British rhythm and blues scene in Manchester, were influenced by American forms of music that included rockabilly, girl groups and the early Motown sound, helping them to produce commercial orientated form of music that began to dominate the British charts from 1963. However, bands from the developing London club scene were mainly concerned to emulate black rhythm and blues performers, including the work of Chess Records' blues artists like Muddy Waters and Howlin' Wolf, but also wider rhythm and blues singer and rock and roll pioneers like Chuck Berry and Bo Diddley resulting in a "rawer" or "grittier" sound. British rhythm and blues differed
Rhythm and blues sales were localized in African-American markets; there was no white sales nor white radio play. During the early 1950s, more white teenagers started to become aware of R&B and to purchase the music. For example, 40% of 1952 sales at Dolphin's of Hollywood record shop, located in an African-American area of Los Angeles, were to whites. Eventually, white teens across the country turned their music taste towards rhythm and blues. Johnny Otis, who had signed with the Newark, New Jersey-based Savoy Records, produced many R&B hits in 1951, including: "Double Crossing Blues", "Mistrustin' Blues" and "Cupid's Boogie", all of which