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]

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 2011)

Luther Vandross
Vandross performing with Diana Ross in New York in 2000
Background information
Birth name	Luther Vandross
Born	(1951-04-20)April 20, 1951 New York, New York, United States
Died	July 1, 2005(2005-07-01) (aged 54) Edison, New Jersey, United States
Genres	R&B, soul, adult contemporary, soft rock, soul jazz, quiet storm
Occupations	Singer-songwriter, Musician, record producer
Years active	1968–2005
Labels	Cotillion, Epic, Virgin, J, Legacy
Associated acts	Change, Chic, Dionne Warwick, Richard Marx, Whitney Houston
Website	luthervandross.com

Luther Vandross (April 20, 1951 – July 1, 2005) was an American singer-songwriter and record producer. During his career, Vandross sold over twenty-five million albums^[1] and won eight Grammy Awards^[2] including Best Male R&B Vocal Performance four times. He won four Grammy Awards in 2004 including the Grammy Award for Song of the Year for the track "Dance with My Father",^[3] co-written with Richard Marx.

Biography[link]

1951–1979: Early life and career[link]

Luther Vandross was born on April 20, 1951 at Bellevue Hospital in Manhattan, New York City, United States.^[4] He was the fourth child and second son to Mary Ida Vandross and Luther Vandross, Sr.^[4][5]

Born on the Lower East Side of Manhattan in New York City in the NYCHA Alfred E. Smith Houses public housing development, Vandross began playing the piano at the age of three. He grew up in a musical family that moved to the Bronx when he was thirteen. His sister, Patricia, sang with the vocal group The Crests, who had a number two hit in 1958 with "16 Candles", though she left the group before the recording. Vandross's father died of diabetes when Vandross was eight years old. Luther Vandross was in a high school group, Shades of Jade, that once played at the Apollo Theater in Harlem. He was also a member of a theater workshop, "Listen My Brother" who released the singles "Only Love Can Make a Better World" and "Listen My Brother", and appeared on the second and fifth episodes of Sesame Street in November 1969.

Vandross attended Western Michigan University for a year before dropping out to continue pursuing a career in music.

His next hit credit was on an album by Roberta Flack in 1972. He was the founder of the first-ever Patti LaBelle fan club. Luther also sang on Delores Hall's Hall-Mark album from 1973. He sang with her on the song "Who's Gonna Make It Easier for Me", which he wrote. He also contributed another song, "In This Lonely Hour." Having co-written "Fascination" for David Bowie's Young Americans, he went on to tour with him as a back-up vocalist in September 1974. Vandross wrote "Everybody Rejoice" for the 1975 Broadway musical The Wiz and appeared as a choir member in the movie.

Vandross also sang backing vocals for Diana Ross, Roberta Flack, Gary Glitter, Carly Simon, Chaka Khan, Todd Rundgren's Utopia, Donna Summer, Bette Midler, Chic, and Barbra Streisand.

Before his breakthrough, Vandross was part of a singing quintet in the late '70s named Luther, consisting of former Shades of Jade members Anthony Hinton and Diane Sumler, Theresa V. Reed, and Christine Wiltshire, signed to Cotillion Records. Although the singles "It's Good for the Soul", "Funky Music (Is a Part of Me)", and "The Second Time Around" were relatively successful, their two albums, the self-titled Luther (1976) and This Close to You (1977), didn't sell enough to make the charts. Vandross bought back the rights to these albums after Cotillion dropped the group, preventing their later re-release.

Vandross also wrote and sang commercial jingles during the late 1970s and early 1980s, and continued his successful career as a popular session singer during the late 1970s.

In 1978, Luther sang lead vocals for a disco band called Greg Diamond's Bionic Boogie on the song titled "Hot Butterfly." Also in 1978, he appeared on Quincy Jones's Sounds...and Stuff Like That!!, most notably on the song "I'm Gonna Miss You In The Morning" along with Patti Austin. Luther also sang with the band Soirée, where he was the lead vocalist on the track "You Are the Sunshine of My Life", and contributed background vocals to the album along with Jocelyn Brown and Sharon Redd, each of whom also saw solo success. He also sang the lead vocals on the group Mascara LP title song "See You in L.A." released in 1979. Luther shines with his impeccable singing supported by his group's co-members David Lasley and Ula Hedwig. Luther also appeared on the group Charme's 1979 album Let It In, most notably on a remake of Toto's hit single "Georgy Porgy".

