Musical Ramblings

Do we need to rescue R&B?

It might come as a bit of shock to some of you but I’m a journalist. There’s a traditional association with the job that assumes that journalists are in love with words and books and associated ephemera but, really, that’s not always so. I have known plenty who prefer a pint to Poe and a Tarka Dahl to Roald and see the trade as a short cut to a tan. So, I’m a bit old fashioned, I suppose.

Surrounded by ten, seven foot high book shelves of unread books (some, double stacked) plus the other shelves of the completed works, of course, words and the knowledge that they imbue are not only important to me but, as a generally soft hearted, easy going, laid back individual, are one of the few things that rouse my passions when they are misused in a malevolent manner. When that mode combines with my other love, music, then my ire is awakened.

Little Willie John

There have been many examples, of course, that are non-musical in tone. For example: it’s not ‘soccer’, it’s ‘football’; it’s not ’24/7’ it’s ‘all day, every day’; I’m a cricket fan so why should I want to ‘touch base’?; it’s a shopping ‘trolley’ not ‘cart’; similarly, it’s a shopping ‘centre’ not ‘mall’ (I don’t even know how to pronounce that word…mall, moll, what?), you have a ‘fringe’ on your forehead not ‘bangs’; it’s ‘alternative’ not ‘alternate’; you don’t ‘hike’ a price you ‘raise’ it; you don’t ‘reach out’ you ‘ask’ someone; it’s not ‘Where’s it at?’, it’s ‘Where is it?’; TVs cater for ‘Series’ not ‘Seasons’ and, for some reason, I hate the word ‘movie’, I much prefer ‘film’. And there’s plenty more where that lot came from.

Little Willie John

That the majority of erroneous word use stems from America (still the world’s dominant and aggressive culture, ask any French official, struggling to maintain a diversity quota) is intriguing when you consider that one particular lexical mutation actually originated in America and was then screwed up by other Americans later on. It’s not even a word, it’s a term, reduced to the snappy abbreviation of R&B.


Little Willie John

Rhythm & Blues, stemmed from the 1940s and hit its initial height during the fifties. It offered a rock-based rhythm with a jazz and/or blues beat. Protagonists included everyone from Ike Turner and Fats Domino and many more relatively obscure acts such as Little Willie John and The 5 Royales. In the UK, early variants of The Who, Rolling Stones and Animals were all collected under the label, partly because they sang older R&B covers. The genre is remembered for its energy, its passion, flying sweat and spittle from frantic harmonica playing, roaring guitars and vocal deliveries. R&B, in full mid-performance, offered a sort of adrenalin-based mania.

Fats Domino

So why are the collected works of Beyonce, R Kelly, Usher and, give me strength, Maria Carey now described as R&B? It’s not so. No, really, it just isn’t. All of these people plus many others like them do not sing R&B. What they sing isn’t even soul or funk. What they sing is soul-lite or soul-pop with obvious cross-genre additions such as the brief infusions of hip pop and dance music to tweak here and there.

Fats Domino in Amsterdam, Fats tijdens zijn optreden in het Concertgebouw *3 november 1962

Fats Domino

Noted music expert, Bill Dahl, writing the liner notes for the Ace CD ( release, Ike Turner & His Kings of Rhythm’s Ike’s Instrumentals refers to Turner’s prowess on the Stratocaster guitar, “His savage licks, liberally laced with whammy-bar hammering so audacious that its a minor miracle he didn’t snap all six strings every time he yanked on the thin metal rod protruding from his Fender solid body, rate with the most hair-raising blues guitar developments of the 1950s and the early 60s.” Now, seriously could you ever apply that to Whitney Houston, Little Mix or Jamelia?

Fats Domino’s The Early Imperial Singles 1950-1952, features Every Night About This Time, a vastly under-rated track that featured his soon to be trademarked hammering piano line that sounds like the action sequence from the St. Valentine’s Day Massacre, such is its repeating ferocity. I see a lot of posturing from the likes of Fifth Harmony and Drake but I don’t hear ferocity.

Fats again

Finally, while I hear a lot of computer processing behind many contemporary R&B voices, what I do not hear is the sheer guts, drive and insight from a man like Little Willie John, one of the greatest singers of all time. He offered a host of classic proto-soul gems, grabbing a R&B song and ringing out the emotion like a water-filled sponge. If Sam Cooke, then Little Willie John was a chef. You can hear more on Little Willie John’s Nineteen Sixty Six: The Dave Axelrod & HB Barnum Sessions on the Kent label.


Little Willie John

Mangling the R&B label onto ‘soul-lite’ smacks of re-writing history and marketing spin. It might be ‘just words’ to some but, to me, words have meaning and power. The only ‘spin’ I want to see is on my turntable.

You Might Also Like


  • Reply
    Tony Perring
    13th September 2016 at 1:47 pm

    Paul, there is hope for you yet 😉
    I have been banging on about this very issue for many years now and I was a teenager in the sixties so I remember R&B as it was then. You are of course perfectly correct in your article.

    • Reply
      Paul Rigby
      13th September 2016 at 2:15 pm

      Hehe, well that’s reassuring Tony 🙂
      And thank you for your kind comments regarding the piece.

  • Reply
    Barry portier
    16th September 2016 at 4:23 am

    I also agree with many of your points but you have completely skip a few decades. The 60’s, 70’s and 80’s were ripe with R&B/Soul. Music was still pretty much segregated until the explosion of Micheal. We had lots of R&B in the hoods of America, Black clubs were flooded with it. Once the rest of white America developed and addiction to dancing, disco ruined what was the back beat of Black music. Jackson, Prince, Jimmy/Jam, Roy Ayers, Herbie, Marvin, Teddy, Aretha, Quincy and others kept the lights on. Rap/Hip-Hop at it’s genius was all about the rhythm also. Making hits for White people cooled the jets but brought crossover cash. The removal of elementary and high school music programs was another nail in the coffin. MTV was also a nail because the look was more important than the groove. There was and is still a lot of great R&B/Soul/Rock/Jazz hybrid jams out there. It is just no longer the dominate cultural sound track.

    • Reply
      Paul Rigby
      16th September 2016 at 3:55 pm

      Thanks for your very interesting note, Barry, although it was never my intention to provide a complete history of the genre. Just to highlight the genre’s current label ‘mis-use’. Interesting to hear about the clubs, totally agree about the cross-over point (watering down anything ruins the initial idea whether you’re talking music or just about anything else, actually), fascinating to hear about the education side (that deserves a well researched feature all on its own) and you are absolutely right about MTV [spit]. A hateful TV channel that, when you get right down to the nitty gritty, is pro-music executive and anti-music. Good stuff, Barry.

    Leave a Reply

    By using this website you agree to accept our Privacy Policy and Terms & Conditions

    Pin It on Pinterest

    Share This
    %d bloggers like this: