hop influences. This combination of R&B style and hip hop rhythms was termed new jack swing, and was applied to artists such as Bobby Brown, Keith Sweat, Guy, Jodeci, and Bell Biv DeVoe.

1990s[link]

In contrast to the works of Boyz II Men, Babyface and similar artists, other R&B artists and groups from this same period began adding even more of a hip-hop sound to their work, like the innovative group Jodeci. The synthesizer-heavy rhythm tracks of new jack swing were replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by producer Sean Combs who also had mentored group Jodeci in the beginning and helped them with their unique look. The style became less popular by the end of the 1990s, but later experienced a resurgence.

During the mid 1990s, Michael Jackson, R Kelly, Janet Jackson, Mariah Carey, Aaliyah, TLC, SWV and Boyz II Men brought contemporary R&B to the mainstream. Janet Jackson's self-titled fifth studio album janet. (1993), which came after her historic multi-million dollar contract with Virgin Records, sold over twenty million copies worldwide.^[7][8] Boyz II Men and Carey recorded several Billboard Hot 100 No. 1 hits, including "One Sweet Day", a collaboration between both acts, which became the longest-running No. 1 hit in Hot 100 history. Carey also released a remix of her 1995 single "Fantasy", with Ol' Dirty Bastard as a feature, a collaboration format that was unheard of at this point. Carey, Boyz II Men and TLC released albums in 1994 and 1995—Daydream, II, and CrazySexyCool respectively — that sold over ten million copies, earning them RIAA diamond status.

In the late 1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, arose, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill, and Maxwell. Mariah Carey was well known to incorporate her pop, R&B tunes with hip hop. Hill and Missy Elliott further blurred the line between R&B and hip hop by recording both styles. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album, with II by Boyz II Men becoming the first recipient. The award was later received by TLC for CrazySexyCool in 1996, Tony Rich for Words in 1997, Erykah Badu for Baduizm in 1998 and Lauryn Hill for The Miseducation of Lauryn Hill in 1999. At the end of 1999, Billboard magazine ranked Mariah Carey and Janet Jackson as the first and second most successful artists of the 1990s.^[9]

2000s–present[link]

By the 2000s, the cross-pollination between R&B and hip hop had increased. Mainstream modern R&B has a sound more based on rhythm than hip hop soul had, and lacks the hardcore and soulful urban "grinding" feel on which hip hop soul relied. That rhythmic element descends from new jack swing. R&B began to focus more on solo artists rather than groups as the 2000s progressed. According to Billboard magazine, the most commercially successful R&B acts of the decade were Usher, Beyoncé, Alicia Keys, Mariah Carey, Rihanna, Chris Brown and Ne-Yo.^[10] Other recording artists today have combined traditional R&B with elements with contemporary pop, pop rock, dance-pop, and electro-pop to create a lighter and more youthful sound.

See also[link]

• Hot R&B/Hip-Hop Songs

References[link]

Rhythm and blues, often abbreviated to R&B and RnB, is a genre of popular African-American music that originated in the 1940s.^[1] The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular.^[2]

The term has subsequently had a number of shifts in meaning. In the early 1950s, the term rhythm and blues was frequently applied to blues records.^[3] Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music. By the 1970s, rhythm and blues was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "Contemporary R&B".

Etymology[link]

Jerry Wexler of Billboard magazine coined the term "rhythm and blues" in 1948 as a musical marketing term in the United States.^[4] It replaced the term "race music", which originally came from within the black community, but was deemed offensive in the postwar world.^[5][6] The term "rhythm and blues" was 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".^[7]

Writer/producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music that was made by and for black Americans".^[8] He has used the term "R&B" as a synonym for jump blues.^[9] However, Allmusic separates it from jump blues because of its stronger, gospel-esque backbeat.^[10] 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.^[11] 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.^[12]

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.^[13]

History[link]

T-Bone Walker, American Folk Blues Festival 1972 (Heinrich Klaffs Collection 46)

Precursors[link]

Louis Jordan, New York, N.Y., ca. July 1946 (William P. Gottlieb 04721)

The migration of African Americans to the urban industrial centers of Chicago, Detroit, New York, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz, blues, and related genres of music, 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,1930s 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.^[14]

Late 1940s[link]

Big Joe Turner, Hamburg 1974 (Heinrich Klaffs Collection 86)

