Dancing On The Edge News

Transcription

Dancing On The Edge News
Volume 1, Issue 26
September 12, 2012
Explorations in Beach and Shag Culture
Growing Old Southern - the End of an Era - Page 2
CBMA November 2012
Deep Fried
Hayes Jewelers
presents the
2012
Chicago’s first independent record
label was allegedly Rhumboogie,
May 1945 which boasts three records
by T-Bone Walker.
In late 1945 or January 1946 the
Melody Lane Record Shop on East
55th Street became the second independent, but with only two re-
November 7th-11th
North Myrtle Beach and the Alabama
Theatre
Purchase 2012 CBMA tickets
and receive discounted
2012 “One” Show Tickets.
Ask your ticket sales representative at
1-800-342-2262 for details.
leases, followed soonafter by their
subsidiary label, Hy-Tone.
Of the four songs released, three
were originals by Dr. Jo-Jo Adams,
Dancing O
n the E
dge JJour
our
nal
On
Edge
ournal
500 Hearthside Dr
Winston Salem, NC 27104
Tel: 704-219-1560
www
.beachshag.com
www.beachshag.com
[email protected]
2
Dancing On the Edge News
“Corine” was a standard they added
in.
Adams was a Southside Chicago
continued page 6
Save the Last Cult for Me
Once in a while the wor
ds on a page, or steps on a dance floor
words
floor,, transcend their ordinary existences to become art.
Some steps, in car
efr
ee ensemble dancing, rise and become The SShag.
hag.
carefr
efree
Some words expand and resonate like those in ancient scrolls and manuscripts.
But it
est of occasions when Wor
ds and SSteps
teps inter
twine
it’’s only the rar
rarest
ords
intertwine
to become a new poetic form of historical DNA that finds its way into
newspaper stories, masters theses, doctoral dissertations, spin-off novels,
folklore and legends which entertain and educate for decades to come.
Ther
oland and SSawy
awy
er
avee the Last
Theree ar
aree many such moments in P
Poland
awyer
er’’s Sav
Dance for Me
Me..
The American Buffalo, or Bison,
Dance coincided with the return of the
buffalo herds to Native American hunting grounds as part of a larger festival
including a feast and men dressing up
in buffalo hides to emulate the animal
central to their society.
One of America’s earliest silent films
shows four Native Americans doing the
Buffalo Dance in 1894 (see the film,
you guessed it, on YouTube).
The American Shag Dance corresponds with, but isn’t exclusive to, migrations which belong to S.O.S. or the
Association of Carolina Shag Clubs.
First off -- I love this book.
I’m going to begin this review at
of A Lost Icon because I think Rinella,
Secondly, it would be disingenu- Chapter 4 to avoid unneeded disous of me to float it on a sea of hy- putes at this time.
perbole just because it celebrates
Poland and Sawyer’s (P&S) new
something dear to my heart and feet.. book is a tribute to growing up with
though not nearly as pretty as Poland
with prose, has a wonderful way of
That’s one of the reasons I spend so the Shag.
much time exploring various perspecIt’s a love story, a love song, and
tives on the Shag in this magazine, sometimes a dance of love. And, like
and ultimately the heart of the book love, it’s sometimes blind -- but that’s
A beautiful salute to Shag’s roots,
without dipping into the folklore, is
I’ve been aiming to complete for 32 what makes it all the more human.
years (next year...2013).
I’ve added a comparison to Steven
So, in the midst of my admiration, Rinella’s American Buffalo - In Search
uncovering the roots of the icon he
pursues in his book.
P&S’s, “you’ll find the roots of shag
here where the cross-pollination of
black music and white dancers took
place.”
P&S’s research has produced some
Volume 1 No. 26
3
Save the Last Cult for Me
fine fruit, but it some of it doesn’t
coast. Their tailor-made pants cost
belong to the history of the Shag tree.
Be that as it may, in order to avoid
up to $100 apiece, add to their cashmere sweaters, oxford shirts, weejuns,
disputes that don’t serve the task at
hand, I’m starting at Chapter 4:
and even the peroxide for their hair
and you’ve got high maintenance
Legendary Days at Ocean Drive
clothes horses who were anything but
cheap.
Aside from the beauty and poetry
Just before ‘The Switch’ on page
49 of their narrative, P&S slide one
laid down by Poland and Sawyer in
this chapter, I think it’s important to
home without a lot of fanfare -- but
one worth taking note of, I wager.
note they’re talking about lifestyles
and events that were repeated on
To wit:
ful er
wonderful
eraa of pegs [pants]
beaches on both coasts of the U.S.,
“ The wonder
but in the Carolinas, the Shag took had ended and so had beach individuality..”
root, stuck in the sand like the crepe viduality
myrtles who were the namesakes of
the resort south of Ocean Drive.
P&S describe the Beach bums of
Whoa! That’s a heck of a statement.
the late 40s and early 50s as a “new
breed of beach wildlife.” They set
Do P&S hold that only clothing
reflects individual expression?
about proving it with a variety of wild
and fun stories.
There’s another Carolina Legend
which I think subsumes that claim.
Of course they had to factor in the
Beaver Boys and the K.M.A. (Kiss
Although I’ve heard the clothing
claim many times, it doesn’t come
My Ass) Club with “....they never
saw a candle they couldn’t burn at
close to the number of times I’ve
heard the assertion that dancing style
both ends.”
Sounds like the S.O.S. 80s and
always revealed one’s roots and hometown in the Carolinas.
90s migrations, doesn’t it?
Ask Berkley Altman some Sunday
afternoon at the O.D. Pavilion. He
How ‘Cheap
haggers?
‘Cheap’’ Ar
Aree SShaggers?
grew up in Mullins, SC and has always bragged he had the first tailor-
In their sub-chapter, Pegged Pants,
Penny Loafers, and Pumps, P&S put
made drapes on the Beach (NMB/
Cherry Grove) in the 40s. And, he
the spotlight on one of my favorite
dichotomies: the early Beach Cats,
can elaborate at length on dancing
styles....in his 80s and still Shaggin’.
although called Beach Bums, wore
the most expensive clothing on the
Shag mythology has always held
that the early pioneers each had their
4
own personal steps and it was a universal matter of honor not to copy one
another’s steps. There may be the
‘lifting’ of a step and ‘dancing it backwards’ but that wasn’t considered
‘copying’ -- i.e. bootlegging.
