![]() ![]() Marvin Gaye and Frank Ocean represent that musically, a King of R&B should be aware of the current state of affairs, unafraid to ask “What’s Going On,” unafraid to give access to their private life through conceptual albums, and unafraid to embrace their relentless “Sexual Healing” powers. When we watch the likes of Usher and Chris Brown perform on live TV award shows to arena concerts and festivals, we know a King of R&B possess his own signature stage presence which captivates audiences. 1 hits- not only for themselves on the Billboard Hot 100 and R&B charts, but also radio airplay, and for other artists as either a featured role or a part of the songwriting and producing process. The collective chart-toppers of Ne-Yo, The-Dream, and T-Pain showcase that a King of R&B needs to capture No. Jamie Foxx and John Legend transformed into primetime kingpins- who would eventually amass Oscars and Grammys (Legend completing the EGOT)- as a King of R&B is able to use their success to branch their R&B-based talents out to higher viewership and acclaim. Stevie Wonder and Donny Hathaway flexed how it’s a bonus for a King of R&B to be trained in playing a musical instrument.Īs showcased by the discography of Michael Jackson and Prince, a King of R&B has to have the ability to insert the genre into others- their sound blending and weaving into rock, pop, folk, and all other avant-garde forms with documented black roots. As exhibited by the penmanship of Babyface, PARTYNEXTDOOR, The Weeknd, and James Fauntleroy, a King of R&B needs to have lyrics that not only connect to listeners but explain the dynamics of love. As exhibited by the likes of Luther Vandross, Charlie Wilson, and Al Green, a King of R&B should be able to have a unique and soulful vocal ability- not only for their time of reign but one that transcends generations. Let’s delve into the requirements, as set forth by the genre’s precedent makers. ![]()
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