Contemporary R&B

I make a distinction between Rhythm & Blues, as we discussed it earlier this semester, and R&B (or “Contemporary Rhythm & Blues”). R&B, in my opinion, is basically Rhythm & Blues Pop Music. It therefore contains much of the common characteristics of Commercial Music, focussing primarily on revenue. This new style of R&B became popular in the 1980s, and inherited the synthetic dance rhythm from Disco music, and sometimes even use Hip-Hop style beats.

An interesting characteristic in R&B is the use of “melisma” or “melismatic singing.” Usually when people sing, one syllable is sung on one musical note. In melismatic singing, one syllable is sung over several musical notes. The success of melisma singing in R&B may also be a contributor to the popularity of the “Auto-Tune”-phenomena over the past decade and a half. Some popular melisma singers include Whitney Houston and Mariah Carey.

Following is a short selection of representative R&B songs:

• Leo Slayer: “You Make Me Feel Like Dancing” (1976)
• Anita Baker: “Giving You the Best that I Got”
• Michael Jackson: “Billy Jean”
• Whitney Houston: "I Will Always Love You"
• Mariah Carey: "We Belong Together"
  
• R Kelly: “I Believe I Can Fly”
• The Fugees: “Killing Me Softly”
• Alicia Keys: “Fallin”
  

Exercise: Discuss how the music, for instance the melodic contour, contributes to the lyrics in this song.

From Blues to Rhythm & Blues

Rhythm & Blues is a term used for African American music that evolved out of Blues, Gospel, and Jazz (the latter we will discuss next week). It is often associated with Soul, Funk, and Disco – we will look at these three genres later in this course.

In his “A Brief Introduction to Rhythm ‘n’ Blues,” Piero Scaruffi writes:

The blues was mutating according to the changing social and artistic landscape. The 32 beats of white pop music, the dramatic emphasis of gospel singers, the heavy rhythm of jump blues, the tight brassy riffs of swing orchestras, the witty attitude of minstrel shows, all had a role in making blues music more malleable and entertaining. Transplanted in the dancehalls, the juke joints and the vaudeville theaters, blues music became energetic and exuberant. Form (arrangement, rhythm and vocal style) began to prevail over content (message and emotion). While the lyrics were still repeating the traditional themes of segregation, the music was largely abandoning its original traits.

A prominent feature of Rhythm & Blues is its emphasis on beat, especially the backbeat or shuffle beat. We’ve already heard some songs that started to move away from traditional blues to a greater focus on dance rhythms. One example of this crossover style is Louis Jordan and his band. Below you will hear “Five Guys Named Moe,” by Louis Jordan.



The lyrics still has the repetitive style typical of blues, but the sound is perked up and the theme much more humorous. Another hit by Louis Jordan is “Choo choo ch’boogie.”



Listen to Ray Charles singing “Baby Please Don’t Go / I Got a Woman.” He begins by singing the old blues song “Baby Please Don’t Go,” but the rhythm suddenly shifts as he starts singing “I Got a Woman.” This is a nice example of traditional blues changing in mood and style to what would later be known as Rhythm & Blues.



Koko Taylor, known as the “Queen of Blues,” is another important crossover artist from blues to Rhythm & Blues. Listen to her sing “Wang Dang Doogle.” Listen to orchestration and try to hear how this song is different from the typical blues songs (like “I’m a Woman”) for which Koko Taylor is known for.



Stevie Wonder’s “Signed, Sealed, Delivered, I’m Yours” is a good example of what Rhythm & Blues eventually became. When listening to this song, try to identify the elements from blues and from Gospel. Can you identify anything unique about this song that is neither blues nor Gospel?



From here on it is a small step to Contemporary R&B, which you are probably much more familiar with, and which we will cover towards the end of the semester.