Dancing On the Edge Journal

Dancing On The Edge Journal
Explorations in Beach and SShag
hag H
istor
Histor
istoryy
Volume 1, Issue 3
February 22, 2010
Beach Music Jams!
It Must Be Jam ‘Cause Jelly Don’t Spread Like That
The first ‘official’ Beach Music album, 1967.
Atlantic records had been aware of what
would become known as the “Beach Music” culture since 1949. It wasn’t until 1967
and 1968 that they put out the first LPs aimed
specifically at the Beach Music market.
Rion Carter and Pete Smolen’s Ripete
Records’ album in 1979, Beach Beat Classics, was not only filled with great Beach
songs, but was also an indirect salute to the
Atlantic Records’ Beach Beat heritage begun in 1967.
The 1967 Beach Beat track list included mostly national R&B hits which crossed over
as Beach hits:
Money Honey
Drifters
Honey Love
There Goes My Baby
Drifters
Drifters
Searchin’
One Mint Julep
Coasters
Clovers
Just One Look
C.C. Rider
Doris Troy
Chuck Willis
Drinkin’ Wine Spo De O Dee
Stick McGhee
and four purely Beach hits which weren’t hits on the national R&B charts:
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POB 422
N. M
yr
tle B
each, SC 29597
Myr
yrtle
Beach,
Tel: 843-602-4475
www
.beachshag.com
www.beachshag.com
Think A Little Sugar
Walking Up a One Way Street
Barbara Lewis
Willie Tee
Thank You John
Willie Tee
Zing Went the Strings of My Heart
Coasters
1980’s B each B
Beat
Classics, billed as ‘16 Beach Music Claseat Classics
Volume 1, IIssue
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1
(BEACH MUSIC JAMS continued from page 1)
sics,’ was more Beach music than R&B crossovers
Summertime’s Calling Me Catalinas
Myrtle Beach Days
Fantastic Shakers
ROO
TS & R
OUTES MAP GUIDE
OOT
ROUTES
1 -- ca 1953-56
Concord, NC
The Daddys
Shaggin’
Ms. Grace
Band of Oz
Tymes
2--1957
Wilmington, NC
Buddy Skipper/Jetty Jumpers
If I Didn’t Have A Dime
Bob Collins
and the Fabulous Five
Danville, VA
Kenny Holiday & Hi Fi’s
Across the Street
Would You Believe
Lenny O’Henry
Tempests
3-- 1958
Augusta, GA
Blue Notes
You Keep Telling Me Yes Cannonball
I Got the Fever
Georgia Prophets
Athens, GA
Athens, GA
Majestics
Royal Lancers
Thank You John
39-21-46
Willie Tee
Showmen
Charlotte, NC
Charlotte, NC
Bob Meyer & the Rivieras
Catalinas
Te-Ta-Te-Ta-Ta
Fat Boy
Ernie K-Doe
Billy Stewart
Columbia, SC
Lancaster, SC
Swingin’ Travelers
Nomads (Griff )
A Quiet Place
Hey Hey Baby
G. Mimms/Enchanters
Swingin’ Medallions
Raleigh, NC
Roanoke, VA
Embers
Divots
4--1959
Burlington, NC
Burlington, NC
Chasers
Weejuns
Taylorville, NC
Harry Deal & the Galazies
Ripete R
ecor
ds -- B
each M
usic Compass for 30 Years
Recor
ecords
Beach
Music
5--1960
Athens, GA
Sidewinders
With three decades of success, will Ripete be able, or
Beaufort, SC
Gastonia, NC
Melody Makers
Spontanes
desire, to continue through the rocky waters of this second 21st century decade?
High Point, NC
Sumter, SC
Chester Mayfield / Casuals
Marquis
Rion Carter and Pete Smolen’s Ripete Records embodies both a birthing and a Renaissance.
Virginia Beach, VA
Bill Deal & Rhondels
On the one hand they birthed a force in the Beach
Music world which drew together and organized the past
6--1961
Athens, GA
Judge & the Jury
and the future into a single source. Although for differing reasons, Ripete became the community well for fans,
Augusta, GA
Burlington, NC
Tempests
Monzas
DJs, and entertainers.
This essay isn’t intended as a complete story on
Camden, SC
Durham, NC
Trends
Castaways Combo
Ripete, but as an overview to establish a framework for
reflection and comments.
Greensboro, NC
Bob Collins / Fabulous 5
Greensboro/Reidsville Tropics
Ernie K-Doe and the Enchanters did make the R&B
charts with the tunes included on the album, but didn’t
do well at all on the national charts.
