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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Ain't Nothing Happenin' - Cool Jump Blues (CD)
Paul Gayten: Ain't Nothing Happenin' - Cool Jump Blues (CD) Art-Nr.: CDETRB116

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

(2010/EL TORO) 30 track (77:51) multi label collection 1947-57. The unsung Crescent City bandleader Paul Gayten made the first New Orleans R&B recordings of the post war era and had the first local hit there in 1947. As a producer, he...
$11.81 $17.75
Wild Life...plus (CD)
Rudy Green: Wild Life...plus (CD) Art-Nr.: CDETRB115

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

(2010/EL TORO) 27 tracks 1940/50s (70:25) A Mysteriously elusive figure, until now guitarist Rudy Green has been merely a footnote to the histories of the rich Nashville and Chicago R&B scenes of the 1940s and 1950s. This compilation...
$14.23 $18.94
Look Out! Here Comes... (CD)
Ted Taylor: Look Out! Here Comes... (CD) Art-Nr.: CDETRB120

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

(2013/EL TORO) 28 tracks 1955-61. Great collection of his pre-soul R&B and Rock & Roll recordings plus Doo Wop sides from his days as member of the Jacks/Cadets. Here comes... Ted Taylor's most complete Rhythmy & Blues And Rock And Roll...
$16.60 $18.94
Vol.2. A Rockin' Good Way - The Songwriter
Brook Benton: Vol.2. A Rockin' Good Way - The Songwriter Art-Nr.: CDET1051

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

(2012/EL TORO) 25 tracks - 16 page booklet.
$15.41 $18.94
A Rockin' Good Way Vol.1 - The Singer
Brook Benton: A Rockin' Good Way Vol.1 - The Singer Art-Nr.: CDET1050

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

(2012/EL TORO) 25 tracks 50/60s with 16 page booklet.
$11.85 $18.94
Rock With It - Rockin' With The R&B #2
Various: Rock With It - Rockin' With The R&B #2 Art-Nr.: CDETRB108

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

(2009/EL TORO) 28 tracks 1940/50s
$11.81 $18.94
I Love To Hear My Baby Call My Name
Various: I Love To Hear My Baby Call My Name Art-Nr.: CDRB107

only 2x still available
Ready to ship today, delivery time** appr. 1-3 workdays

(1945-52) (79:54/29)
$11.81 $17.51
Too Late To Be Good!
Various: Too Late To Be Good! Art-Nr.: CDRB103

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

(1937-52) (71:39/26) Spannende Zusammenstellung mit weniger bekannten Vocal Groups. Gutes, seltenes Material, von 78ern überspielt / exciting collection of lesser know vocal groups. Great, pretty rare material, dubbed-off 78s and 45s.
$11.81 $17.51
Welcome Back To...Town  (50s R&B Live)
Various: Welcome Back To...Town (50s R&B Live) Art-Nr.: CDRB104

only 2x still available
Ready to ship today, delivery time** appr. 1-3 workdays

extremely rare radio broadcasts and live recordings from the heydays of early r&b. Exciting!
$11.81 $17.51
Come On Daddy
Various: Come On Daddy Art-Nr.: CDETRB101

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

(1948-51) (60:53/24) Weniger bekannte R&B-Sängerinnen / a collection with recordings of lesser known female singers, often members of larger orchestras.
$15.41 $17.75