Several musicologists that we consulted suggested that R&B or RHYTHM BLUES and BLUES should be separate forms of music. The music was created in the 1950s by such legends as:

The Clovers

Bo Diddley

Ruth Brown

Author of This Magic Moment, Harry Turner, tells the story of R&B and today Harry has become one of the spokespeople for another form of music that orginated in the South – CAROLINA BEACH MUSIC being one of the founders of the Beach Music Association International.

Several musicologists that we consulted suggested that R&B or RHYTHM BLUES and BLUES should be separate forms of music. The music was created in the 1950s by such legends as:

The Clovers

Bo Diddley

Ruth Brown

Author of This Magic Moment, Harry Turner, tells the story of R&B and today Harry has become one of the spokespeople for another form of music that orginated in the South – CAROLINA BEACH MUSIC being one of the founders of the Beach Music Association International.

Here’s what Harry said about the origins of R&B: “And with the advent of R&B music, music traditionalists were repulsed by this unsophisticated music form. To them, music should only have been performed and recorded by trained students of music. Imagine how offended they must have been by this upstart music, performed largely by less educated blacks and aimed at black audiences!”

Besides The Clovers and Ruth Brown, Harry states that:

Joe Turner

Chuck Willis

Ray Charles

Lavern Baker

The Drifters

Clyde McPhatter

Ivory Joe Hunter

James Brown

Otis Redding

were also pioneers in R&B.

As R&B became more popular, the music world began to see what had been called by the music industry: “cross over” and “cover” records.

Here’s what Harry has to say in his This Magic Moment: “Sales of records by black artists increased ‘cross over’ appeal to white kids. And seeing the popularity of the music among teenagers, record companies (even major labels) realized this was a simple way to appeal to more kids. Using popular mainstream artists, they recorded songs that were already moving up the record charts. Radio stations that never would have aired the original black or country versions quickly played the homogenized versions. This was the birth of the infamous ‘cover’ record. The covers were tamer than the originals and parents’ fears were eased sufficiently to allow their kids to buy more records.”

Here are some of the records (Song/Cover/Original) that were “covered”:

Ain’t That A Shame/Pat Boone/Fats Domino

Tutti Fruitti/Pat Boone/Little Richard

Sincerely/The McQuire Sisters/The Moonglows

Earth Angel/The Crew Cuts/The Penquins

Only You/The Hilltoppers/The Platters

Bo Weevil/Teresa Brewer/Fats Domino

Shake Rattle Roll/Bill Haley/Joe Turner

Harry continues: “With all this going against it, how did R&B get even as far as it did? The jukebox certainly played a part. Millions of kids were greatly influenced by what they heard on the jukeboxes in establishments throughout the country. Places that featured jukeboxes often had areas for dancing, so it was natural that jukebox operators provide as much danceable music as possible. R&B was the first danceable music of all, and there was no juebox censorship.”

R&B producer Ralph Bass has stated that early Rock-N-Roll did as much to break down America’s racial barriers as the civil rights acts and marches.

R&B has lived on with the film industry with classics like: American Graffiti, The Big Chill, American Hot Wax, Pretty Woman, Sister Act, etc. Even Madison Avenue got on the lucrative bandwagon with the use of R&B songs like: Personality (Chevrolet), Kansas City (Chevrolet), The Wanderer (Oldsmobile), Dedicated to the One I Love (ATT), Stand By Me (American Express), Up on the Roof (British Airways) and I Love Beach Music (Budweiser).

Here’s what Harry said about the origins of R&B: “And with the advent of R&B music, music traditionalists were repulsed by this unsophisticated music form. To them, music should only have been performed and recorded by trained students of music. Imagine how offended they must have been by this upstart music, performed largely by less educated blacks and aimed at black audiences!”

Besides The Clovers and Ruth Brown, Harry states that:

Joe Turner

Chuck Willis

Ray Charles

Lavern Baker

The Drifters

Clyde McPhatter

Ivory Joe Hunter

James Brown

Otis Redding

were also pioneers in R&B.

As R&B became more popular, the music world began to see what had been called by the music industry: “cross over” and “cover” records. Here’s what Harry has to say in his This Magic Moment: “Sales of records by black artists increased ‘cross over’ appeal to white kids. And seeing the popularity of the music among teenagers, record companies (even major labels) realized this was a simple way to appeal to more kids. Using popular mainstream artists, they recorded songs that were already moving up the record charts. Radio stations that never would have aired the original black or country versions quickly played the homogenized versions. This was the birth of the infamous ‘cover’ record. The covers were tamer than the originals and parents’ fears were eased sufficiently to allow their kids to buy more records.”

Here are some of the records (Song/Cover/Original) that were “covered”:

Ain’t That A Shame/Pat Boone/Fats Domino

Tutti Fruitti/Pat Boone/Little Richard

Sincerely/The McQuire Sisters/The Moonglows

Earth Angel/The Crew Cuts/The Penquins

Only You/The Hilltoppers/The Platters

Bo Weevil/Teresa Brewer/Fats Domino

Shake Rattle Roll/Bill Haley/Joe Turner

Harry continues: “With all this going against it, how did R&B get even as far as it did? The jukebox certainly played a part. Millions of kids were greatly influenced by what they heard on the jukeboxes in establishments throughout the country. Places that featured jukeboxes often had areas for dancing, so it was natural that jukebox operators provide as much danceable music as possible. R&B was the first danceable music of all, and there was no juebox censorship.”

R&B producer Ralph Bass has stated that early Rock-N-Roll did as much to break down America’s racial barriers as the civil rights acts and marches.

R&B has lived on with the film industry with classics like: American Graffiti, The Big Chill, American Hot Wax, Pretty Woman, Sister Act, etc. Even Madison Avenue got on the lucrative bandwagon with the use of R&B songs like: Personality (Chevrolet), Kansas City (Chevrolet), The Wanderer (Oldsmobile), Dedicated to the One I Love (ATT), Stand By Me (American Express), Up on the Roof (British Airways) and I Love Beach Music (Budweiser).


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