Rhythm And Blues

Early rock & roll derived the lion's share of its en-ergy and inspiration from black music. In the Fif-ties "rock & roll" was often taken to be simply a new name for "rhythm & blues," or "R&B," the music industry's generic term for any popular music primarily produced and consumed by African-Americans.

The R&B scene of the early Fifties was diverse enough to accommodate the suave stylings of a Charles Brown, the earthy, fiery Chicago blues of a Muddy Waters and everything in between. But when one thinks today of R&B in the early Fifties, it's usually the vocal groups that first come to mind—the Drifters, the Dominoes, the Midnighters, so many more. During those years, the years just before rock & roll became a worldwide phenomenon, a new en-ergy came into black vocal group music. In the For-ties it had been dominated by the Ravens, the Orioles and other groups that sang love songs sweet and low, after the fashion of the Ink Spots, who became world famous just before World War II.

Around 1950, though, certain R&B vocal groups began moving away from the sweet tones of the Ink Spots' Bill Kenny and toward something much closer to the sanctified shouts of such contemporary gospel groups as the Soul Stirrers, the Pilgrim Trav-elers and the Swan Silvertones. For some in the black community, this was tan-tamount to blasphemy. The new mix of gospel-style singing, sensual R&B rhythms and risque lyrics on such trend-setting records as "Honey Love" by the Drifters and "Work with Me Annie" by the Mid-nighters was as outrageous to conservatives as the rap excesses of 2 Live Crew would be some thirty-five years later.

(When Sam Cooke launched his pop career in 1957 after six years of singing pure gospel with the Soul Stirrers, the schism among his fans was deeper and more permanent even than what happened among Bob Dylan's folk fans after he went electric in 1965.) For young R&B fans, though—blacks and whites—this was electrifying stuff...

Early rock & roll derived the lion's share of its en-ergy and inspiration from black music. In the Fif-ties "rock & roll" was often taken to be simply a new name for "rhythm & blues,"... read more »
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Rhythm And Blues

Early rock & roll derived the lion's share of its en-ergy and inspiration from black music. In the Fif-ties "rock & roll" was often taken to be simply a new name for "rhythm & blues," or "R&B," the music industry's generic term for any popular music primarily produced and consumed by African-Americans.

The R&B scene of the early Fifties was diverse enough to accommodate the suave stylings of a Charles Brown, the earthy, fiery Chicago blues of a Muddy Waters and everything in between. But when one thinks today of R&B in the early Fifties, it's usually the vocal groups that first come to mind—the Drifters, the Dominoes, the Midnighters, so many more. During those years, the years just before rock & roll became a worldwide phenomenon, a new en-ergy came into black vocal group music. In the For-ties it had been dominated by the Ravens, the Orioles and other groups that sang love songs sweet and low, after the fashion of the Ink Spots, who became world famous just before World War II.

Around 1950, though, certain R&B vocal groups began moving away from the sweet tones of the Ink Spots' Bill Kenny and toward something much closer to the sanctified shouts of such contemporary gospel groups as the Soul Stirrers, the Pilgrim Trav-elers and the Swan Silvertones. For some in the black community, this was tan-tamount to blasphemy. The new mix of gospel-style singing, sensual R&B rhythms and risque lyrics on such trend-setting records as "Honey Love" by the Drifters and "Work with Me Annie" by the Mid-nighters was as outrageous to conservatives as the rap excesses of 2 Live Crew would be some thirty-five years later.

(When Sam Cooke launched his pop career in 1957 after six years of singing pure gospel with the Soul Stirrers, the schism among his fans was deeper and more permanent even than what happened among Bob Dylan's folk fans after he went electric in 1965.) For young R&B fans, though—blacks and whites—this was electrifying stuff...