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.^[15] 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.^[16][17] Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues".^[18] Robert Palmer described it as "urbane, rocking, jazz based music with a heavy, insistent beat".^[2] Jordan's cool music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Also in 1948, Wynonie Harris' remake of Roy Brown's 1947 recording "Good Rockin' Tonight" hit the charts in the #2 spot, following band leader Sonny Thompson's "Long Gone" at #1.^[19][20]

In 1949, the term "Rhythm and Blues" replaced the Billboard category Harlem Hit Parade.^[11] Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the #1 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.^[21] 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".^[22][23] Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a #4 hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top 5 with "Saturday Night Fish Fry".^[24] 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).^[14]

Afro-Cuban rhythmic influence[link]

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). 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 quarter-century in which the cakewalk, ragtime and proto-jazz were forming and developing, the Cuban genre habanera was a consistent part of African American popular music.^[25] Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential ingredient of jazz.^[26] There are examples of tresillo-like rhythms in some African American folk musics 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.^[27] Wynton Marsalis considers tresillo to be the New Orleans "clave" (although technically, the pattern is only half a clave).^[28] 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.^[29] 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!" Watch: The Andrews Sisters performing "Rhumboogie" (1940).

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.^[30] In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B was first forming.^[31] The first use of tresillo in R&B occurred in New Orleans. Robert Palmer recalls:

Fats Domino 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 1950’s 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" (1995).^[32]

In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band),^[33] 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."^[34]

Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of that time. Listen: "Country Boy" by Dave Bartholomew (1949). Fats Domino's "Blue Monday," produced by Bartholomew, is another example of this now classic use of tresillo in R&B. Listen: Fat's Domino's "Blue Monday" (1956). On Bartholomew's 1949 tresillo-based "Oh Cubanas" we clearly hear 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 45' label.

In his composition "Misery," New Orleans pianist Professor Longhair (Henry Roeland Byrd) plays a habanera-like figure in his left hand. The deft use of triplets is a characteristic of Longhair's style.

"Misery" by Professor Longhair (1957).

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 generes 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 do not function in the same way as African time lines."^[35] In the late 1940s this changed somewhat when the two-celled time line 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."^[36] 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."^[37] Longhair's particular style was known locally as rumba-boogie.^[38] In his "Mardi Gras in New Orleans," the pianist employs the 2-3 clave onbeat/offbeat motif in a rumba boogie "guajeo" (below).^[39] 2-3 clave is written above the piano excerpt for reference.

Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2-3 clave is 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 triplet or shuffle feel to even or straight eighth notes.^[40] Concerning the various funk motifs, Stewart states: "This model, it should be noted, 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."^[41]

Johnny Otis released the R&B mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.^[42] Listen: "Mambo Boogie" by Johnny Otis (1951).

Saxophone guajeo in blues progression. "Mambo Boogie" by Johnny Otis (1951).

Ike Turner recorded "Cubano Jump" (1954) an electric guitar instrumental, which is built around several 2-3 clave figures, adopted from the mambo. Listen: "Cubano Jump" by Ike Turner (1954). 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.^[43] Listen: "Mardi Gras Mambo" by the Hawketts (1955).

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."^[44] He also cites Otis Rush, Ike Turner and Ray Charles, as R&B artists who employed this feel.^[44]

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).^[45]

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. Watch: "Hey Bo Diddley" performed live by Bo Diddley (1965). 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."^[46] Johnny Otis' "Willie and the Hand Jive" (1958) is another example of this successful blend of 3-2 clave and R&B. Watch: "Hand Jive" performed by Johnny Otis. The Johnny Otis Show. 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 became the conduit through 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.^[47] Ahmet Etregun, producer for Atlantic Records, is reported to have said that "Afro-Cuban rhythms added color and excitement to the basic drive of R&B."^[48] 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."^[49]

Early to mid 1950s[link]

Ray Charles in 1971. Photo: Heinrich Klaffs.

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".^[50] The Clovers, a vocal trio who sang a distinctive sounding combination of blues and gospel, had the #5 hit of the year with "Don't You Know I Love You" on Atlantic Records.^[50][51][52] Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW-AM (850).^[53] 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 wasn't until he prepared 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" and "Long Tall Sally", which would influence performers such as James Brown,^[54] Elvis Presley,^[55] and Otis Redding.^[56]

Ruth Brown on the Atlantic label, placed hits in the top 5 every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream". Faye Adams's "Shake a Hand" made it to #2 in 1952. In 1953, the R&B record-buying public made Willie Mae Thornton's original recording of Leiber and Stoller's "Hound Dog" the #3 hit that year. Ruth Brown was very prominent among female R&B stars. Ruth Brown’s popularity most likely derived because of “her deeply rooted vocal delivery in African American tradition�^{[57] [58]} That same year The Orioles, a doo-wop group, had the #4 hit of the year with "Crying in the Chapel".^[59]

Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with "Ain't That a Shame".^[60] Ray Charles came to national prominence in 1955 with "I Got a Woman". Big Bill Broonzy said of Charles' music: "He's mixing the blues with the spirituals... I know that's wrong."^[61]

In 1954 The Chords' "Sh-Boom" 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.^[62]

At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm A Man" climbed to #2 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.