The one major national hit on the album was
Give Me Just A Little More Time Chairmen.
continued on page 4
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Kenley, NC
Raleigh, NC
Kays Combo (O’Kaysions)
Villagers
Sumter, SC
Duprees (Second Nature)
Beach Music Roots &
Routes
(A Work In Progress)
3
5
2
4
5
4,
6 6
6
3,
6 6
1
5
3
Obviously this is just the beginning of these
maps. As I develop them, please offer your
observations and groups or entertainers not yet
included within the years of the guide.
2
3
6
3
3,
6
5
3,
5,
6
5
Volume 1, IIssue
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(BEACH MUSIC JAMS continued from page 2)
the two decades. That’s not the only reason for the Re-
naissance of the late 70s and early 80s, but the loss of
The early 80s was the Renaissance of that celebratory Beach Music momentum was at least a subterranean
chord which Beach Music struck in the sixties with the
proliferation of bands throughout the region, the beginnings of local and regional recording efforts, the emergence of a few brave DJs throughout the Southeast, and
awareness in the collective consciousness, otherwise why
such a marked explosion in the 80s?
Ripete helped facilitate, reflect, and often guide that
Renaissance.
The Beach Beat, Ocean Drive, and Shagger’s Dethe arrival of a few upstart booking agents who put the light albums were the first ships launched in the Ripete
bands onto college and high school campuses, and into fleet, but still only the advance guard for many albums,
select nightclubs and resorts.
and 45s, to come.
Following the exciting 60s, the 70s’ journey into
Not only were they great collections of lost and found
evolving Rock forms emphasized the differences between music, they were aesthetically pleasing to the eye as well
as the ear.
Rion and Pete sought out artists and lost photos for
their covers. And as time went by their liner notes became more and more extensive.
From our perspective 30 years hence, Ripete is an
important chronicler of the evolution of Beach Music as
we transitioned from one century to the next.
I don’t know about you, but there were numerous
times when a new Ripete release filled in a hole that had
been in my record collection for far too long.
The Four Tops’ “Could It Be You” was in my sights
every time I got a new record auction in the mail or a
copy of Discoveries or Goldmine magazine. I always bid
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$100.00 on what was listed in the directories as a $6.00
record, and I never won a single auction. Ripete saved
my sanity with a 45 rpm EP which contained the Four
Tops lost treasure from a 1956 Chess record.
Would James Brown’s 1959 “Don’t Let It Happen
web sites. New songs will emerge more and more as
“cyber ware” in MP3 form. It’s impossible to write liner
To Me” have become a smash among the college and
Beach crowd twenty years later without Ripete? I don’t
notes across the invisible surface of compressed digital
code.
think it would have even remotely achieved the level of
success it had then or since.
For jocks who actually talk about, rather than just
play, new releases, learning more about groups, perform-
How many jocks still played it at parties in ‘95 or
2000, to the college and club patrons of the early 80s
ers, or songs, will require that they resort to websites--or
perhaps journals like this one.
who either requested it or flipped out when the jock was
savvy enough to recognize their roots and surprise them
Beach Music is caught in the same fateful winds which
are changing the record industry throughout the world.
with it?
(As an afterthought, especially considering the hyper
Not only is it becoming more difficult for bands to sup-
awareness of many bands today, did any of them ever
learn and perform that song in the 80s?)
As I said, this isn’t intended as a complete history of
Ripete--an intriguing possibility for the future, although
it will have to be done in parts, I could never finish a
project like that in a single week for the next issue of the
journal.
However I am using Ripete as the backdrop and yardstick for today’s transformations in the music produc-
port their recording efforts in the studio, it’s more difficult to justify the creation of a new CD -- there simply
isn’t any financial return -- at least not according to the
standards of the first 100 years of the recording industry.
Frankly, one good song by a band, released as an
MP3, will likely have far more impact than a new CD.
Although the completion of a CD probably produces a
sense of achievement for those involved, and is exciting
to fans of the band or Beach Music in general, the monetary rewards generate disappointment rather than a position and delivery system.
Ripete made an admirable and timely transition to
tive outlook on the future.
MP3s don’t provide ANY possibility for the visual
CD in the 90s. In fact, the liner notes for many of their
CD collections were prodigious, especially considering
esthetics of Ripete’s albums or their subsequent CDs.
That aspect of Beach Music will have to be developed
the real estate they had on album covers compared to the
limited space on the backs of CDs or even in CD book-
along other avenues.
lets.