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The Greatest R&B Hits Of 1956 Vol.1 (2-CD)
Various: The Greatest R&B Hits Of 1956 Vol.1 (2-CD) Art-Nr.: CD308520

only 1x still available
Ready to ship today, delivery time** appr. 1-3 workdays

(Acrobat) 56 tracks
$17.75
The Best Of Ray Ellington (CD)
Ray Ellington: The Best Of Ray Ellington (CD) Art-Nr.: CDACM4297

Ready to ship today, delivery time** appr. 1-3 workdays

(Ember) 22 tracks (55:32) 1949-64. - For The First Time On CD Ray Ellington's Original Ember Album Featurin The UK Single 'The Madison'. Ray's Cover Of Ray Bryant's Original 1960 US Hit. The Song Is Best Remembered Now For The Stunning...
$11.81 $17.75
Jukebox Hits (CD)
T-Bone Walker: Jukebox Hits (CD) Art-Nr.: CDACM4213

the very last 1 available
Ready to ship today, delivery time** appr. 1-3 workdays

(2006/Acrobat) 20 tracks
$11.81 $21.31
Azure - The Everest Sessions (CD)
King Curtis: Azure - The Everest Sessions (CD) Art-Nr.: CDACM4230

Ready to ship today, delivery time** appr. 1-3 workdays

(2006/ACROBAT) 14 tracks 1959-62 with 8 page booklet For the first time on CD, the rare Everest LP by the legendary saxophonist King Curtis. This easy listening classic is augmented by his only Everest 45 also making its CD debut!
$11.81 $17.75
Voute For Voutoreenees (CD)
Slim Gaillard: Voute For Voutoreenees (CD) Art-Nr.: CDACR151

Ready to ship today, delivery time** appr. 1-3 workdays

(2002/ACROBAT) 18 tracks - 1945/46
$5.88 $15.38
Jukebox Hits 1946-53 (CD)
Roy Milton: Jukebox Hits 1946-53 (CD) Art-Nr.: CDACM4327

Ready to ship today, delivery time** appr. 1-3 workdays

(2008/ACROBAT) 20 tracks
$11.81 $15.38
Blow Lynn Blow (CD)
Lynn Hope: Blow Lynn Blow (CD) Art-Nr.: CDACM4027

the very last 1 available
Ready to ship today, delivery time** appr. 1-3 workdays

(2006/ACROBAT) 25 tracks Aladdin 1951-55
$17.75
Miltone Records Story (2-CD)
Roy Milton & Others: Miltone Records Story (2-CD) Art-Nr.: CDADD3016

the very last 1 available
Ready to ship today, delivery time** appr. 1-3 workdays

(2008/ACROBAT) 56 tracks 1946-48 with 36 page booklet - Originally sealed!
$68.81
Blues Women 1944-1952 (CD)
Various: Blues Women 1944-1952 (CD) Art-Nr.: CDACM4006

the very last 1 available
Ready to ship today, delivery time** appr. 1-3 workdays

(2003/ACROBAT) 23 tracks The big bands of the 1940s brought female blues vocalists to the fore and when the bubble burst and the smaller R&B bands ruled the stages and jukeboxes many of those rockin' and bluesin' thrushes took the solo...
$18.94
Melodisc Records Of Hollywood 1945 - 46 (2-CD)
Various: Melodisc Records Of Hollywood 1945 - 46 (2-CD) Art-Nr.: CDADD3066

only 1x still available
Ready to ship today, delivery time** appr. 1-3 workdays

​(2010/Acrobat) 46 tracks
$17.75
Boot 'Em Up (CD)
The Du-Droppers: Boot 'Em Up (CD) Art-Nr.: CDACR214

only 1x still available
Ready to ship today, delivery time** appr. 1-3 workdays

(2005/ACROBAT) 23 tracks (RED ROBIN/GROOVE/RCA) 1953/54 including unreleased material - with Mickey Baker and Sam 'The Man' Taylor. Formed From Various Gospel Groups In 1952. The Du-Droppers Are An Important Link Between Gospel Groups....
$11.81 $17.75
Mark Lamarr's R&B Christmas
Various: Mark Lamarr's R&B Christmas Art-Nr.: CDACR212

Ready to ship today, delivery time** appr. 1-3 workdays

(2004/ACROBAT) 25 tracks (67:38) rare 1940/50s multi label collection (Gotham/Savoy/Decca/Aladdin a.o.) many ultra rare tracks! Compiled by GB Radio2 discjockey Mark Lamarr. 
$11.81 $17.75