No doubt that clothing is an accessory to individuality, but this is a
book about Shagging in a world
where dance style was the de facto
mark of individuality.
With P&S you can cruise down
the beach-side front streets and revisit pavilions of the past, those you
knew, and those that came and went
before.
Their story of the Pad’s origins and
characters is, to me, the first moving
love song in Save the Last Dance for
Me. Lots of time and research went
into that chapter and it shines
through the loving arms P&S wrap
around the Pad’s 39-year history.
I’m not going to attempt to ‘analyze’ or dissect Poland and Sawyer’s
book here. Unfortunately, the bulk
of their quotes drawn from other publications were generally the repetition
of hearsay and folklore rather than
direct experience or publications from
the eras under the microscope. That
has been part of the tradition, however, just like steps borrowed and retooled for new ensemble improvisations.
No matter what, this book is a
treasure that should be enshrined at
the center of your book collection.
--Fessa Hook
***
Stev
ens & SSummer
ummer
time
tevee Ow
Owens
ummertime
We heard Summertime over the July 4th holiday,
four hours down the road from a four-hour gig they did
earlier in the day! That’s eight hours on stage, with a
four-hour ‘break’ driving the band and equipment to
the Spanish Galleon in North Myrtle Beach, where it
took in excess of another 1-2 hours to set up and get the
sound checks finished in time for the next show.
And they knocked it out of the park!
If you’ve missed them so far, catch them July 14th at
Boom Boom’s in North Myrtle Beach, the O.D. Beach
Club there on July 27th, or TJ’s Night Life in Raleigh
on August 2nd.
1.
2.
You’re So Young, But You’re So True
Recapture the Magic
3.
4.
Greatest Love Ever Known
Working On A Big Chill
5.
6.
When the Moment Comes
I’d Give Up Everything for You
7.
8.
Second Chance
I Dig Everything About You
9.
10.
Do You Love Me Like That
Dance With My Father
11.
12.
A Much Better Place
Getaway Car
Steve Owens and Summertime includes Roy
Davis, Bryan Castro, Dave Owens, Steve Owens,
John Downing, Ben Shaw, Robin Woodard, and Joey
Tucker -- and there are rumors of some exciting new
additions!
Volume 1 No. 26
5
Deep Fried: Dr. Jo-Jo Adams & Freddie Williams
venues.
After those first recordings with
Williams, Dr. Jo-Jo split for Los Angeles where he recorded six sides with
the man who was practically the father of all early Aladdin Records
Rhythm and Blues, Maxwell Davis,
on Aladdin 142, 143, and 144. Although Dr. Jo-Jo wasn’t on the very
first Aladdin records, when they
switched over from Philo in ‘46, he
was on the 16th, 17th, and 18th
Aladdin records and some of the very
first Maxwell Davis waxings.
Although the tempo of Adams’
first ten recordings are all 4/4, there’s
enough change in bpm (beats per
minute) to add some variety.
continued from page 2
Blues shouter who teamed up with
Williams for the four releases which
Nathan Rothner launched Hy-Tone
Records as the extension/replacement
of Melody Lane.
Their plan was to press a portion
of 12,000 copies of the two records
per week through the Chicago Recording Company and the rest
through Irving Green’s Mercury
Record plant in Chicago and HyTone would handle the distribution.
vocals are tantalizingly familiar, resonating with countless 1950s R&B
songs.
His Melody Lane and Hy-Tone
songs were all recorded in January
1946.
“Jo Jo Blues Pts 1 & 2” on Melody
Lane 11 are the kind of slow tempo
shuffles at which our PC Bop friends
in Alabama, Panama City, and the
Dr. Jo-Jo was born August 18, and
Gulf Coast are unmatched. 80-90
bpm are their meat just as easily as
launched Melody Lane (and subsequently Hy-Tone).
The first was Jo Jo Blues Pts 1 &
youth is that he sang with the Big
Four Jubilee quartet.
2 on Melody Lane 11.
By April 6th, just three months
Adams showed up on the South
Side of Chicago in 1954 playing the
later, Williams and his partner
Ritz Show Lounge and a few other
in 1946. Although the band is still
steeped in jazz and swing, Adams
The SSepia
epia F
rank SSinatra
inatra
Frank
probably 1918, in Alabama. About
the only other thing known about his
6
The amazing thing to our ears is
how close to the edge of R&B he was
120 bpm. Remember, all four of Dr.
Jo-Jo’s Melody Lane sides were rereleased on Hy-Tone in less than 45
days.
“Please Don’t Give It Away” is a
superb mid-tempo tune, as is
backing band for Dr. Jo-Jo at a sixsong session circa December 1946.
Musicologists--you may find your
discographical tomes say otherwise,
however it’s finally been verified that
all six were in 1946, rather than three
then and three in 1949. The sixth
side was not only the first slow,
draggy blues in Dr. Jo-Jo’s recorded
repertoire, it was a reissue copied note
“I started playing the blues when I saw a man standing on the stage
and he was getting big money. He had a red pocket hand’chief
around his neck and coveralls and I said, ‘That’s not the way it’s
supposed to go’. I introduced color to the stage. My tailor-made tails
that were 55 inches long - when I spun around you could shoot dice
on them!” --Dr. Jo-Jo to Dave Penny in a Living Blues interview.
Dr. Jo-Jo Adams clearly modelled himself after Cab Calloway. Pics on the
left and right are from his rendition of “Hucklebuck” from ‘Burlesque in
Harlem’ -- you can see it on YouTube, he’s got a voice much deeper than
his somewhat dandy look. Although a major R&B hit in 1949, the huckabuck
for note--one side of Hy-Tone 29-from a Floyd Smith 1939 recording,
“Floyd’s Guitar Blues,” with Andy
Kirk and his Orchestra.