Today and tomorrow, liner notes will be found on
y
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Margie Day
(Margaret Hoffler)
There’s one record by this lady I don’t have, although
I should have it. I won it in an auction seven years ago.
The dealer wrapped the 78 rpm shellac record in lots of
newspaper and mailed it extra carefully. It arrived in the
North Myrtle Beach, SC post office and disappeared
somewhere between the back door and my mail box.
It was Margie Day’s very first record under her
maiden name, Margaret Hoffler, although the record and
a subsequent Billboard magazine review referred to her
simply as “a Melody” portion of The Four Bars and a
Melody in an October 11, 1947 record review.
Margie was born in Norfolk, Virginia in 1926 as
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Margie’s first singing gig in Norfolk, Va, 1945.
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dier buddy asked her one day if she’d like a regular paying job as a singer. When she said yes, he took her to
Luther Wilson who had a band at the CPO club downtown. Margie sang her two or three songs with the band
for $5.00 a night. That was the extent of her music
career for several months until she met Albenie Jones, a
singer who, through an unusual twist of fate, became
Margie’s benefactor.
At that time, Margie said, the talk around town was
about the Blues! But Margie didn’t know any blues.
(She sang her first blues song five years later in 1950).
4 Bars and a Melody, Newark, New Jersey, 1946.
the only girl along with three brothers.
At home, Margie’s mother arranged piano lessons
for all four siblings. Mrs. Hoffler sang around the house,
while Margie’s brothers liked everything from gospel to
opera. At 15, her personal preferences were Billie Holiday, Duke Ellington, Glenn Miller, Louis Jordan, Harry
James, and the Dorsey Brothers which she listened to on
the radio/record player her father bought in 1941.
No--she did not sing in the church choir! How often have you heard that from a black entertainer.
She did perform in the school choir where she sang
spirituals and classics.
It was her job as an elevator operator at the local D.P.
Paul department store which contributed to the next level
in her music education. There was a record store on the
third floor. Margie spent all her spare time there.
After graduation Margie studied music at Virginia
State College, but returned home soonafter in 1945 and
Margaret Hoffler, 1946.
Fortunately, many bands at that time liked to feature two singers, one Bluesy and the other who sang
Sweet. Albenie Jones was a Blues singer, so Margie wasn’t
competition and Albenie felt free to support her.
Margie’s offer for a gig in New York came in Febru-
got a job as a sandwich maker at a local military base
cafeteria.
One of the soldiers played piano there nightly and
Margie would join him for two or three songs. Her sol-
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ary 1946. She left to sing at the Dodger’s Lounge in
Newark, New Jersey. Around November 1945 she moved
warbler, said in an interview with a ‘VMSoul’ e-zine that
to Lloyd’s Manor where she sang with a quartet (still as
Margaret Hoffler) under the name, “Four Bars and A
Melody.” That’s who she recorded her first song with on
Savoy records, August 26, 1947.
“Daddy” Jack Holmes of WRAP, Norfolk.
back in those days when her daddy left for work in the
mornings, she and her siblings would immediately turn
to Daddy Jack Holmes to hear Sonny Til and the OriBuddy and Jimmy Griffin, The Griffin Brothers.
oles, the Charioteers, Buddy and Ella Johnson, Arthur
Prysock, and Billy Eckstine.
Things moved quickly from that point. Margie married, got pregnant, and moved back to Norfolk to have
“Daddy” Jack Holmes was a big player in a radio
revolution going on at that time. Radio needed some-
her baby. A few months later she went back to New
York, but before her baby turned one her marriage col-
thing new, something more than just a different musical
formats, it had to change dramatically because television
lapsed and she was back to Norfolk to recuperate in April,
1950.
took over all the big radio programs like the Lone Ranger,
the dramatic shows, variety shows, and soap operas. There
That’s when the Griffin Brothers asked her to sing
with them. They were a busy band. She joined them,
were other big changes under way. The 33 1/3 LP and
45 rpm record were launched in 1949 as potential re-
and played the Tidewater area as well as Franklin, Virginia and Elizabeth City, North Carolina.
placements for the 78 rpm record.
WDIA in Memphis, Tennessee, set the bar as the
Destiny stepped into Margie’s life yet again--as a DJ.
Norfolk boasted one of the early and great black DJs in
first full-time black radio station. And others soon followed. It was the dawn of what is known as the original
the country at that time. “Daddy” Jack Holmes was the
morning man on WRAP.
‘golden sixteen’ African-American announcers. Odd as
it may seem, they all sounded ‘colorless,’ because of the
Ruth Brown,
another Tidewater
standards of the time, but they began playing black music
on the radio.