1980–2003: Career success[link]

Vandross finally made his long desired career breakthrough as a featured singer with the vaunted pop-dance act Change, a studio concept created by French-Italian businessman Jacques Fred Petrus. Their 1980 hits, "The Glow of Love" (by Romani, Malavasi and Garfield) and "Searching" (by Malavasi), both featuring Vandross as lead singer, opened up the world for Vandross. And there was no doubt about whether Vandross liked the song "The Glow of Love". In an interview that Vibe Magazine did with him in 2001 Vandross said, "This is the most beautiful song I've ever sung in my life." Both songs were from Change's debut album The Glow of Love. Vandross was also originally intended to perform on their second and highly successful album Miracles in 1981, but declined the offer as Petrus didn't pay enough money. Vandross' decision rapidly led to a recording contract with Epic Records that same year but didn't stop him from doing some background vocals on "Miracles" and on the new Petrus created act, The B. B. & Q. band in 1981. During that hectic year Vandross jump-started his second attempt at a solo career with his debut album, Never Too Much. In addition to the hit title track it contained a version of the Burt Bacharach / Hal David song "A House Is Not a Home". The song "Never Too Much", written by himself, reached number-one on the R&B charts. This period also marked the beginning of frequent songwriting collaboration with bassist Marcus Miller, who played on many of the tracks and would also produce or co-produce a number of tracks for Vandross. The Never Too Much album was arranged by high school classmate Nat Adderley, Jr., a collaboration that would last through Vandross's career.^[6]

Vandross released a series of successful R&B albums during the 1980s and continued his session work with guest vocals on groups like Charme in 1982. Many of his earlier albums made a bigger impact on the R&B charts than on the pop charts. During the 1980s, Vandross had two singles that reached #1 on the Billboard R&B charts: "Stop to Love", in 1986, and a duet with Gregory Hines—"There's Nothing Better Than Love."^[7] Vandross was at the helm as producer for Aretha Franklin's Gold-certified, award-winning comeback album Jump to It. He also produced the disappointing follow-up album, 1983's Get It Right. In 1983, the opportunity to work with his main music influence, Dionne Warwick, came about with Vandross producing, writing songs, and singing on How Many Times Can We Say Goodbye, her fourth album for Arista Records. The title track duet reached #27 on the Hot 100 chart (#7 R&B/#4 Adult Contemporary),^[8] while the second single, "Got a Date" was only a moderate hit (#45 R&B/#15 Club Play).

In 1985, Vandross first spotted the talent of Jimmy Salvemini, 15 at the time, on Star Search. He thought Salvemini had the perfect voice for some of his songs. He contacted Salvemini, who was managed by his brother Larry. A contract was negotiated with Elektra records for $250,000 and Vandross agreed to produce the album. Luther even contacted old friends to appear on the album, Cheryl Lynn, Alfa Anderson (Chic), Phoebe Snow and Irene Cara. After the album was completed, Vandross, Jimmy, and Larry decided to celebrate. On January 12, 1986, they were riding in Vandross' convertible Mercedes when it crossed the yellow lines of the two lane street and smashed into two vehicles. All three men were rushed to the hospital. Larry Salvemini died during surgery, and Vandross and Jimmy Salvemini survived. At first, the Salvemini family was supportive of Vandross. In 1986, Vandross faced vehicular manslaughter charges as a result of Larry's death. Vandross pled no contest to reckless driving. The Salvemini family filed a wrongful death suit against Vandross. The case was quietly settled out of court with a payment to the Salvemini family for $700,000. The album called "Roll With It" was released later that year.

Vandross also sings background in Stevie Wonder's 1985 hit "Part Time Lovers".