The other side of Hy-Tone 29 is
“I’m Weak for You,” 4/4 time, 120
bpm, and a vocal reminiscent of
Wynonie Harris in a few places.
Floyd Smith’s Combo shares similarities, to my ear, with Johnny Moore’s
dance had been around longer; Bessie Smith sings about dancing the huckabuck
all night long in Wesley Wilson’s 1933 song “Gimme a Pigfoot & a Bottle of Beer.”
His “Thursday Evening Blues”
and “Jo Jo’s Trouble” bring things
down to normal at 108 bpm while
“Disgusted” and “When I’m In My
Three Blazers, a smooth, uptown
L.A. blues group featuring Charles
Brown and Oscar Moore on the west
“Corine” on Melody Lane 13 and
corresponding releases on Hy-Tone.
coast.
Hy-Tone 30 comprised Parts 1
Dr. Jo-Jo’s six sides with Maxwell
Davis, recorded in Los Angeles June
11, 1946 are also 4/4.
“Hard-Headed Woman Blues”
and “Upstairs” are for the fast steppers.
Tea” (one of those 30s-40s tributes
to reefer) are both a little slower.
Floyd Smith’s Combo was the
and 2 of “Around the Watch,” Dr.
Jo-Jo and Floyd Smith’s version of
“Around the Clock Blues” recorded
continued page 17
Volume 1 No. 26
7
Keep the Ball Rolling
Jay and the Techniques:
--Jack Garrett
The summer of 1967 is most often remembered as the summer of
love, but for fans of sweet soul music, it was also the season when Jay
and the Techniques ruled the airwaves. If you had a transistor radio,
you couldn’t turn it on without hearing the unmistakable refrain, “Apples,
peaches, pumpkin pie, who’s not
ready holler I.”
Jay Proctor was the voice behind
the song that propelled seven Pennsylvania musicians from sorority
dances to the Ed Sullivan Show.
In 1966, Philadelphia songwriter
and producer Jerry Ross moved from
Cameo- Parkway and signed a production deal with Smash Records, a
subsidiary of Mercury. The deal was
the song. He says the demo was
crude and he had no interest in “sing-
basic: find new talent and groom
them for stardom. Among his discov-
ing a song about fruit.” But Proctor
agreed to give it a try and says when
eries were Spanky and Our Gang,
Keith and Bobby Hebb, whose
the recording was finished, he “knew
it was going to be a hit.”
“Sunny” became one of the biggest
hits of the year.
Jay and the Techniques formed
ternity parties and sorority dances
and had been together less than a year
thought the contest was rigged and
weren’t surprised when they lost to a
But as fate would have it, Hebb
passed on the song.
rival group.
The DJ who presented the “win-
Ross offered the tune to an unknown group from Allentown, Penn-
ning” band with their trophy called
Proctor aside following the competi-
sylvania: Jay and the Techniques.
Proctor says Hebb was one of at least
integrated groups in pop music.
The band started by playing fra-
was a studio demo and a shot at a
recording contract. The band
demo of a song by Maurice Irby
titled “Apples Peaches Pumpkin Pie.”
8
Lloyd teamed up with an all-white
soul band and became one of the first
when they appeared in a talent show
in their hometown. The grand prize
Ross came up with a surefire follow-up for Hebb when he found a
four established artists who rejected
second lead vocalist George “Lucky”
when lead vocalist Jay Proctor and
tion and said: “Jay, you know you
guys really won. And so I gave them
Keep the Ball Rolling
the trophy, but I’m giving you guys
the demo.”
That’s how the band met producer
Jerry Ross, who had just left CameoParkway Records and was looking for
a label. Mercury came calling and
Proctor explains that Ross told the
label he would sign, but only if he
could bring the Techniques with
him.
The band went into the studio and
recorded about nine songs, none of
which was deemed suitable for single
release.
Two months went by without a
word from their producer. Then,
Proctor got a telephone call from Ross
who had a song he wanted them to
record called “Apples, Peaches,
Pumpkin Pie.”
The drummer, who was the acting manager of the group, hung up
on Ross when he heard the title.
Proctor’s reaction was similar, explaining that he was listening to
James Brown and hated the demo,
telling Ross he wasn’t “gonna do no
fruit song.”
Proctor finally relented and traveled to New York to lay down the
vocal track. He said the master tape
was a different story and sounded “a
whole lot better than what I heard.”
He explains that “back then the writers didn’t sing, and they barely could
play. But they would plunk the song
out on the piano and they would sing
along and it was horrible.”
But Ross heard the song’s potential and convinced Proctor it was a
winner. The single reached #6 on
of the charts.
Billboard’s Hot 100 and earned the
group their first gold record.
As a follow-up, the band turned
to two songwriters out of Bob Crew’s
The Techniques included Chuck
Crowl on bass, Karl Landis on drums,
stable: Denny Randell and Sandy
Lizner. They supplied “Keep the
Ronnie Goosley on sax, Jon Walsh on
trumpet, and Dante Dancho on gui-
Ball Rolling,” which became the
band’s second gold single.
tar. Paul Coles, Jr. and Danny Altieri
soon replaced Landis and Walsh,
Proctor said he was unimpressed
with the tune, until he entered the
while Jack Truett was added on organ. And for many of the sessions,
studio and heard the song’s signature
introduction. When Proctor heard
Ross added the vocal talents of
Ashford and Simpson and Melba
the strong hook from the horns, it
sent chills up his spine. He explains
Moore as backup singers.
“Apples, Peaches, Pumpkin Pie”
that “in those days I actually sang
with the band; the whole orchestra
had just the right mix of soul and
bubblegum to vault it near the top
was there. And I used to stand in front
continued page 12
Volume 1 No. 26
9
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Dancing On the Edge Journal is
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Golden Era, to today.