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during his days in Cleveland when he used to visit Walkin’
Talkin’ Bill Hawkins’ record store where he found not
only the R&B he was looking for, but listened to and
borrowed some of Hawkins’ style to become the
“Moondog” (see DOTEJ Vol 1 No. 2, the Jimmy Cavallo
story for more on Alan Freed).
Jack Holmes was also part of Margie Day and the
Griffin Brothers’ destiny in 1950.
Jack was friends with a fellow who had opened an
electrical appliance store in Gallatin, Tennessee in 1947.
And like many appliance stores at the time, he carried a
few records as a sideline.
Randy stocked classical music and popular music of
the day, but made few sales. Folks who came in the store
asked for the records by Joe Liggins, Roosevelt Sykes, or
Cecil Gant that were being played on WLAC in Nashville.
(North Carolina black radio history has its own story
about the ‘Original 13’ black DJs of the Carolinas, led
by Genial Gene of WGIV in Charotte beginning in
1949).
Walking Talking Bill Hawkins, and Norflee Whitit,
the first black announcer in the South, were already in
radio, working at basically white-programmed radio stations, but were black disc jockeys.
It was Jack L. Cooper who laid the first bricks in the
foundation for a new kind of Black DJ--often called the
‘rhyming’ DJs.
WRAP’s Jack Holmes was a black radio historian as
Randy’s Record Shop, Gallatin, Tennessee.
well as a DJ. Among his memories about early greats
such as Hal Jackson, Jack L. Cooper and Jack the Rapper,
At first Randy could only get limited quantities. As
was another DJ of particular significance--Walkin’ Talkin’
Bill Hawkins.
he learned the ropes of the record industry, he started a
mail order business for 78 rpm records in 1948, running
“Daddy” Jack Holmes said that the way Alan Freed
really transitioned into Rhythm and Blues on the air was
ads on “Hoss” Allen and Gene
Nobles’ shows on WLAC.
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By 1950, Randy’s mail order business had outgrown
his electrical appliance sales. By then he stocked 20,000
titles, and the store had become "Randy's Record Shop."
He and Gene Nobles formed a business relationship
to start Wood's own record label, Randy's, on which he
put out a few platters such as "Gene Nobles' Boogie" by
Richard Armstrong, and recorded Cecil Gant on the
Record Shop Special label.
After Wood acquired part ownership of a local daylight-only radio station, he and Nobles decided to form
a "real" record label with wider distribution.
One of the first artists he recorded were the Tennessee Drifters from Nashville’s East High School. One of
the other first artists, who would become a big name
later, was Johnny Maddox, a young man who packed
records for him at the store. Maddox and his honky
tonk piano were on Dot Records for almost twenty years.
Randy also recorded gospel artists like the Fairfield 4
on "Jesus Met the Woman at the Well," Dot 1003, in
addition to the Gateway Quartet, the Golden Voice Trio,
Rosa Shaw, Joe Warren, the Singing Stars, and the
Brewsteraires.
Then in 1950 “Sweet” Jack Holmes called his buddy
Randy Wood to tell him about Margie and the Griffin
Brothers.
They’d just written “Street Walking Daddy” and
Randy had them travel to Washington, DC to record it a way (I couldn’t resist). Thus was born Margie D
ay
Day
ay.
(in her words, Margie’s first attempt at a ‘Blues’ record).
“Street Walking Daddy” started just enough buzz to
For Randy it was the beginning of a short, but lucra- keep Randy interested. He asked them to write another
tive launch into Rhythm and Blues before expanding one.
into the Pop and Rock fields.
Buddy Griffin’s wife, Kay, was working on a tune
For the Griffin Brothers and Margie, it was the launch called “Little Red Rooster,” but she couldn’t finish it.
of a new level of notoriety on a label distributed nation- Margie went over to look at it, and suggested they add,
ally, and especially on WLAC’s Randy’s Record Shop “Ooo Wee, how he crows!” Maybe that’s why she sings
show. For Margie it was also the beginning of a new that part with such gusto.
identity. Randy Wood knew the DJs wouldn’t find her
They cut a demo in Washington, but Randy wanted
last name, Hoffler, very appealing for the rhyming they to test it before pressing up a pile of records and losing
loved to do. He thought ‘Day’ could be rhymed in many money. He put it to the Mighty Men of Rhythm and
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Blues on WLAC. The first night they got 40 requests
right after playing it.