In 1986, Vandross voiced a cartoon character named Zack for three Saturday morning animated PSA spots for ABC Television called 'Zack of All Trades'.

The 1989 compilation The Best of Luther Vandross... The Best of Love included the ballad "Here and Now", his first single to chart in the Billboard pop chart top ten, peaking at number six. He won his first Grammy award for Best Male R&B Vocal Performance in 1991.

In 1990, Vandross wrote and sang background for Whitney Houston in a song entitled "Why Do You Love?" which appeared on her "I'm Your baby Tonight" album. Vandross and Houston had been long time acquantances, probably having met doing sessions in the late 70s and early 80s.

More albums followed in the 1990s, beginning with 1991's Power of Love which spawned two top ten pop hits. He won his second Best Male R&B Vocal in the Grammy Awards of 1992 with the track "Power of Love/Love Power" winning the Grammy Award for Best R&B Song in the same year. In 1992, "The Best Things in Life Are Free", a duet with Janet Jackson from the movie Mo' Money became a hit.

In 1993, Vandross had a brief non-speaking role in the Robert Townsend movie The Meteor Man. He played a hit man who plotted to stop Townsend's title character.

Vandross hit the top ten again in 1994, teaming with Mariah Carey on a cover version of Lionel Richie and Diana Ross's duet "Endless Love". It was included on the album Songs (Luther Vandross album), a collection of songs which had inspired Vandross over the years. He also appears on Frank Sinatra's posthumous Duets album. At the Grammy Awards of 1997, he won his third Best Male R&B Vocal for the track "Your Secret Love". A second greatest hits album, released in 1997, compiled most of his 1990s hits and was his final album released through Epic Records. After releasing I Know on Virgin Records, he signed with J Records. His first album on Clive Davis's new label, entitled Luther Vandross, was released in 2001, and it produced the hits "Take You Out" (#7 R&B/#26 Pop), and "I'd Rather" (#17 Adult Contemporary/#40 R&B/#83 Pop) Vandross scored at least one top 10 R&B hit every year from 1981-1994.

In 1997, Vandross sang the American national anthem during Super Bowl XXXI at the Louisiana Superdome, New Orleans, Louisiana.

In September 2001, Vandross performed a rendition of Michael Jackson's hit song "Man in the Mirror" at Jackson's 30th Anniversary special, alongside Usher.

In 2002, he gave some of his final concerts during his last tour, The BK Got Soul Tour starring Vandross featuring Angie Stone and Gerald Levert.

In 2003, Vandross released the album Dance with My Father. The title track, which was dedicated to Vandross' memory childhood dances with his father, won Vandross and his co-writer, Richard Marx, the 2004 Grammy Award for Song of the Year. The song also won Vandross his fourth and final award in the Best Male R&B Vocal Performance category. The album was his first to reach number one on the Billboard album chart. The video for the title track features various celebrities alongside their fathers and other family members. The 2nd single released from that album, "Think About You" was the Number One Urban Adult Contemporary Song of 2004 according to Radio & Records.

In 2003, after the televised NCAA Men's Basketball championship, CBS Sports gave "One Shining Moment" a new look. Vandross, who had been to only one basketball game in his life, was the new singer, and the video didn't have any special effects like glowing basketballs and star trails like it did in previous years. This song version is in use today.^[9]

2003–2005: Illness and death[link]

Vandross suffered from diabetes and hypertension, both of which ran in his family.

On April 16, 2003, Vandross suffered a stroke at his home in Manhattan, New York. At the time of his stroke, he had just finished the final vocals for the album Dance With My Father. His collaborator on the album was pop star Richard Marx, whom Vandross had met in 1989. Vandross appeared briefly on videotape at the 2004 Grammy Awards to accept his Song of the Year Award, where he said, "When I say goodbye it's never for long because I believe in the power of love". Other than an appearance on The Oprah Winfrey Show, he was never seen in public again.

Vandross died on July 1, 2005 at John F. Kennedy Medical Center in Edison, New Jersey at the age of 54. The apparent cause of his death was a heart attack.