At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled "Ida Red". The resulting "Maybellene" was not only a #3 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 writers' credit by Chess in return for his promotional activities; a common practice at the time.^[63]

Late 1950s[link]

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. Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band. Cities visited by the tour included Columbia, SC, Annapolis, MD, Pittsburgh, PA, Syracuse, Rochester and Buffalo, NY, into Canada, and through the mid Western US ending in Texas. 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. There was a lot of rioting going on, just crazy, man! The music drove 'em insane." In Annapolis 70,000 to 50,000 people tried to attend a sold out performance with 8,000 seats. Roads were clogged for seven hours.^[64] Film makers 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, The Flamingos, all made it onto the big screen.^[65]

Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at #1, and "All Shook Up" at #5, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.^[66] Nat King Cole, a former jazz pianist who had had #1 and #2 hits on the pop charts in the early 1950s ("Mona Lisa" at #2 in 1950 and "Too Young" at #1 in 1951), had a record in the top 5 in the R&B charts in 1958, "Looking Back"/"Do I Like It".

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.^[67] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one #1 and two #2 hits. 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 Cole, Sinatra and Tony Bennett.^[68] Lloyd Price, who in 1952 had a #1 hit with "Lawdy Miss Clawdy" regained predominance with a version of "Stagger Lee" at #1 and "Personality" at #5 for in 1959.^[69][70]

The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career, was popular with black listeners. Ninety percent of his record sales were from black people, and his "Smokey, Part 2" (1959) rose to the #1 position on black music charts. He was once told that "a lot of those stations still think you're a black group because the sound feels funky and black." Hi Records did not feature pictures of the Combo on early records.^[71]

1960s and later[link]

Sam Cooke's #5 hit "Chain Gang" is indicative of R&B in 1960, as is Chubby Checker's #5 hit "The Twist".^[72][73] 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.^[74] Motown Records had its first million-selling single in 1960 with The Miracles' "Shop Around", and in 1961, Stax Records had its first hit with Carla Thomas' "Gee Whiz! (Look at His Eyes)".^[75][76] 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.^[77] In Jamaica, R&B influenced the development of ska.^[78][79][80]

By the 1970s, the term rhythm and blues was being used as a blanket term for soul, funk, and disco. Around the same time, earlier R&B was an influence on British pub rock and later, the mod revival. Now the term R&B is almost always used instead of the full rhythm and blues, and mainstream use of the term usually refers to contemporary R&B, which is a newer version of soul and funk-influenced pop music that originated as disco faded from popularity.

British rhythm and blues[link]

Eric Burdon & the Animals (1964).

British rhythm and blues 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 during the Cold War, or merchant seamen visiting ports such as London, Liverpool, Newcastle on Tyne and Belfast.^[81] 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".^[82] Initially developing out of the trad jazz, skiffle and folk club scenes, early artists tended to focus on major blues performers and standard forms, particularly Alexis Korner, who acted as a mentor to members of The Rolling Stones, The Yardbirds, Manfred Mann, the Graham Bond Organisation and The Kinks.^[82] Although this "purist" interest in the blues would have an impact on major British rock musicians, including Eric Clapton, Jeff Beck, Peter Green and Jimmy Page, other artists adopted an interest in a wider range of rhythm and blues styles.^[82]

Most successful were the Rolling Stones, whose first eponymously titled album in 1964 largely consisted of rhythm and blues standards. They soon established themselves as the second most popular UK band (after The Beatles) and led a second wave of the "British Invasion" of the US pop charts.^[82] In addition to Chicago blues numbers, the Rolling Stones also covered songs by Chuck Berry and Bobby and Shirley Womack, with the latter's "It's All Over Now", giving them their first UK number one in 1964.^[83] Blues songs and influences continued to surface in the Rolling Stones' music in later years. Other London-based bands included the Yardbirds, the Kinks, Manfred Mann and the Pretty Things, beside more jazz-influenced acts like the Graham Bond Organisation, Georgie Fame and Zoot Money.^[82] Bands to emerge from other major British cities included The Animals from Newcastle on Tyne, The Moody Blues and Spencer Davis Group from Birmingham, and Them from Belfast.^[82] None of these bands played exclusively rhythm and blues, but it remained at the core of their early albums.^[82]