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The early Griffin Brothers’ material from 1950 to
1953 featured either Buddy, Margie, or Tommy Brown
but quite a string of tunes on the Beach charts and jukeboxes, many of them written by Margie herself.
Margie left the Griffin Brothers in August 1952. She
said in 1984 that it was a variety of things which led to
their split, none more notable than the other. Sometimes they’d play a theatre where her name was given
top billing over the Griffin Brothers, which they didn’t
like at all. Or other agents were after her to go solo
(presumably so they could represent her. Probably easier
to represent one artist than a whole band. Not as many
people to argue with or convince.
She started touring with Paul Williams in a package
that became one of the continuous great Revues of the
50s with Paul Williams, Margie, Floyd Dixon, Ruth
Brown, Amos Milburn and Charles Brown.
Take ‘em out Daddy, in 1954.
As a solo artist, Randy Wood tried her again on Dot
on lead after they picked him up on a tour in Florida. To
see a full list of great Bop and Shag tunes by the Griffins,
with or without Margie, see the Beach Music Guide
Margie and Dick Morgan Trio, ca 1965, Virginia
Beach..
accompanied by Paul Williams, When that didn’t work
out they moved over to Decca Records where Margie
was still accompanied by Williams and her brother Vernon
1945-2006, Volume 1.
That may come as a surprise to those who follow
only National charts. Margie and the Griffin Brothers
only had three tunes that made the national R&B charts,
arranged a couple of the sessions, including “Mole in the
Hole.” Another notable Decca record was one she cowrote, “Take Out Your False
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LeGrand records out of Virginia Beach in 1962.
In 1964 Margie left the road, and her home
away from home in New Jersey, to return to Norfolk and went to school to learn slipcover and drapery design and manufacture.
Soonafter though she joined the Dick Morgan
Trio to sing pop and jazz for the next five years,
playing mostly at Virginia Beach’s Rathskeller on
weekends in the off-season, and throughout the week
from March until Fall during the tourist season.
There are two sides she sang on Martay Records
but I haven’t been able to date those just yet or
determine who she recorded them with.
RCA records released two 45 rpm singles from
her two albums, Dawn of A New Day, and Experience, in 1968 and 1969.
A booking was arranged for Margie to Puerto
Teeth Daddy (Mama Wants to Scratch Your Gums).”
Decca Records reportedly spared no expense on the eight
sides she recorded for them.
Rico in the spring of 1969, but she became quite
ill, cancelled, and was born again while she convalesced.
While Margie’s life changed dramatically in a spiri-
Margie plugged away throughout the 50s on other
labels. On the Cat Label in 1955 she was backed by
the ‘Blues Destroyers’ which included the great Sam
Taylor on tenor sax and Mickey Baker on guitar.
In 1956 she went with Deluxe, another great R&B
label, cutting six sides for them.
While the hits were few and far between Margie entered the nightclub circuit, working at The Barn in Dayton, Ohio and another club in Nashville for extended
engagements.
Somewhere between the clubs and the recordings,
Margie was booked to perform at the Olympia Theatre
in Paris alongside Mezz Mezzrow, Curley Hamner (formerly with Lionel Hampton), and to open for Josephine
tual way, on the entertainment side it continued to evolve.
She supported her husband’s mission while simulta-
Baker when she came back out of retirement.
Coed Records recorded four sides with her in 1961.
neously starting a community project in Norfolk to find
and develop children in the performing arts. It’s gradu-
And she recorded
two tunes for
ation recital became one of the major events each year in
downtown Norfolk. y
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Let the G
ood Times R
oll
Good
Roll
MY TRIP TO R&B HEA
VEN
HEAVEN
Don Baker
The year was 1953.….life
was
simple
and
very
uncomplicated for a 11-year old
boy growing up in Kinston, NC.
My older sister Judy had just
started teaching me how to bop,
the new dance craze at that time.
It was a 78 rpm record played on the latest thing in
phonographs, a Zenith record player with twin Cobra
tone arms. One for 78 rpm records, and one for 45/
33.3 “Hi Fidelity” long play albums. We were really
Don Baker’s “Beach, Boogie, and Blues” show takes you
down every Beach Music and R&B road ever taken, every Sunday night, 7 to 10, on KOOL 102.7 FM, Camden,
Lugoff, andColumbia, SC. Access him online at
www.kool1027.com
how this was located in the old part of town, it was on
the edge of “colored town” as it became known. One
day, while “helping out” at the store, I noticed an orange
poster tacked to a telephone pole advertising a Rhythm
& Blues show coming to the Sheppard’s Tobacco
Warehouse at the south end of Herritage Street…..3
“with it”. The song she used was Ruth Brown’s “Mama,
He Treats Your Daughter Mean”. To this day I “blame”
blocks deep into that same “colored town”. Since I was
addicted to the R&B sound, I just had to go and see the
that one song for my addiction to Rhythm & Blues music.