His funeral was in New York City on July 8, 2005. After two days of viewing, Vandross was entombed at George Washington Memorial Park in Paramus, New Jersey. Much of his estate was left to friends and his godson Mark West.

Voice recognition[link]

In 2008, Vandross was ranked #54 on Rolling Stone magazine's List of 100 Greatest Singers of All Time.^[10]

Tribute[link]

In 1999, Whitney Houston sang Vandross' "So Amazing" as a tribute to Vandross as he sat in the audience during the Soul Train Awards. Johnny Gill, El Debarge, and Kenny Lattimore provided background vocals. On July 27, 2004, GRP Records released a smooth jazz various artists tribute album, Forever, For Always, For Luther, with ten popular songs written by Luther. The album featured vocal arrangements by Luther, and was produced by Rex Rideout and Bud Harner. Rideout had co-authored songs and contributed arrangements and played keyboards on Luther's final three albums. The tribute album was mixed by Ray Bardani, who recorded and mixed most of Luther's music over the years. It featured an ensemble of smooth jazz performers, many of whom had previously worked with Luther.^[11] On September 20, 2005, the album So Amazing: An All-Star Tribute to Luther Vandross was released. The album is a collection of some of Luther's songs performed by various artists, including Stevie Wonder, Mary J. Blige, Usher, Fantasia, Beyoncé Knowles, Donna Summer, Alicia Keys, Elton John, Celine Dion, Wyclef Jean, Babyface, Patti LaBelle, John Legend, Angie Stone, Jamie Foxx, Teddy Pendergrass, and Aretha Franklin. Aretha Franklin won a Grammy for her rendition of "A House Is Not a Home", and Stevie Wonder and Beyoncé won a Grammy for their cover of "So Amazing". The violin duo Nuttin' But Stringz did a remix of the song "Dance with My Father" for their album Struggle from the Subway to the Charts, which was released on October 3, 2006. On November 21, 2006, saxophonist Dave Koz released a followup to the earlier smooth jazz GRP tribute album, this time on his own Rendezvous Entertainment label, an album called Forever, For Always, For Luther Volume II, also produced by Rex Rideout and Bud Harner. Dave Koz played on all the featured Luther Vandross tracks, which were recorded by various smooth jazz artists.^[12] In 2007, Deniece Williams included "Never Too Much" on her Love, Niecy Style CD. Williams said that she recorded the song to say "I love you" to her old friend. The music video "Bye Bye" from Mariah Carey sees Vandross' picture appear in the closing images. His image was included as a tribute along with various other deceased people with whom Carey had collaborated. On A Different Me, Keyshia Cole sings the outro to "Luther Vandross" on "Playa Cardz Right", which features rapper Tupac Shakur. Guitarist Norman Brown did a rendition of "Any Love" on his 1994 album After The Storm. R&B band 112 sampled Vandross' "Don't You Know That" to make their song "Love Me" on their second album Room 112. Saxophonist Boney James covers his rendition on his final track "The Night I Fell In Love" on Backbone in 1994. Author Craig Seymour wrote a book about Vandross called Luther: The Life and Longing of Luther Vandross. The book includes numerous interviews with Vandross. In 2009, Jadakiss sampled Vandross' "Promise Me" to make his song "The Things I've Been Through" on his album, "The Last Kiss". In 1998, well-known guitarist Peter White covered the Vandross song "Don't Want to Be a Fool", from the album Perfect Moment. In November 2006, Korean singer K included a cover of the Vandross song "Every Year, Every Christmas" on his Christmas single, ファースト・クリスマス ("First Christmas"), released in Japan. It was also later added to his tribute album, The Timeless Collection Vol. 1. In 2010, NPR included Vandross in its 50 Greatest Voices in recorded history, saying Vandross represents "the platinum standard for R&B song stylings." The announcement was made on NPR's All Things Considered on November 29, 2010. In late 2010, rapper Battman D.E. GannaBanna sampled Vandross' "Make Me A Believer" for his song "Wanna Luv U" on his debut album The World Is A MothaF**kin' Ghetto. Hip-hop duo Young Gunz featuring Rell sampled Vandross' "Better Love" to the make the song "No Better Love" on their 2004 Roc-A-Fella Records debut album, Tough Luv. Jacob Lusk performed "Dance With My Father" on American Idol season 10 as a tribute to his late father Gregory Lusk and as a tribute to Vandross on April 20, 2011. Smooth jazz urban saxophonist Alfonzo Blackwell covered the song on his 2001 Reflections CD, just two months after Vandross' self-titled release. Teddy Riley's protege rapper Queen Pen has been sampled on her song "All My Love" which based on Vandross' song of the same name that was produced by Riley on her 1997 debut release, My Melody. Other tribute artists include FiL Straughan, a singer based in London and New York, and Harry Cambridge.