The British Mod subculture was musically centred on rhythm and blues and later soul music, performed by artists that were not available in small London clubs around which the scene was based.^[84] As a result a number of bands emerged to fill this gap, including Small Faces, The Creation, and most successfully The Who.^[84] The Who's early promotional material tagged them as producing "maximum rhythm and blues", but by about 1966 they moved from attempting to emulate American R&B to producing songs that reflected the Mod lifestyle.^[84] Many of these bands enjoyed national success in the UK, but found it difficult to break into the American market.^[84]

The British R&B bands produced music which was very different in tone from that of African American artists, often with more emphasis on guitars and sometimes with greater energy.^[82] They have been criticised for exploiting the massive catalogue of African American music, but it has also been noted that they both popularised that music, bringing it to British, world and in some cases American audiences, and helping to build the reputation of existing and past rhythm and blues artists.^[82] Most of these bands rapidly moved on from recording and performing American standards to writing and recording their own music, often leaving their R&B roots behind.^[82] Many helped pioneer psychedelic, and eventually progressive and hard rock, having a major influence of the nature and sound of rock music and meaning that rhythm and blues would be a major component of that sound.^[82]

See also[link]

R&B and Soul Music portal

• Chitlin' circuit
• List of artists who reached number one on the Billboard R&B chart
• List of number-one rhythm and blues hits (United States)
• Music of the United States
• Rhythm and Blues Foundation
• Urban contemporary gospel

References[link]

Selah Sue
Background information
Birth name	Sanne Putseys
Born	(1989-05-03) 3 May 1989 (age 23)
Origin	Leefdaal, Belgium
Genres	Reggae, soul
Occupations	Musician
Instruments	Guitar, Vocals
Website	www.selahsue.com

Selah Sue (born Sanne Putseys,^[1] 3 May 1989) is a Belgian musician and songwriter.

Her debut album, Selah Sue (2011) was a major success, selling over 400.000 copies in Europe^[2], 200.000 in France alone. Today, she has chart success with the hit singles 'Raggamuffin', 'Crazy Vibes' and 'This World'.

In 2011, Selah Sue won an European Border Breakers Award (EBBA).^[3] In January 2012 during the EBBA award ceremony she was presented with the EBBA Public Choice Award.^[4]

Background[link]

Sanne Putseys was born in Leuven,^[1] but originates from the nearby Belgian town Leefdaal. At the age of fifteen, Sanne Putseys learned to play the acoustic guitar and started to write her own songs as well. When she was seventeen a Belgian producer asked her to sing some demo's of his songs, after which Universal offered her a contract. She refused, because she wanted to sing her own songs. At the same time she performed as the youngest and only female artist at the open-song contest Open Mic-avond at Het Depot in Leuven. Organizer and singer Milow (born Jonathan Vandenbroeck) had noticed her talents and asked her to perform in his supporting programme. Initially, Sanne Putseys managed to work out her musical career path while studying psychology at the Katholieke Universiteit Leuven. According to her, studying psychology helped her to understand more about human emotions, which also is something that she has to deal with in her musical activities. Eventually, she continued doing warm-up performances in collaboration with artists such as Jamie Lidell in London and Paris. Furthermore, she played with the Belgian band Novastar at the Paradiso in Amsterdam.^[5]

Her first EP was released in 2008, under the title Black Part Love.^[6] It contains five songs

Selah Sue in concert

From September 2008 until August 2009, Selah Sue received some curricular guidance from the Belgian musical theater Ancienne Belgique. The programme, in which she was involved there, has been set up to support promising artists who aren't associated with any record company or other kinds of managing assistance.

Selah Sue often covers songs of Erykah Badu and The Zutons, but she does appear to assemble a whole range of her own songs. Two of her well-known songs are "Mommy" and "Black part love", both of which are carried out acoustically. She says to be influenced by artists such as Lauryn Hill, M.I.A. and Erykah Badu.