My dad owned a grocery store on South Queen Street
artists that I listened to on Andy Herring’s “Hot Foot
Club” radio show on
called The Yellow Front Grocery…probably because the
building was painted yellow on the front of it. Seeing as
WELS…..1010 on the AM
radio dial. (There was no FM
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Let the G
ood Times R
oll
Good
Roll
at the time). Andy only played music by black artists making my way to the rear of the warehouse, I found a
on his show and so his following was growing rapidly, side entrance which was unattended. IT WAS
right along with the R&B genre.
DESTINY…….CALLING MY NAME!!!
The night of the show I had to sneak out of the
I didn’t know if I had the courage to actually sneak
house on Queen’s Road (the north side of town) and in, but since this was R&B Heaven for me, I suddenly
ride my Columbia bicycle all the way to the other side felt the courage to open that door!! ….and what did my
of town to reach the warehouse which for that one night eyes behold????
was R&B Heaven for me. I rode down Queen Street
Five thousand “colored” folks. Well, probably 300
(main street) because I figured it was the “safest” route or more, but to this kid it appeared to be a sea of a kind
of people of whom I was suppose to be
afraid. The music was really jumpin’, and
much to my surprise, nobody paid any
attention to my whatsoever. YES !! I was in
and ready for whatever baptism awaited me.
Sneaking around the outer perimeter of the
sea of scary folks, I noticed on the other side
of the building was another sea of
humanity…..WHITE PEOPLE!!!
MAN, I WAS STARTING TO FEEL
RIGHT AT HOME!!! Imagine my
disappointment when I realized there was
a rope, extending from the back of the
building all the way to the stage area. OH
NO!!! and standing guard over the rope were
The Monzas at the 2004 Pawley’s Island Pavilion Reunion (just so
there’d be no confusion, Don raised his hand so we’d know who he
is). L to R onstage: Bobby Tomlinson (Embers), Gerald Davis (Embers) and Event officials. Below l to r: Bill Carden, Don Baker,
Mike Griffin, Sammy Fowler, Linda Quinlin, Sharon Copeland, Bing
Greeson, and Ward May. (pic from Molly Mercer, Greg Hayne’s
Hey Baby Days of Beach Music and John Hook)
2 of Kinston’s finest. Upon seeing me, they
figured I must’ve gotten lost and waved me
on over to the other side of that humanity
separator.
Mixing in with the white crowd was
encouraging. I was “safe”. In with my own
kind….no longer a grain of white rice in a
to take. Anticipation was the only fuel I needed to make bowl of brown gravy. Finally I started to enjoy the
the 3 mile journey.
evening.
Upon my arrival at my personal “heaven”, I noticed
On stage performing their many hits were the Clovers
the entrance doors were all staffed by the Kinston Police backed by a great band with saxes, trumpets, stand-up
Department. I figured there was no way they were going bass, guitar, drums…..the whole works……laying down
to allow an 11-year old through that front door so I had some really great sounds. Man, I really WAS in R&B
to quickly devise some other means of gaining entrance. Heaven…..AND, it only got BETTER!!
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Stumbling through
Out walked a rather heavy-set man who sat down at
the darkness while the piano and started playing. The band kicked in, and
Let the G
ood Times R
oll
Good
Roll
out of his mouth came “You
made…..me cry… when you
said……goodbye, Ain‘t that a
shame”. FATS DOMINO!!!!
After Fats finished his set of 3
or 4 songs, out from behind the
curtain walked a group of guys
wearing big white turbans, each
with a big jewel in the front. IT
WAS THE TURBANS!!! GEE!!!
WHAT WAS NEXT!!!??
The Drifters with a singer
from Durham, NC named Clyde
McPhatter singing a song I hadn’t
heard up to that point in
time….”Steamboat”. COULD IT
GET ANY BETTER!!?
Of course it could. The
crowd, already worked up into a
frenzy, started screaming and
1969 Monzas -- l to r: Don Baker, Billy Carden (above him leaning on the
trailer), Salty Miller, Ward May, Sammy Fowler, and Mike Griffin.
hollering. IT WAS LITTLE RICHARD!!! I had never
heard of him before that night. I sadly don’t remember
the songs he sang, but I feel sure that the people on the
other side of the rope knew every word and
WHOOOOOOO!!!!!!
