R&B IA — voix souple, accords qui glissent, tempo posé.
tempo moyen 89 BPM (de 60 à 144) · 42 titres · 2 instrumentaux · énergie moyenne 48 %
Les consignes réellement utilisées pour produire les 42 titres R&B du catalogue, relevées sur les morceaux eux-mêmes.
smooth soul and R&B, warm Rhodes electric piano chords with lush extensions, round fretless-feel electric bass sitting deep in the pocket, laid-back drums with soft rimshots and brushed hi-hat, muted clean guitar playing sixteenth-note skanks, subtle string pad on the chorus only, silky male lead vocal with controlled falsetto and breathy ad-libs, stacked three-part background harmonies answering the lead, tasteful saxophone line in the bridge, warm analog tape production with plenty of low-mid, unhurried tempo, no rapping, no synths leads, no programmed trap drums, quiet closer, voice and Rhodes almost alone, band joins for the final chorus — 9 titres, dont « Kitchen Floor »gospel soul, Hammond organ with rotary speaker, upright piano, full mixed choir answering the lead, tambourine and handclaps, driving live drums, warm electric bass, raw powerful male lead voice with grit, room recorded with the congregation feel, A 102 BPM en fa majeur. Orgue seul en introduction pendant trente secondes, puis batterie et basse entrent ensemble. Le choeur n arrive qu au premier refrain, d un coup, a pleine voix. Tambourin constant. Forme en montee par paliers, chaque refrain une tierce plus haut. Dernier refrain en modulation. — 9 titres, dont « Carry It For Me »Urban dream pop, late-night R&B-leaning pop production, warm muted 808 sub bass, crisp hi-hats and finger snaps laid back behind the beat, soft rimshot and brushed snare, dusty Rhodes electric piano chords, muted clean electric guitar with chorus pedal, glassy bell and celesta accents kept low in the background, sidechained pads, subtle vinyl crackle and distant city ambience, airy youthful male voice singing in clear American English, breathy intimate close-mic verses with light melodic half-singing, stacked falsetto harmonies on the hooks, plate reverb and tape delay on the vocals, nocturnal neon and rain-on-pavement mood, spacious wide mix, hopeful and unhurried, no distortion, no aggressive drums, no rap verses, no shouting — 7 titres, dont « Nightbus »up tempo Memphis soul 1970's, soul — 2 titres, dont « A Day with none »Vocals from the very first word, no instrumental intro, the baritone and a fretless bass sliding long melodic lines together, no count-in, breath audible. Slow modal funk-soul, 72 BPM, low energy, fretless bass as lead voice, warm tape-saturated close room; verse-first, stripped bridge with voice and dripping faucet only. Glass marimba enters faint at the first chorus; the drip sample reappears only in the final bars; slap bass stays understated. Vocals: British male early-thirties deadpan baritone, speaking-singing, dry and sultry, clipped London consonants, no vibrato; punky female interjects flatly; small jazz-gospel trio answers warm and loose. High-polish 1983 mix, dry close vocals with short slap echo, deep sub-low, hard-panned width, lots of space. No distortion on vocals, no rap, no orchestral swells, no auto-tune. — 1 titre, dont « Sultry Water, Silver Spoon »Thin analog synth pad swelling alone for six seconds with faint classroom chatter underneath, then a soft spoken line over it. Slow mellow go-go soul, 78 BPM, major, spare 80s analog synth pad melody as lead, slow build, drums entering late, children's chorus carrying the last third. Jazz flute takes over the second half from the start of the second verse, cowbell only ticks through the last chorus, no rototoms. Warm gritty American man in his forties, mid-chest, half-sung half-rapped, talking between lines; bright gospel-trained American woman answering playfully; small children's chorus and gospel group on every call. Soft close room, kids slightly off-mic, long plate reverb, handclaps, round low end, groove never fully stops. No distortion, no autotune, no orchestral strings, no cowbell intro. — 1 titre, dont « Tsuu T'ina Morning Drill »Two unaccompanied singers in loose unison for one full line, breath and lips audible, nothing behind them, then close-voiced orchestral strings swell underneath. Cinematic orchestral soul-funk ballad, 74 BPM, minor, slow build, drums entering very late, big string lift at the final chorus. Clavinet enters at the second verse only; one horn chord held at the very end. Smoky half-detached alto woman speaking verses low and belting only at the close, breathy punky light tenor slightly flat at phrase ends, neutral urban English, four-part gospel choir stacked in thirds. Wide symphonic room against very dry forward vocals, deep sub, long plate tails, slapback ad-libs, faint crowd ambience, analogue hiss. No distortion, no rap, no metal guitar, no autotune, no horn or conga intro. — 1 titre, dont « Letting Go Of The Rope »Unaccompanied alto voice for the first two lines, breath audible before anything enters, then bowed upright double bass creeping under her, later plucked. Modal slow funk-soul jam, 69 BPM, double bass as main instrument, brushes and soft Rhodes pads, intimate close-mic in one long dark hall, stripped bridge, final chorus opening out to full choir, quiet and smouldering. A single muted horn line answers the voice in the bridge only; clavinet absent; congas absent. Smoky alto woman, sassy and half-detached, low spoken verses, belting only the last chorus, no vibrato, four stacked gospel voices in thirds. Wide glossy mix, deep sub, vocals dry and forward over long plate tails, faint crowd ambience, analogue hiss. No distortion, no autotune, no shouting, no horn intro. — 1 titre, dont « Her Favourite Song, Badly Timed »