Vol 1: Jim Hannah - one of the
two pioneers of ‘Beach’ Music, picture & story of the Embers before
they were the Embers, 27th National Shag Championships, Terry
Timmons in the Groove, From the
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including the most-complete-yet
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Vol 4: Cruisin’ Thru (Deep,
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Volume 1 No. 26
11
Keep the Ball Rollin’
and always felt he would make a career out of music. He knew from the
moment he entered the studio that
“it was comin’ true for me” and never
looked back.
After scoring back-to-back gold
records in 1967, another Top 40 hit
and a second album, “Love Lost and
Found,” followed in ’68. “Strawberry
of ‘em and sing this song without a
mic... and I would sing along because
Shortcake” cracked the Top 40 but
failed to have the impact of either of
Jerry wanted me to do that. So I
would warm up that way. And when
their earlier releases. The song followed a familiar formula, a fact not
I heard them hit that live, those
horns were unbelievable.”
lost on the soul-minded Proctor.
As was often done by songwriters
With a top 10 hit under their
belts, it was on to New York,
and producers in the sixties, “Strawberry Shortcake” was Irby’s attempt
cakes and balls.” Proctor smarts at
the mention of the song and insists
the mistake Mercury made with the
Techniques was preventing the group
from recording authentic soul music. “They thought that what we did
was a flash in the pan and they
treated it like that instead of really
cultivating the group and bringing
where Jay and the Techniques
received their first gold record
us along. We could’ve went many
more years than we did had we
had the right people with us.”
and performed “Keep the Ball
Rolling” live on the Ed Sullivan
Frustrated that the Techniques weren’t being taken se-
Shoe on New Year’s Eve, 1967.
Proctor describes the
riously, Proctor pushed to record
music in the vein of the Temp-
Sullivan appearance as “a big
highlight of my life, my career.”
tations, Sam and Dave and Otis
Redding, whom he describes as
He met Sullivan and describes
him as “a very warm gentle man
“the greatest soul singer of all
time.” He blames poor manage-
(who) treated us great.” The Techniques topped a bill that included
to rewrite “Apples, Peaches, Pumpkin Pie,” in an effort to duplicate the
ment and his own inexperience,
pointing out that he was young and
vocalist Vikkie Carr, drummer Buddy
Rich, South African singer and civil
success of the group’s first hit. It
didn’t work. Proctor insists the song
“didn’t realize our manager was
working for me” instead of the other
rights activist Miriam Makeba, and
comedians Rodney Dangerfield and
was ill-suited for the band, adding:
“I hate it now and I hated it then; I
way around.
The band went back into the stu-
George Kirby. Proctor remembers
Kirby coming backstage, telling him
won’t play it and I won’t ever do it
live. That’s just a remake of Apples,
dio in March of ’68 to record what
would be their last 45 to make the
“not to be nervous... it’s gonna be all
right.”
Peaches.”
“Strawberry Shortcake” stalled the
pop charts, “Baby, Make Your Own
Sweet Music.” It peaked at a disap-
Proctor maintains he was never
surprised by the group’s success. He
group’s momentum and angered
Proctor, who told his producer he
pointing #64. Proctor describes it
as “a good song.” It was the first
was inspired by his mother to sing
“was tired of singing about fruits,
single the band recorded that he ac-
12
Keep the Ball Rollin’
problem with his day job because
“every time I got a job they fired me
1998 brought the first Jay and the
Techniques album in 30 years,
because my mind was never on what
I was doing because I had singing in
“Main Course.” Proctor collaborated
with his guitarist/manager Rick Levy,
my head all of the time.” After a brief
hiatus, Proctor decided to return to
who wrote many of the songs on
what is essentially a solo project. The
music and formed a new touring
band. The revamped Techniques
CD was followed by Proctor’s first official solo endeavor in 2006, “Still
failed to land a recording contract
but made a career out of playing the
oldies circuit.
More than 40 years after his rise
tually liked.
The late sixties and early seventies were a fallow period for the Techniques and the band was dropped after several flops on Smash, ending
with ABC Paramount songwriter Ray
Whitley’s “Dancin’ Mood.” But the
group achieved some success with
their recording of Barry White’s “I
Feel Love Comin’ On,” released in
’74 on Silver Blue and picked up the
following year by a larger label, Event
Records. Their follow-up for Event,
“Number Onederful,” made the
lower reaches of the R&B charts in
early 1976. The song remains
Proctor’s favorite recording and he
describes the song as “the first disco,
about a year before Disco really got
hot.” Both records remain popular
with Northern Soul fans in the UK.
With record sales declining, Proctor disbanded the Techniques and left
the music business for a while. Proctor went through a period in the seventies where he “didn’t sing at all.”
Actually, he did and that proved a
to stardom, Proctor continues to
tour with a smaller group of Techniques, minus the horn section and
backup singers. He opens and closes
his show with the band’s two biggest hits, and also performs impressive covers of soul classics by Otis
Redding, the Four Tops, Arthur
Got Flow.” Both were released on the
Forevermore label, but were ham-
Conley, the Temptations, Wilson
Pickett, Ben E. King, the Miracles
pered by limited distribution.
While he continues to perform and
and Sam and Dave.
Proctor keeps in touch with mem-
record, Proctor has little use for what
passes as rhythm and blues music
bers of the original band, including
drummer Karl Landis. But a rift with
today. He decries rap music that “degrades women,” adding: “If you’ve
vocalist “Lucky” Lloyd continues.
Their paths cross occasionally in
watched one rap video you’ve kinda
seen ‘em all, because they’re all the
Allentown, where Lloyd still lives.
Lloyd was the original lead singer and
same with half-nekked women, fancy
cars and bling bling.” While it may
Proctor says he added him to the
lineup “because he had such a great
be “making money and selling well
for them,” Proctor says: “I wanna hear
voice.” But their producer preferred
Proctor’s vocals and decided Proctor
somebody sing to me occasionally.”
Looking back on his career, Proc-
should sing lead, causing a rift that
“really took something away from
tor has few regrets but finds more
than a little irony in the fact that he
him.” And while Lloyd “stayed
around for a couple of years while we
has made a living out of singing two
songs he never really cared for and
had the hits, he really wasn’t into it
anymore.”
didn’t want to record.
