Album: Various artists

The R&B Hits of 1954, INDIGO/SANCTUARY

Andy Gill
Thursday 17 March 2005 20:00 EST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Indigo's annually themed box sets may be the best R&B anthologies ever compiled. Where other collections of pre-rock'n'roll music are usually assembled by genre, Indigo's policy affords a fascinating illustration of the diversity of styles pursued alongside one another in any given era, and enables one to track the evolution of black music during rock's gestation period. The most striking aspect of this three-disc set is the breadth of idiosyncratic approaches sheltering under the rhythm-and-blues umbrella, ranging from the doowop of the Spaniels, Chords and Cadillacs, through the jazz-tinged combo sounds of Ray Charles and Big Joe Turner, to the rawer blues of Elmore James and John Lee Hooker. The diversity reflects the regional influences that affected music in the Fifties - with the rolling New Orleans feel of Fats Domino, Professor Longhair and Smiley Lewis different again from both the Texas jump-blues of T-Bone Walker and Lowell Fulson and the Chicago blues of Muddy Waters and Howlin' Wolf. Within any of the subgenres covered, the individual approaches are legion: try suggesting that Ruth Brown should sing more like Dinah Washington, or that The 5 Royales might profitably adopt the harmonies of The Clovers, and the chances are that you'd have been chinned. A reminder of the virtues of musical idiosyncrasy.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in