In 2009, Selah Sue attended the stages of the North Sea Jazz Festival and that of the Lowlands.^[7] Additionally, she regularly appears on TV shows such as De Wereld Draait Door on Dutch television and several other Flemish TV shows.^[8]

In 2010, she played most of the biggest festivals in Belgium, including Les Nuits Botanique, Les Ardentes, Dour, Lokerse Feesten, Couleur Café and Pukkelpop. But also outside her native country in big festivals such as Lowlands (Netherlands), Les Eurockéennes de Belfort (France) and Sziget Festival (Hungary). On November 8, 2010 she played a support appearance for Prince on his Sportpaleis concert.^[9] She then went on a mostly sold out headlining show in Belgium, France and the Netherlands, presenting her forthcoming debut album.

On March 4, 2011, Selah Sue released her eponymous debut album, called Selah Sue. The album has peaked to number 1 on the Belgium Albums Chart, it has also charted in the Netherlands, France and Switzerland.^[10]

Besides several hits singles, such as 'This World' and 'Crazy Vibes', the album also contains a duet with Cee Lo Green, called "Please".^[11]

Discography[link]

Studio albums[link]

Extended plays[link]

• 2008: Black Part Love
• 2010: Raggamuffin

Singles[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Selah Sue

• Official website
• Myspace (English)

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It relies largely or entirely upon a single source. Tagged since April 2008. It may require cleanup to meet Wikipedia's quality standards. Tagged since November 2008. Its factual accuracy is disputed. Tagged since August 2007. It may contain original research. Tagged since April 2008.

Musiq Soulchild
Musiq Soulchild at WGCI Coca Cola Lounge
Background information
Birth name	Taalib Johnson
Also known as	Musiq Soulchild
Born	(1977-09-16) September 16, 1977 (age 34) Philadelphia, Pennsylvania, United States
Genres	Contemporary R&B Neo soul
Occupations	Singer-songwriter
Years active	2000–present
Labels	Def Soul (2000–2005) Atlantic (2006–present)
Website	www.musiqsoulchild.com

Musiq Soulchild or Musiq ( /ˈmjuË?sɪk/; born Taalib Johnson on September 16, 1977) is a American R&B/soul singer-songwriter whose style blends contemporary R&B, soul, funk, alternative, blues, jazz, some gospel influences and hip hop.

Biography[link]

Musiq was born in Philadelphia, Pennsylvania and is the oldest of nine children. At an early age, Musiq decided he would drop out of high school, and left home at 17. It was during that time Musiq started to sell dope in the hood and build a reputation for being musically gifted, beat boxing for MC's, free styling on the open mic circuit, scatting at a jazz club, or just performing a cappella in the streets of Philadelphia, which is where he got the name "Musiq" and later added "Soulchild", which is intended to respect and represent the legacy and traditions of past soul artists. We all know how hard it can be for an African American to get by and Muisq protected his dream with a compact 9mm. He cites as his inspiration such icons as Stevie Wonder, James Brown, Patti LaBelle, Billie Holiday, Sly & the Family Stone and Ray Charles.^[1][2]

Musiq has also earned award nominations from Moard, BET, ASCAP, BMI, and Soul Train.^[1] Musiq Soulchild has had 2 platinum albums, 2 gold albums and 7 hit singles. He has received awards from BillbMTV, American Music Awards, NAACP, and 11 Grammy nominations, including 3 for his 2007 album Luvanmusiq.

Name origin[link]

"There were people who knew of me but they didn't really know me; they just knew me as 'that music dude.' So after getting that so much, I was like 'Just call me Musiq.' It was so fresh to me because if I had to be called anything, I would have wanted to be called Music. That's how much I dug it; when you see me, I want you to automatically think of music."^[1] The nickname Soulchild came from two ideas. Musiq quotes it as, "Musiq Soulchild is technically two ideas. 'Musiq' is the front man and 'Soulchild' is the idea behind it. It's basically me as an artist in this generation, representing the traditions and the legacies of the past soul stars."^[1]

Career[link]

Musiq Soulchild released his debut album, Aijuswanaseing, in 2000. Its lead single was "Just Friends (Sunny)". Musiq's second single "Love" spent 22 weeks on the Billboard Hot 100 charts.

Musiq’s second album, 2002's Juslisen, debuted at number 1 on the Billboard Charts and went platinum. The singles were "Halfcrazy" and "Dontchange".

In 2003, Musiq released his 3rd album, Soulstar. It included the singles "Forthenight" and "Whoknows".

Musiq took a four year break and changed his management to Solqi Management ; as well as his record label from Def Soul to Atlantic Records.