Sadly, my time in R&B Heaven came to an end
shortly afterwards. When I got outside and went to get
my Columbia bicycle with the big shock spring on the
front……OH NO!!! Tears filled my eyes ….. It was
GONE!!!! My little piece of heaven had turned into a
big piece of HELL!!! Fortunately, one of the policemen
knew my dad from city council meetings, of which my
dad was a member. He took me home during a stern
lecture on my being in that part of town on a Saturday
night.
But I didn’t care……I had gone to R&B
y
Heaven….AND I LOVED IT!!!!
-- Don Baker
Sensational Epics -- Back l to r: Gene Lee, Jimmy Brazelle,
Jimmy Anderson, Tommy Graham, Rick Richardson, Don
Baker, Buster Elrod. Front l to r: Larry Clark, Mike
Tronco, and Fred Perry. (pic from Gene Lee and Greg
Hayne’s Hey Baby Days of Beach Music)
Volume 1, IIssue
ssue 3
15
Beach M
usic Top 40 Countdo
wn
Music
Countdown
The Beach Music Top 40
www.beachshag.com
26
2
1
LEARNIN' THE BLUES
Wish You Were Here
2
Cash, J.D.
COME BACK WITH ME
Hot Stuff
Wish You Were Here
2009
Ripete Records
2009
27
1
3
Proctor, Jay
WISH YOU WERE HERE
10
5
4
Cash, J.D.
IT MAY BE WINTER OUTSIDE
24
4
5
Gore, Terri
DIRTY OL' MAN
8
6
Hardway Connection
GOT TO BE MELLOW
Carolina Shag
17
7
7
Entertainers
WILLIE
I Know the Inside Story
21
10
8
McClinton, Delbert & Dick50
STOMP THE BLUES TONIGHT
Acquired Taste
12
11
9
Robillard, Duke Jumpin' Blues Revue
ABSOLUTELY, POSITIVELY
Stomp the Blues Tonight
7
9
10
Anastacia
I DON'T TRUST MYSELF
Just Dance
21
12
11
Royal Scotsmen Band
YOUR LOVE LOOKS GOOD ON ME
Royal Scotsmen Band
20
30
6
12
Castways w/ Bo Schronce
THAT'S WHAT YOU DO
7
17
13
17
16
14
Old Dog, New Tricks
21
FAR TOO LONELY
28
23
Robillard, Duke w Sunny Crownover
ALL I DO IS DREAM OF YOU
Stomp the Blues Tonight
5
Ripete Records
2009
25
24
Buble, Michael
IT'S THE SAME OLD SONG
Crazy Love
11
Forevermore
2009
21
25
Stewart, Rod
SWEETNESS OF YOUR LOVE
Soulbook
34
SisBro
2009
14
26
L.U.S.T.
PIECE OF YOUR HEART
Best of Lust
21
31
27
Manning, Taylor
IT'S BAD YOU KNOW (shag edit)
This Is It! Carolina's Callin' Me
7
29
28
Burnside, R.L.
YOUR LOVE IS AMAZING
Come On In
11
Stony Plain 1342
2008
32
29
Woolard, Craig Band
STRAIGHT FROM THE HEART
Main Street People
7
Ultra Records
2009
30
30
Cobb, Johnny
UPTOWN - DOWNTOWN
Carolina Soul Collection
9
2009
9
33
31
Mike Jones/Grand Strand Blues All Stars
WHY DON'T WE JUST DANCE
KHP 1078
2008
40
32
Turner, Josh
YOU SET MY HEART ON FIRE
Why Don't We Just Dance
2
34
33
Paparizou, Helena
LET'S WALK
Game of Love
6
6
35
34
de Lone, Austin
DON'TCHA
Soul Blues
2009
Banana Tree
Don't Cha
2009
6
36
35
Pussycat Dolls
I GOT TO KNOW
37
36
Bohler, Kaye
SOME MORE OF THAT
Like A Flower
5
39
37
Downchild Blues Band
SHAGLAND
I Need A Hat
3
38
Rev. Bubba D. Liverance & CHP Rev. Bubba D. Liverance & CHP Ain't Bad Records
DANCE THE NIGHT AWAY
2010
KHP
2009
Ain't Bad Records
2009
Peak Records
15
15
HE AND SHE
Wallstreet
6
18
16
TOUCHING IN THE DARK
McDaniel, Rhonda
Southern Soul Compil.
