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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 56 johnny otis s willie and the hand jive 1958 is another example of this successful blend of 3 2 claves and r b 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 was the conduit by 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 58 ahmet ertegun producer for atlantic records is reported to have said that afro cuban rhythms added color and excitement to the basic drive of r b 59 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 60 early to mid 1950s edit little richard in 1967 at first only african americans were buying r b discs according to jerry wexler of atlantic records sales were localized in african american markets there were no white sales or white radio play during the early 1950s more white teenagers started to become aware of r b and began purchasing the music for example 40 of 1952 sales at dolphin s of hollywood record shop located in an african american area of los angeles were to whites eventually white teens across the country turned their musical taste toward rhythm and blues 61 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 62 the clovers a quintet consisting of a vocal quartet with accompanying guitarist sang a distinctive sounding combination of blues and gospel 63 they had the number five hit of the year with don t you know i love you on atlantic 62 64 65 also in july 1951 cleveland ohio dj alan freed started a late night radio show called the moondog rock roll house party on wjw 850 am 66 67 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 was not until he recorded 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 68 and long tall sally which would influence performers such as james brown 69 elvis presley 70 and otis redding 69 also in 1951 the song rocket 88 was recorded by ike turner and his kings of rhythm at a studio owned by sam phillips with the vocal by jackie brenston this song is often cited as a precursor to rock and roll or as one of the first records in that genre 71 in a later interview however ike turner offered this comment i don t think that rocket 88 is rock n roll i think that rocket 88 is r b but i think rocket 88 is the cause of rock and roll existing 72 ruth brown performing on the atlantic label placed hits in the top five every year from 1951 through 1954 teardrops from my eyes five ten fifteen hours mama he treats your daughter mean and what a dream 63 faye adams s shake a hand made it to number two in 1952 in 1953 the r b record buying public made big mama thornton s original recording of leiber and stoller s hound dog 73 the year s number three hit ruth brown was very prominent among female r b stars her popularity most likely came from her deeply rooted vocal delivery in african american tradition 74 75 that same year the orioles a doo wop group had the number four hit of the year with crying in the chapel 76 fats domino made the top 30 of the pop charts in 1952 and 1953 then the top 10 with ain t that a shame 77 78 ray charles came to national prominence in 1955 with i got a woman 79 big bill broonzy said of charles s music he s mixing the blues with the spirituals i know that s wrong 7 173 in 1954 the chords sh boom 80 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 81 at chess records in the spring of 1955 bo diddley s debut record bo diddley i m a man climbed to number two on the r b charts and popularized bo diddley s own original rhythm and blues clave based vamp that would become a mainstay in rock and roll 82 etta james blended blues r b and gospel influences at the urging of leonard chess at chess records chuck berry reworked a country fiddle tune with a long history entitled ida red 83 the resulting maybellene was not only a number three 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 writing credit by chess in return for his promotional activities a common practice at the time 84 r b was also a strong influence on rock and roll 85 a 1985 article in the wall street journal titled rock it s still rhythm and blues full citation needed reported that the two terms were used interchangeably until about 1957 the other sources quoted in the article said that rock and roll combined r b with pop and country music 86 fats domino was not convinced that there was any new genre in 1957 he said what they call rock n roll now is rhythm and blues i ve been playing it for 15 years in new orleans 87 according to rolling stone this is a valid statement all fifties rockers black and white country born and city bred were fundamentally influenced by r b the black popular music of the late forties and early fifties 88 late 1950s edit 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 89 some of the performers completing the bill were chuck berry cathy carr shirley lee della reese sam t bird jensen the cleftones and the spaniels with illinois jacquet s big rockin rhythm band 90 cities visited by the tour included columbia south carolina annapolis maryland pittsburgh pennsylvania syracuse rochester and buffalo new york and other cities citation needed 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 in annapolis 50 000 to 70 000 people tried to attend a sold out performance with 8 000 seats roads were clogged for seven hours 91 filmmakers 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 and the flamingos all made it onto the big screen 92 two elvis presley records made the r b top five in 1957 jailhouse rock treat me nice at number one and all shook up at number five an unprecedented acceptance of a non african american artist into a music category known for being created by blacks 93 nat king cole also a jazz pianist who had two hits on the pop charts in the early 1950s mona lisa at number two in 1950 and too young at number one in 1951 had a record in the top five in the r b charts in 1958 looking back do i like it 94 sam cooke 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 95 brook benton was at the top of the r b charts in 1959 and 1960 with one number one and two number two hits 96 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 