In March 2007, Musiq's released his fourth album Luvanmusiq. Its singles were "B.U.D.D.Y.", "Teachme", and "Makeyouhappy".

His fifth album OnMyRadio was released on December 2, 2008. The lead single "Radio" was a complete contrast to the usual smooth soul and R&B Musiq fans were accustomed to. The following singles were the duet IfULeave featuring Mary J Blige; and the ballad SoBeautiful. "SoBeautiful" marked the first collaboration between Musiq and the producer JR Hutson, after Hutson had spent "about eight months" trying to get Musiq to come by his studio.^[3] According to Hutson, the two plan to work together again.^[3]

In May 2010, he changed management to Victor Grieg.^[3]

His latest album Musiqinthemajiq was released on May 3, 2011, available on CDs and also as a digital download. The first single is Anything featuring Swizz Beatz.^[4]

Guest appearances[link]

Musiq Soulchild has featured on "Nothing at All" from Carlos Santana's album, Shaman. He has also made guest appearances on rapper Lloyd Banks's album Rotten Apple, Talib Kweli's Eardrum, The Roots's Phrenology, Black Ice's The Death of Willie Lynch. He performed "Reasons" on the tribute album Interpretations: Celebrating the Music of Earth, Wind & Fire and "Are You Experienced?" on Power of Soul: A Tribute to Jimi Hendrix. Soulchild has also appeared on the soundtrack to Tyler Perry's movie Daddy's Little Girls and performed with Ice Cube on his 2008 album, Raw Footage. He also lent a song from his latest album Luvanmusiq to the soundtrack for Perry's later movie Why Did I Get Married?. He then recorded a remake of Arrested Development's song "People Everyday" with British rapper/singer Estelle for the soundtrack to Tyler Perry's Meet the Browns entitled "People Everyday (Metamorphosis Mix)".

Other interests[link]

Outside of music, he has been featured in television and print ads for McDonald's, Nike, Inc., Coca-Cola, Levi Strauss & Co. and The Gap. He made a special appearance on The CW's #1 comedy The Game on Monday, October 29, 2007, as well as the UPN sitcom All of Us.

Awards and recognition[link]

He has received awards from Billboard, BET, the American Society of Composers, Authors and Publishers, BMI, and Soul Train. Musiq has also been nominated for awards by MTV, The American Music Awards, the NAACP, and has had 11 Grammy nominations.

Personal life[link]

He dated singer Kameelah Williams (of 702) in 2009. They welcomed the birth of their son in August 2009.^[5] She is the inspiration for his song "SoBeautiful."^[6]

Discography[link]

Studio albums[link]

Singles[link]

Featured singles[link]

References[link]

External links[link]

• Official Website
• Musiq Soulchild on Myspace
• Antigua Music Festival
• Musiq Soulchild Black Planet page
• Musiq Preps Atlantic Records Debut
• Musiq at rnbkings.net
• Musiq Soulchild's AllMusic page
• Exclusive Musiq Soulchild Interview
• Luvanmusiq Album Review

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2012)

Mary Mary
Mary Mary performing at the White House in 2005
Background information
Also known as	The Campbell Sisters
Origin	Inglewood, California, United States
Genres	Contemporary Gospel, R&B, soul, jazz
Occupations	Singers, songwriters
Instruments	Voice
Years active	1998–present
Labels	C2, Columbia
Associated acts	Warryn Campbell
Website	Mary-Mary.com
Members
Erica Atkins-Campbell Trecina "Tina" Atkins-Campbell

Mary Mary is an American gospel music duo, consisting of sisters Erica Atkins-Campbell (born (1972-04-29)April 29, 1972)^[1] and Tina Atkins-Campbell (born (1974-05-02)May 2, 1974).^[1] The duo are often credited along with Kirk Franklin for broadening the fan base of urban contemporary gospel in the 2000s by introducing elements of soul music, hip hop, funk and jazz. Mary Mary broke onto the music scene with their popular song "Shackles (Praise You)"—which is considered one of the pioneering songs of urban contemporary gospel music.^[2]

Their debut album Thankful (2000) was certified Platinum. The duo has released three Gold albums: Incredible (2002), and Mary Mary (2005), which all charted No. 1 on the Billboard Top Gospel Albums. They have also received three Grammys, among other awards.

Early years[link]

The sisters were born Erica Monique Atkins and Tina Evette Atkins. The Atkins sisters grew up as part of a large family of nine children in Inglewood, California. Their parents are mother, Thomasina, an evangelist and choir director at the Evangelistic Church of God in Christ, and father, Eddie, a youth minister.