***
Volume 1 No. 26
13
S.O.B.s like to Party, too
14
The SugarBees
The SugarBees (the “Bees” stand
“The Monkey Song,” “Holy Cow,”
manager and founder, Fred Shaw, is
for Beach, Boogie, and Blues) started
as a studio house band at South
“Hold You to Your Promise,” “Give
it to a Good Man,” and “Automo-
on drums. With topflight musicianship and a polished, energetic and dy-
Carolina’s Bradley House Music. In
addition to Beach Music, the
bile.” “Vacation” and “Dizzy” featuring Mary Vella are two of their
namic live presentation, the
SugarBees have it all for weddings,
SugarBees are equally at home with
R&B, rock, alternative, pop, classics,
original songs currently on the Top
40 Beach Music charts, .
festivals, and concerts!
and today’s top hits.
Multi Platinum Producer/Engi-
24 year old vocalist, Mary Vella,
joined the SugarBees in 2011 sing-
neer and drummer Fred Shaw, together with Marion Carter with
ing and writing new, original tunes
to add to the Beach Music Charts.
THE SUGARBEES LINEUP
LINEUP:
Ceasar, lead vocals, percussion, harp
Mary Vella, lead vocals, percussion
Ripete Records, founded them as a
studio band in 1996 backing na-
New Orleans native, Ceasar,
joined in 2005 adding an incredibly
tional and international talent such
as Maurice Williams and the Zodi-
high energy Cajun influenced floor
show.
acs, Gatlin Brothers, Stylistics, Drifters, Tams, Embers, Platters, and doz-
The Group is a leading live attraction with a new lineup of 19 year old
YOUTUBE VIDEO
Copy or click the link below to
ens more.
Their Bad, Bad Business CD de-
Tyrell Taylor, an inspiring keyboard
player with a long tenure in the Gos-
view The SugarBees Promotional
Video.
buted in 1998 with extensive touring and four more CD projects to
pel field, Anthony Brown “Amp” is
an original on bass for 15 years,
http://youtube/HseWbH1PEhE
Booking 843-409-6500
follow. Their Beach and Shag hits include “Susie Q,” “Slippin n Slidin’,”
George Davis, another original,
strums blues licks on guitar, and
Fred Shaw, drums, vocals
Anthony (Amp) Brown, bass guitar
Tyrell Taylor, keyboard
George Davis, guitar, vocals
[email protected]
***
Volume 1 No. 26
15
16
continued from page 7
a year earlier by Wynonie Harris with
Johnny Otis’ All Stars, as well as an-
The evolution from Cab to Slim
his own, for which he eventually
to Dr. Jo-Jo seemed to represent a
wrote a dictionary.
Folks might have seen it coming single musico-lingo genealogy, alwith his July 1941 recordings of though they didn’t plan it.
“Bingie-Bingie-Scootie,” or “African
Jive.” In April 1942 he and his Flat
Foot Floogie Boys recorded what
would become the Hepsters anthem,
1945 Voo-it
1945 Vout Boogie
1945 Voot Oreenee
1945 No Voot No Boot
1945 My Voot is Really Vout
1945 Voot Rhythm
other by Joe Williams and the Three
Chocolates, and Chippie Hill and
Lovie Austin’s Blues Serenaders.
Thankfully, Adams’ version was
uptempo and 4/4.
Hy-Tone 31 was recorded in the
spirit of thousands of R&B tunes
from the late 40s into the 60s, a fast
side and a slow side. “I Get the Blues
Every Morning” was only the second
sloooooow blues the Dr. had recorded
while “Voodit” was in the groove favored by many artists of the day from
the time Slim Gaillard invented his
new Hepcat jargon.
The H
epcats w
er
eally Vout
Hepcats
wer
eree rreally
Gaillard was a multi-talented,
mysterious and eccentric performer
with disputed multi-national background, ranging from mixes of Cuban, African, German, Caucasian,
and Greek. He allegedly spoke eight
languages when he invented one of
1946 The Voot Is Here to Stay
1946 Voot Rock
Helen Humes
Slim Gaillard Trio
Slim Gaillard & Boogiereeneers
Dinah Washington
Dinah Washington
Bob Mosely
Ivie Anderson
King Perry
1946 Voot-nay on the Vot-nay
Basin Street Boys
1946 Vout Cowboy Louis Prima w Foy Willing/Riders of Purple Sage
1946 Voo-it Voo-it
1948 Rock that Voot
1954 Jump Children (Vooit Vooit)
1954 Voo-Vee-Ah-Vee
Blues Woman (Marion Abernathy)
Nelson Alexander Trio
Flamingoes
Platters
Dr. Jo-Jo recorded 14 tunes re“Groove Juice Special (Opera In
corded with Tom Archia and His All
Vout).”
‘Vout’ was Gaillard’s new invented Stars in 1947-48 on Aristocrat
language. And apparently it had Records (Aristocrat hired Leonard
Chess to its sales staff in ‘47, along
some longevity, from 1945:
In a way, it’s not surprising that with bringing on Dr. Jo-Jo, Annie
Dr. Jo-Jo, who seemed to emulate Laurie, and the Tritones to its artists’
Cab Calloway in many ways, had stable. That soon had an unexpected
latched on to Gaillard’s ‘Vout’ lingo. impact when the Chess Brothers abCab Calloway started his own sorbed Artistocrat to launch Chess
‘hepster’ lingo in the late 30s (“Are Records).
Archia recorded “Voo-it” with
you Hep to the Jive?”).
Cab’s language didn’t include a Helen Humes two years earlier.
Dr. Jo-Jo and Tom Archia’s 14
Voot, but did include Zoot (for ‘exaggerated’) as in Zoot suit--the ulti- sides were recorded over the span of
mate in clothing for the Hep Cat.
continued next issue
Volume 1 No. 26
17
Rev
ubba D. Liv
erance & Cor
nhole P
ev.. B
Bubba
Liverance
Cornhole
Prrophets
Bubba D. Liv
erance as a member of The K
eys, befor
ed “R
ev
er
end
Liverance
Keys,
beforee he acquir
acquired
“Rev
ever
erend
end”” status.