nat king cole frank sinatra and tony bennett 97 lloyd price who in 1952 had a number one hit with lawdy miss clawdy regained predominance with a version of stagger lee at number one and personality at number five in 1959 98 99 the white bandleader of the bill black combo bill black who had helped start elvis presley s career and was elvis s bassist in the 1950s had a hit among black listeners with smokie part 2 the single reached number 17 on the u s pop charts and number 1 on the r b charts selling over one million copies and was awarded a gold disc by the riaa 100 hi records did not feature pictures of the combo on early records 101 1960s 1970s edit marvin gaye is a r b artist known for his smooth voice sam cooke s number five hit chain gang is indicative of r b in 1960 as is pop rocker chubby checker s number five hit the twist 99 102 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 103 95 motown records had its first million selling single in 1960 with the miracles shop around 104 and in 1961 stax records had its first hit with carla thomas s gee whiz look at his eyes 105 106 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 107 in jamaica r b influenced the development of ska 108 109 in 1969 black culture and rhythm and blues reached another great achievement when the grammys added the rhythm and blues category giving academic recognition to the category citation needed by the 1970s the term rhythm and blues was being used as a blanket term for soul funk and disco 110 since the 1980s edit main article contemporary r b mary j blige blended r b with hip hop influences helping to shape the sound of the 90s in the late 1980s and early 1990s hip hop started to capture the imagination of america s youth r b started to become homogenized with a group of high profile producers responsible for most r b hits it was hard for r b artists of the era to sell their music or even have their music heard because of the rise of hip hop but some adopted a hip hop image were marketed as such and often featured rappers on their songs teddy riley guy keith sweat and today gained new jack swing hits 111 in 1990 billboard reintroduced r b to categorize all of black popular music other than hip hop 112 newer artists such as usher r kelly janet jackson tlc aaliyah brandy destiny s child tevin campbell and mary j blige enjoyed success l a reid the ceo of laface records was responsible for some of r b s greatest successes in the 1990s in the form of usher tlc and toni braxton later reid successfully marketed boyz ii men 113 in 2004 80 of the songs that topped the r b charts were also at the top of the hot 100 that period was the all time peak for r b and hip hop on the billboard hot 100 and on top 40 radio 114 from about 2005 to 2013 r b sales declined 115 however since 2010 hip hop has started to take cues from the r b sound choosing to adopt a softer smoother sound that incorporates traditional r b with rappers such as drake who has opened an entire new door for the genre this sound has gained in popularity and created great controversy for both hip hop and r b as to how to identify it 116 in 2010 the national rhythm blues hall of fame was founded by lamont showboat robinson 117 jewish influence in the business end of rhythm and blues edit main article jewish influence in rhythm and blues according to the jewish writer music publishing executive and songwriter arnold shaw during the 1940s in the us there was generally little opportunity for jews in the wasp controlled realm of mass communications but the music business was as wide open for jews as it was for blacks 118 jews played a key role in developing and popularizing african american music including rhythm and blues and the independent record business was dominated by young jewish men who promoted the sounds of black music 119 for example milt gabler was born to jewish immigrants and grew up in harlem in the late 1930s he created his own record label commodore records primarily recording producing and promoting black singers and groups gabler recorded many of the leading jazz artists of the day 120 in 1939 he released the billie holiday hit song strange fruit on commodore boosting her career with what time magazine 60 years later named best song of the century based on the success of commodore the major label decca records recruited and hired gabler in 1941 121 his jewish brother in law jack crystal father of billy crystal took over commodore at decca gabler worked with many of the biggest stars of the 1940s producing a series of hits as well as being the first to bring louis armstrong and ella fitzgerald together on record decca then placed him in charge of their subsidiary label coral where he continued to advance the careers of black musicians including the ink spots sammy davis jr and louis jordan gabler was responsible for many innovations in the recording industry of the 20th century these included being the first person to deal in record reissues the first to sell records by mail order and the first to credit all the musicians on the recordings in 1991 gabler received the grammy trustees award from the recording academy for his significant contributions to the field of recording 122 in 1993 he was inducted into the rock and roll hall of fame by his nephew billy crystal 123 british rhythm and blues edit main article british rhythm and blues eric burdon the animals 1964 british rhythm and blues and blues rock 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 or seamen visiting ports such as london liverpool newcastle and belfast 124 125 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 126 during the 1960s geno washington the foundations and the equals gained pop hits 127 many british black musicians helped form the british r b scene these included geno washington an american singer stationed in england with the air force he was invited to join what became geno washington the ram jam band by guitarist pete gage in 1965 and enjoyed top 40 hit singles and two top 10 albums before the band split up in 1969 128 another american gi jimmy james born in...