Due to their proximity in age, the two sisters grew up closer to one another than to any of their seven siblings.^[1] The Atkins children are: Darrel (born 1965; the only living boy – as the second boy had died as a child); Maliea (born 1967); Erica and Tina (born 1972 & 1974); Delisa (who was originally a third member); Thomasina (born 1979); Alana (born 1985) and Shanta (born 1986). Thomasina and Alana sometimes sing back up for their big sisters.^[1]

The sisters quickly entered the world of church choirs, traveling gospel shows, and some television productions. All eight Atkins children were on the Bobby Jones Gospel show on BET.

The sisters had their sights set on making music a career and enrolled at El Camino College to study voice. There they ran up against the divide between academic music studies and the popular musical world. "We had to study classical and sing arias, which was fine," Erica told the Times, "but the teachers would tell us if we sang anything else it would damage our instrument".

The sisters toured with the 1995 Michael Matthews traveling gospel show Mama I'm Sorry and Sneaky. Each sister subsequently toured as a backup singer for a variety of R&B acts including Brandy.

Music career[link]

A meeting with producer Warryn Campbell led to their song publishing deal with the giant EMI music conglomerate and a series of songs that landed on movie soundtracks. They wrote "Dance" and performed it with Robin S. for the soundtrack to the 1998 film Dr. Dolittle; they performed "Let Go, Let God" for The Prince of Egypt. Several of their songs were recorded by 702. The sisters' profile in the gospel industry was raised when their songs "Time To Change" and "Yeah" were recorded by Yolanda Adams on Mountain High... Valley Low. At the same time, Mary Mary as a musical entity took shape. They have won multiple awards, including three Grammys. On December 23, 2010, Mary Mary along with Bebe & Cece Winans featuring the West Angeles Church of God in Christ Choir performed on The Tonight Show.^[3]

[edit] Thankful (2000)

The duo was subsequently signed to Columbia Records/C2 Records and decided to perform under the name Mary Mary, honoring Mary, the mother of Jesus and Mary Magdalene. They were first gospel act to record for the industry giant Columbia Records since Tramaine Hawkins in the mid-1990s. Their first single, "Shackles (Praise You)" became a crossover hit, being popular with gospel, R&B, and pop audiences. It was a Top 5 R&B and Top 10 pop hit, and peaked at No. 28 on the Billboard Hot 100 chart. It became the first gospel song in five years to crack the R&B top ten and gained wide exposure on the MTV video cable channel. The album was a huge success because it offered a younger, hipper version of gospel that audiences could relate to. Their debut album, Thankful was released in May 2000. It peaked at No. 1 on the Gospel album chart and at No. 59 of the overall Top 200 chart, and was certified Platinum for shipments of one million copies in the USA. It went on to win the Grammy Award for Best Contemporary Soul Gospel Album. The second single "I Sings" features rapper BB Jay. Both singles were also hits in the UK and Europe, and to this day remain popular with Christian youths in the US, Latin America, and Europe. Their only Top 10 UK hit to date is "Shackles (Praise You)", which reached No. 5 in the UK Singles Chart in June 2000. The follow-up "I Sings" peaked at UK No. 32.^[4]

[edit] Incredible (2002)

With their second album Incredible, the duo was able to maintain their success. Soon after its July 2002 release it was No. 1 on the Gospel chart and was able to enter the Top 20 of the Top 200 album chart. Incredible was later on certified Gold for 500,000 copies sold in the United States. The album's singles were In The Morning and I Try. While this album charted higher than their debut, sales were lower. The duo attributed the lower sales to less aggressive promotion due to label switchovers and the advent of music piracy.

[edit] Mary Mary and A Mary Mary Christmas (2005–06)

After taking time off to have children, Mary Mary released their self-titled third album, Mary Mary, in July 2005. It became the duo's first album to enter the Top 10 on Billboard and was later on certified Gold for sales of 500,000 copies. The first single "Heaven" contained a sample from seventies soul trio the Honey Cone's "Want Ads". Heaven made history and broke chart records as it had an unprecedented nine week run as the No. 1 record on Billboard's Gospel Radio chart. The second single, "The Real Party" debuted at No. 43 on the Gospel Radio Chart. The third single, "Yesterday", also became a hit, especially on the Adult R&B charts where it peaked at No. 10. On the R&B/Hip Hop chart, the song became their second biggest hit since "Shackles" in 2000, reaching the No. 50. The album's final single, "Believer" indicated testimonies of being a Christian. The song hit No. 33 on the Gospel Radio chart.