When a man breaks the heart of the woman who holds
If you don’t know the difference between a soul
him in her heart--witholding the adoration she deserves, singer and a soulful singer, check out Bubba D.
the friendship she desires, and the unrestricted love which Liverance. (Listen for this: a soul singer sings songs
should adorn her day and night--he’s left with few choices. by black artists -- a soulful singer makes you hurt,
He can stand on stage and sorrowfully sing an old laugh, cry, sigh, or feel like you’re gonna die when
he sings).
Mississippi Blues, which she’ll find pathetic.
Soulful singers can sing simple things like that
Or he can admit his errors, suck up his pride, cover it
in humility, and offer his heart to her to a good Shag beat. and make statues weep while May Day celebrants
That’s the way Reverend Bubba D. Liverance does it, dance obliviously between them.
singing for all of us from that secret place inside where
honesty and remorse struggle to strike a balance.
It’s that place at the core of compassion, where
heartbreak knocks strong men to their knees and only
soulsingers and
souldancers can
rise from the ashes
with their heads
held high and ask
sincerely for one
more
That’s
chance.
where
you’ll find the
Rev....
***
18
Hence, The Recession Sessions.
Beach M
usic Top 40 Countdo
wn
Music
Countdown
The Beach Music Top 40
www.beachshag.com
24
PRICE YOU GOTTA PAY
Ain’t No Midnight Train
2
Calabash Blues & Boogie Band
A MUCH BETTER PLACE
Steve Owens & Summertime
Stepping Out Tonight
2012
28
2
3
Owens, Steve & Summertime
ALL THAT MATTERS TO ME
29
4
4
Quick, Jim & Coastline
IF I ONLY HAD THREE WISHES
5
Thompkins Jr, Russell
LOOK BEFORE YOU LEAP
20
6
22
5
6
19
7
7
Sugarbees f. Mary Vella
BEIN’ WITH YOU
9
8
Breeze Band
I’M THE ONE WHO LOVES YOU
19
Try to Remember
9
Poor Souls
SWEET POTATO PIE
Recession Sessions, The
10
Liverance, Rev. Bubba D.
TAKE MY LOVE
C.T.C. The Music Lives On
18
14
10
12
11
11
13
12
Dr. Victor & Rasta Rebels
PRIDE AND JOY
If You Wanna Be Happy
19
Cobb, Johnny
VACATION
Sugarbees f. Mary Vella
Evolution
14
32
14
8
13
14
20
15
15
EVERY NOW AND THEN
Strickland, Rick
20
17
16
I’D GIVE UP EVERYTHING FOR YOU
20
18
17
FEELIN’ SINGLE
Kelly, R.
COME ON
Sons of Saint Rocco
12
12
22
19
20
21
18
19
20
Hangin’ Out
22
16
23
Ray, Donnie
DON’T WAIT TOO LONG
I’m Goin’ Back
31
29
24
Hall, Daryl
WASN’T THAT A MIGHTY STORM
Laughing Down Crying
8
Hear Music (Starbucks)
Universal
2012
Ecko 1139
2011
2008
27
26
Sea Cruz - Allie, Butch, Dino
JELLY BELLY
10
KHP 1105
2012
Bradley House
2011
26
27
Fantastic Shakers
BIG LOVIN’ WOMAN
8
KHP 1105
2012
KHP 1102
2011
30
28
Subway w/ Belinda Nicholas
EVERMORE
Subway
8
29
Shaw, Ryan
Real Love
MY LOVE IS YOUR LOVE (FOREVER)
6
31
2012
2012
2012
8
32
30
Gore, Jackie & Original Members
ONE MORE NIGHT AT THE BEACH
KHP 1105
2004
33
31
Fantasy
NICK OF TOO DAMN LATE
One for Me, The
7
4
34
32
Harris, Paula
WE’RE ONTO SOMETHING
Turning On the Naughty
2012
33
Clayton, Karen & Pat Christie
COME GET TO THIS/STEPPIN’ OUT TONIGHT
KHP 1102
2012
KHP 1105
2008
2012
rickstricklandband.com
43
24
Forevermore
2011
KHP 1099
2012
2012
2010
4
35
34
Reynolds, L.J.
I’LL BE RIGHT ON DOWN
25
35
Jones, Lloyd
COME WHEN I CALL
36
Where the Light Is
1
36
Mayer, John
BOOGIE SHOES
Steve Owens & Summertime
2012
KHP
1
37
Glee Cast
LOVE MY GIRL
2012
Write Me Back
2012
RCA
2012
KHP 1102
1
38
Tams
TORE UP FROM THE FLOOR UP
2012
2012
2
39
Moody, Ron
WOO
2012
40
Woolard, Craig Band
I WILL BE THERE
2012
Freaky for the First Time
Top Picks--Bubbling Under
AIN’T NO WAY
BIKER’S SHUFFLE
CAN’T BUY MY LOVE
FIRST IMPRESSIONS
FOOLISH HEART
HAVE A GOOD TIME
IF I DIDN’T LOVE YOU
I’M NOT AFRAID
KEEP ON GETTING’ IT ON
MELTING INTO YOU
MISSISSIPPI MILE
NEXT TO YOU
OUT OF MY MIND
POUR ME
PRETTY BABY
SECOND CHANCE
SHAGALAGGIN’
22
Meet the Queens of Southern Soul KHP 1092
2012
25
LOVEY DOVEY
Embers
EVERYBODY’S BILL COMES DUE
Blue Iyed Soul f. Bratton, Tho
2012
McDaniel, Rhonda
I’M GOIN’ BACK
28
2011
Interscope 16290
Love After War
DON’T WAIT AROUND
Year
Record Co. & #
9
2012
LOVE AFTER WAR
Thicke, Robin
21
BPM
(LP or CD)
Taylor, James
THINK IT OVER
PS 110402
2012
19
23
12
KHP 1101
2012
Martin Davis Band
YOU’RE MY TREASURE
10
KHP
2012
Forevermore
2012
Where the Boys Are
Title
Artist
Flyin’ Cloud 60
2012
KHP 1102
2012
McDaniel, Rhonda
DIZZY
This
Week
1
Last
Week
1
3
See affiliate links at www.beachshag.com
September 8, 2012
Year
Record Co. & #
No. of
weeks
BPM
(LP or CD)
This
Week
25
Title
Artist
Last
Week
No. of
weeks
To hear the Top 40 with Fessa John Hook
Fletcher, Kirk
Big Mucci
Lil Ronnie & Grand Dukes
Gore, Terri
Summerdaze
Big G
Diedra
Craver, Paul
Lindsey, Al
Jonas
Oates, John Band
Brown, Chris & Justin Bieber
Russell, Rene
Bonds, Gary U.S.
