British rhythm and blues British rhythm and blues British rhythm and blues (or R&B) was a musical movement that developed in the United Kingdom between the late 1950s and the early 1960s, and reached a peak in the mid-1960s. It overlapped with, but was distinct from, the broader British beat and more purist British blues scenes, attempting to emulate the music of African American blues and rock and roll pioneers, such as Muddy Waters and Howlin' Wolf, Chuck Berry and Bo Diddley. It often placed greater emphasis on guitars and was often played with greater energy. The origins of the movement were in the
Rhythm and blues "Carnival Day," (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). While some of these early experiments were awkward fusions, the Afro-Cuban elements were eventually integrated fully into the New Orleans sound. Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado's mambo records." He was especially enamored with Afro-Cuban music. Michael Campbell states: "Professor Longhair's influence was... far reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is 'Longhair's Blues Rhumba,' where