On October 10, 2006, the duo released their fourth studio album, a Christmas project entitled A Mary Mary Christmas.

[edit] The Sound (2008)

On October 21, 2008, the recording group released their fifth studio album, The Sound.^[5][6] The lead single "Get Up" was released digitally via iTunes on July 15, 2008. The Sound saw Mary Mary achieve even greater success in the mainstream market; the album sold over 37,000 copies in its first week, and was their best charting album to date, debuting No. 7 on the Billboard 200, No. 2 on the US R&B chart, and topping the gospel and CCM charts. The album held the No. 1 position on the Billboard Gospel Album chart for over six months since its release.^[7] Warryn Campbell again returned to produce the album and saw collaborations with Kierra Sheard, David Banner, Marvin Winans, Daryl Coley, Andrae Crouch, Rance Allen, Dorinda Clark Cole, Joe Ligon, Walter Hawkins, Tramaine Hawkins, and Karen Clark Sheard. In Spring 2009 "God In Me" began achieving crossover success (as Shackles had nine years earlier), reaching No. 5 on the Hot R&B/Hip-Hop Songs, and No. 1 on the Hot Dance Club Play.

The duo (along with Warryn Campbell) was nominated as songwriters at the 52nd Grammy Awards in the Best Gospel Song category for "God in Me" while the Israel Houghton song they were featured on "Every Prayer" was also nominated. They went on to win the award. After the awards, they were invited to participate in the remake of We Are The World to benefit Haiti after the earthquake. The album also won Mary Mary four Stellar Awards on January 16, 2010.

[edit] Something Big (2011)

In 2009, Mary Mary commenced recording their sixth studio album. Originally titled OMG, the project was renamed Something Big after R&B singer Usher had a hit single, "OMG" in 2010. The album was released on March 29, 2011. The duo released the lead single, "Walking," in the fall of 2010. A video was shot in January 2011 in Santa Ana, CA.^[8] Mary Mary debuted the title track "Something Big" on the BET Celebration of Gospel 2011, while "Something Bigger" served as a B-side to "Walking". The second single from the album was "Survive." The video debuted on July 27, 2011.

[edit] Go Get It (2012)

On February 13, 2012, Mary Mary debuted their new single, "Go Get It", from the album of the same name, in a special performance in Los Angeles, California. The performance also rounded out the final episode of their upcoming reality TV series. The album is slated for a May 2012 release. This album will feature one other new track, along with remixed and remastered Mary Mary hits.

Discography[link]

• 2000: Thankful
• 2002: Incredible
• 2005: Mary Mary
• 2006: A Mary Mary Christmas
• 2008: The Sound
• 2011: Something Big
• 2012: Go Get It

Music videos[link]

See Mary Mary videography

Awards[link]

Personal life[link]

Both sisters are married to unrelated men with the last name Campbell.^[9]

Tina is married to Teddy (who has a daughter Cierra (b 1994) from a previous relationship—that lives in Chicago with birth mom and visits her father every summer). Their daughter Laiah Simone Campbell was born on Tuesday, September 9, 2003.^[10] Second daughter Meela Jane was born on June 11, 2007.^[11][12] On October 20, 2009 their son Ted Jr was born.^[13][14] Tina and her husband are currently expecting their fourth child together due in August 2012.^[15]

Erica married their record producer Warryn Campbell on May 26, 2001. On September 13, 2004, Erica gave birth to their first child, Krista Nicole Campbell. On April 24, 2010, she gave birth to the couple's second child, Warryn Campbell III.^[16] On Tuesday July 19, 2011 Erica announced on Good Morning America that she is pregnant with their third child.^[17] She gave birth early to a girl, Zaya Monique, on January 24, 2012.^[18]

Literature[link]

In November 2003, the sisters released their biography Transparent.^[19]

In April 2010, the sisters released the book, Be U via Simon & Schuster.^[20]

Controversy and criticism[link]

Although the Campbell sisters have been in the urban Gospel industry for years, they began to be criticized for their "worldly" sound beginning with the song "God in Me", and allegations that the song promoted "prosperity gospel". ^[21]

The controversy began when they worked with T-Pain for "God in Me". Since then the sister duo has said in interviews that they would like to work with more secular artists, including T.I. ^[22]

References[link]

External links[link]

• Mary-Mary.com - Official Website