Lucia and Levi
Carolina Breakers
Lucia and Levi
32
40
37
Columbia 722665
2012
Bee Gees
SHE’S MY QUEEN
SMOOTH STEPPIN’ PAPA
SOMETHING YOU GOT
STEP ON BY
STOP (AND LOOK AROUND)
TAKE ME TO SOUTH CAROLINA
WALK AWAY FROM LOVE
Barnes, Ronnie
Night Move Band
Oates, John Band
Kelly, Winzell
Golde, Frannie
Big Dez
Paris, Mica
The Beach Music CD Top 10
19 1 1 STEVE OWENS & SUMMERTIME
KHP 1103
27 2 2 STEPPING OUT TONIGHT
18 3 3 RECESSION SESSIONS, THE
various
Reverend Bubba D. Liverance
KHP 1102
19 4 4 WHERE THE BOYS ARE
25 5 5 AIN’T NO MIDNIGHT TRAIN
McDaniel, Rhonda
KHP 1101
Flyin’ Cloud 60
5 6 6 TURNING ON THE NAUGHTY
Harris, Paula
57 7 7 MEET THE QUEENS OF SOUTHERN SOUL
4 8 8 CTC-THE MUSIC LIVES ON
35 9 9 LAUGHING DOWN CRYING
various
Hall, Daryl
7 10 10 FRIENDS: JUDIE’S PATIO PARTY
various
various
KHP
KHP 1105
Volume 1 No. 26
19
Put this address in your browser to get their OFFICIAL coupons for their stores in North Carolina,
.frame
war
ehouse.net
South Carolina and Virginia today: http://www
http://www.frame
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warehouse.net
CHARLOTTE LOCATIONS:
* 4626 SOUTH BLVD
* 5300 E INDEPEND. BLVD
* ARBORETUM at
8206-1300 PROVIDENCE RD
* 725-102 PROVIDENCE RD
* OLDE TOWNE SHOPPING
CENTER at 4100 CARMEL RD
HUNTERSVILLE, NC
* 9815-C SAM FURR RD
CARY, NC
* SHOPPES OF KILDAIRE
1327 KILDAIRE FARM RD
GREENSBORO, NC
* NORTHWEST CENTRE
2817 BATTLEGROUND AVE
20
GREER, SC
* BRUSHY CREEK SHOPPING
CENTER at 2454 HUDSON RD
COLUMBIA, SC
* VILLAGE AT SANDHILL
130-5 FORUM DR
RICHMOND, VA
* LIBBIE PLACE SHOPPING
CENTER at
5709 WEST BROAD STREET
CHARLOTTESVILLE, VA
* PICTURE PARTS
BARRACKS ROAD SHOPPING
CENTER
Roadhouse B
lues and B
oogie Top 40
Blues
Boogie
Roadhouse Blues & Boogie Top 40
www.beachshag.com and www.cashboxmagazine.com
This
Week
1
1
19
21
29
24
21
19
14
19
8
21
21
16
5
11
4
4
7
11
24
4
2
3
6
7
8
9
10
12
11
5
14
15
13
16
17
20
21
24
Year
Record Co. & #
MAKE UP ANOTHER LIE
2
Lawyers, Guns, and Money
TOO MUCH
2011
3
Nighthawks
Damn Good Time
DON’T PLAY THAT SONG (YOU LIED)
4
Moore, Sam & Bekka Bramlett
JUST ONE MORE TIME
26
2012
11
11
6
7
James, Nikki & the Flamethrowers Blues Band
WE’RE GONNA MAKE IT
8
Karp, Peter & Sue Foley
PRIDE AND JOY
9
Cobb, Johnny
SEND FOR ME
2012
Beyond the Crossroads
Damn Good Time
10
Nighthawks
NICK OF TOO DAMN LATE
Turning on the Naughty
11
Harris, Paula
CERTAINLY ALL
12
Mannie & the Swingin’ Hipsters
BIG TOWN PLAYBOY
13
Montoya, Coco w/ Meena & Shakura S’aida
IF YOU WERE MINE
Jump Start
14
Lil Ed & the Blues Imperials
CAN’T BUY MY LOVE
Gotta Strange Feeling
15
Lil Ronnie & Grand Dukes
ONE WRONG TURN
One Wrong Turn
16
Estrin, Rick and th Nightcats
LET’S GET HAMMERED
I Can Make that Happen
17
Bassett, Johnnie
SHUT YOUR MOUTH
CTC-The Music Lives On
18
McDaniel, Rhonda
BIG LOVIN’ WOMAN
Subway
19
Subway f Belinda Nicholes
100 WAYS TO MAKE LOVE
Blood Red Blues
20
James, Cee Cee
I WANT YOU
BIG WHITE CADILLAC
BLUES HAD A BABY
BOOGIE MAN
BUILT FOR COMFORT
Sorin, Ron & Blue Coast Band
Juke Joints
Sharpe, Jill
Juke Joints
Omar & the Howlers
Omar & the Howlers
30
26
27
BLUES DES LOMBARDS
ABC&D of Boogie Woogie
Live In Paris
2012
Eagle 202702
D.O.G.