New releases[link]

J Records released a song "Shine"—an upbeat R&B track that samples Chic's disco song "My Forbidden Lover"—reaching #31 on the R&B chart. The song was originally slated to be released on the soundtrack to the movie The Fighting Temptations, but it was shelved. This is evidenced by a reference to "fighting temptation" in two of the verses. A later remix of the song peaked at #10 on the Club Play chart. "Shine" and a track entitled "Got You Home" were previously unreleased songs on The Ultimate Luther Vandross, a greatest hits album on Epic Records/J Records/Legacy Recordings that was released August 22, 2006.

On October 16, 2007, Epic Records/J Records/Legacy Recordings released a 4 disc box set entitled Love, Luther. It features all of Vandross' R&B and pop hits throughout his career, as well as unreleased live tracks, alternate versions and outtakes from sessions that Vandross recorded. The set also includes "There's Only You", a version of which had originally appeared on the soundtrack to the 1987 film Made in Heaven.^[13]

Discography[link]

Tours[link]

• Forever Tour (1982)
• Give Me The Reason Tour (1987)
• Best of Love Tour (1990)
• The Power of Love Tour (1991)
• Songs Tour (1994)
• Your Secret Love Tour (1997)
• The BK Got Soul Tour (2002)

Awards[link]

See also[link]

• Luther Burger
• Craig Seymour

Notes[link]

References[link]

External links[link]

	Book: Luther Vandross
Wikipedia books are collections of articles that can be downloaded or ordered in print.

• Official site
• Remembering Luther Vandross
• Luther Vandross at Allmusic
• Luther Vandross at the Internet Movie Database
• Luther Vandross at Find A Grave

v t e Luther Vandross Studio albums Never Too Much Forever, For Always, For Love Busy Body The Night I Fell in Love Give Me the Reason Any Love Power of Love Never Let Me Go Songs This Is Christmas Your Secret Love I Know Luther Vandross Dance with My Father Compilation albums The Best of Luther Vandross... The Best of Love One Night with You: The Best of Love, Volume 2 Love Is on the Way Always & Forever: The Classics Greatest Hits Smooth Love The Ultimate Luther Vandross Stop to Love The Very Best of Love The Essential Luther Vandross Artist Collection Love, Luther Lovesongs Other albums Live Radio City Music Hall 2003 Luther (the Luther Band) This Close to You (the Luther Band) The Glow of Love (Change) Notable singles "Never Too Much" "If This World Were Mine" (with Cheryl Lynn) "Since I Lost My Baby" "Superstar"/"Until You Come Back to Me (That's What I'm Gonna Do)" (medley) "Give Me the Reason" "Stop to Love" "There's Nothing Better Than Love" (with Gregory Hines) "Any Love" "Here and Now" "Power of Love/Love Power" (medley) "The Best Things in Life Are Free" (with Janet Jackson) "Endless Love" (with Mariah Carey) "Love the One You're With" / "Going in Circles" "Always and Forever" "Ain't No Stoppin' Us Now" "Dance with My Father" "Buy Me a Rose" "The Closer I Get to You" (with Beyoncé) "Shine" Related articles Luther Vandross discography Change (band) Forever, for Always, for Luther So Amazing: An All-Star Tribute to Luther Vandross Forever, For Always, For Luther Volume II Book:Luther Vandross