Estrin, Rick and th Nightcats
One Wrong Turn
2012
Alligator 4950
HELP ME
Miller, Bill Band
Bill Miller Band
VOODOO WOMAN
Blue Iyed Soul
Freaky for the First Time
I WANNA LOVE YOU
Dr. Wu & Friends
An Evening w Dr Wu Live fm Texas
TIRED OF TALKIN’
Super Blues Xplosion
CTC-The Music Lives On
2012
KHP 1105
2012
KHP 1105
2012
2012
4
32
29
LITTLE JUKE JOINT
Burks, Michael I‘ ron Man’
Show of Strength
OLSEN RANCH SHUFFLE tk 2
Appelrouth, Ivan
Blue & Instrumental
2012
Alligator 4949
2012
4
33
30
2012
Alligator 4951
2011
EllerSoul 1101
4
34
31
I’M JUST WHAT YOU’RE LOOKING FOR
James, Marion
Northside Soul
2012
EllerSoul 1201
3
35
32
BAD BOY
Magic Slim & Teardrops
Bad Boy
2012
Bliind Pig 5147
GAMBLING BLUES
Magic Slim & Teardrops
Bad Boy
2012
Bliind Pig 5147
I LOVE THE LIFE I LIVE
Bogart, Deanna
A Few Days In Pianoland
2012
Blind Pig 5148
3
3
36
37
33
34
Eller Soul Records
2012
1
35
Alligator 4950
2012
YOU CAN HAVE MY HUSBAND
Morgan, Marsha Band
1
36
CATCH THAT TEARDROP
Hanck, Terry
2012
1
37
DRIVING WHEEL
LIP SERVICE & LIES
Sugar Blue
Raw Sugar Blue Live
KHP 1105
2012
FWG Records
2012
1
1
1
Ruf 1174
38
39
40
2012
I NEED MONEY
Theessink, Hans / Terry Evans & Ry Cooder
SHE’S SPREADIN’ RUMORS
Goudreau, Michael & Boppin’ Blues Band
HAPPY BIRTHDAY BLUES
I DON’T CARE BLUES
Boppin’ Blues Band
Dr. Wu & Friends
NO MORE DOGGIN’
OVER YONDER WALL
I’LL BE ON MY WAY
I’LL BE ON YOUR SIDE
SEE SEE BABY
SEND FOR ME
I’M HEADIN’ OUT THE DOOR
I’M READY
Miller, Bill Band
SNAKE RHYTHM ROCK
SUGAR DITCH
IT’S HARD
JAILBAIT
Big Walker
Piper, Anni
Omar & the Howlers
Brooks, Danny Band
Beckie Sue & Her Big Rockin’ Daddies
Salgado, Curtis
EVERYTHING GONNA BE ALRIGHT
Miller, Bill Band
FURTHER ON UP THE ROAD Calabash Blues & Boogie Band
MATCHBOX
MEAN OLD MAN
GETTING TO KNOW YOU
GOING TO CHICAGO
MISS YOU
MY BABY WANTS TO BOOGIE
2012
Flyin’ Cloud 60
2012
HPG
2012
Severn 0056
2012
JUST YOUR FOOL
LOVE MAN
Hanck, Terry
29
25
I DON’T NEED ANOTHER HEARTACHE
Gillespie, Lamont & 100 Proof Blues CTC-The Music Lives On
DOWN IN THE BOTTOM
EVERY DAY I HAVE THE BLUES
GOOD GOOD ROCKIN’ GOIN’ ON
28
24
MIDNIGHT TRAIN
28
JIMMY REED HIGHWAY
JUBILEE
Salgado, Curtis
Juke Joints
23
23
Year
Record Co. & #
31
DELTA TIME
Theessink, Hans / Terry Evans & Ry Cooder
DON’T START ME TALKING
Hilton, James Band
Bottoms Up Blues Gang
4
22
BPM
(LP or CD)
4
Essential Collection
BubblingUnder
22
Title
Artist
Blind Pig 5146
2012
2012
Omar & the Howlers
19
Severn 0056
Hanck, Terry
SEE YOU LATER BABE
7 YEARS
BAD LUCK
21
Make Up Another Lie
2011
24
Greasy Soul’ Rockin’ Blues Delta Grooves 146
2012
7
20 Years of Bop & Blues
PMG 13
CLEANIN’ HOUSE
4
5
18
This
Week
Week
25
BPM
(LP or CD)
No.
of
weeks
Last
Week
No.
of
weeks
Last
September 8, 2012
Title
Artist
Sugar Blue
Brown, Mel & Snooky Pryor
NEVER MAKE YOUR MOVE TOO SOON
Martens, Jessy
Delta Time
2012
Flyin’ Cloud 60
2012
Beeble 803
2012
Blue Groove 2220
20 Years of Bop & Blues
TEARS LIKE RAIN
TEMPERATURE 110
THERE IT IS
TOO FAR GONE
2012
PMG 13
Smith, Holland K.
Bluesmasters f. Mickey Thomas
Solon Fishbone f Alice Azam
National Debonaires
Omar & the Howlers
Omar & the Howlers
Omar & the Howlers
Rhodes, Bill & Party Kings
Magness, Janiva
Shelley, David & Bluestone
TRAIN KEPT A ROLLIN’
Hanck, Terry
TRYING TO LIVE MY LIFE w/o YOUBig James & Chicago Playboys
TWO CAN PLAY YOUR GAME
WATERMELON TEA
Knox, Marquis
Retro Deluxe
WHAT YOU GONNA DO?
YOU MADE ME LAUGH
Salgado, Curtis
Omar & the Howlers
YOUR KINDA LOVE
Davies, Mary Bridget
Fessa Hook's Roadhouse Blues and Boogie Top 40 is is compiled from full time listeners, fast dancers, and DJs with the National R&B DJ Association & the Association of
Beach & Shag CLub DJs. Hear the Roadhouse Blues and Boogie Show, Sunday nights, EDT U.S., 6--9 pm and Wednesday nights 7--10 pm at www.beachshag.com
Volume 1 No. 26
21

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