2010
KHP Records
5
19
17
SIGN YOUR NAME
Bolton, Michael & Neyo
One World, One Love
2009
Universal Intrntl
12
20
18
TELL ME WHY
Walker, Joe Louis
2009 1
Between A Rock & the BluesStony Plain 1345
4
26
19
STUFF YOU GOTTA WATCH
Helm, Levon
24
13
20
EYES ON YOU
Hardway Connection
Electric Dirt
Just For You
Severn 0047
2009
Stony Plain 1342
2009
143/Reprise 07332
2009
Jive 30256
2007
Reggae
2008
KHP 1059
1998
Fat Possum Records
2009
Sisbro 2009
2009
Tobacco Road
2009
Blues Flower Prodn
2009
MCA Nashville
2006
RCA 61212
2009
2005
Universal Intrntl
2009
Kaye Bohler
2010
Linus Entrtnmnt 270112
2010
1
39
DieDra
JESUS LOVES ME
Dance the Night Away
2009
Dirt Farm Music 79861
KHP Records
2010
1
40
Turner, Ike
FINE BROWN FRAME
Dance the Night Away
2009
SisBro
KHP Records
2010
Dance the Night Away
KHP Records
Carolina Shag
Top Picks--Bubbling Under
Wilson, Jerry & Jewels
Motorcity Women & Detroit Express
Brooks, Ronnie Baker
Robillard, Duke Jumpin' Blues Revue
Café R & B w/Roach
Sade
Robillard, Duke Jumpin' Blues Revue
Bennett, Tony & Stevie Wonder
Cadillac Kings
Marcels
Boogie House
Davidson, Dianne
Alabama Blues Machine
Brooks, Danny & Rockin' Revelators
Holiday
Pugno, Maurizio w/ Sugar Ray Norcia
Roberts, Mark & Breeze
Dancing O
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ournal
2009
22
18
AIN'T NO LOVE IN THE HEART OF THE CITY
ARE YOU REALLY READY
BABY PLEASE (COME BACK HOME)
BABY YOU DON'T KNOW
BLACK CAT BLUES
BRING ME HOME
DO ME RIGHT
EVERYDAY (I HAVE THE BLUES)
FRIES WITH THAT
GOT TO GIVE IT UP
HAVE A GOOD TIME
HEAVEN BOUND
HINDSIGHT
HOLD YOUR HEAD UP
JUKEBOX
KILL THE COFFEE
LOVER - LOVER
16
22
Year
Record Co. & #
23
New West
2009
No Regrets
DRINKIN' LIQUOR & TELLIN' LIES
McNeill, Frankie & Counts
12
BPM
(LP or CD)
12
Forevermore records
2009
Let My People's Dance
Title
Artist
Nulisch, Darrell
LOOK BUT DON'T TOUCH
Let's Dance Again, I Can't Get Enough
Liverance, Rev. Bubba D.
I LUV THAT GIRL
All-4-One
See affiliate links at www.beachshag.com
February 20, 2010
Year
Record Co. & #
This
Week
This
Week
BPM
(LP or CD)
Last
Week
3
Title
Artist
No. of
weeks
21
Last
Week
No. of
weeks
To hear the Top 40 with Fessa John Hook
Thompson, Big John & Julie
MISS GHOST
MONEY'S GETTING CHEAPER
NOBODY CAN TURN ME AROUND
SAY NO MORE
TAKE ME WITCHA
YOU DON'T LOVE ME
Henley, Don
Robillard, Duke Jumpin' Blues Revue
Sojourners
Crivellaro, Enrico
Brooks, Ronnie Baker
Downchild Blues Band
The Beach Music CD Top 10
27 1 1 WISH YOU WERE HERE
Cash, J.D.
12 2 2 STOMP THE BLUES TONIGHT
6 3 3 NO REGRETS
Robillard, Duke Jumpin' Blues Revue Stony Plain 1342
All-4-One
Peak Records
12 5 4 BETWEEN A ROCK & THE BLUES
25 6 5 I KNOW THE INSIDE STORY
Walker, Joe Louis
Entertainers
Stony Plain 1345
KHP
4 7 6 CRAZY LOVE
10 4 7 SOULBOOK
Buble, Michael
Stewart, Rod
143/Reprise 07332
Jive 30256
4
1
Helm, Levon
various
Dirt Farm Music 79861
KHP Records
Woolard, Craig Band
Sisbro 2009
8 8 ELECTRIC DIRT
9 DANCE THE NIGHT AWAY
11 10 10 MAIN STREET PEOPLE
Ripete Records
Beach M
usic Top 40 R
eviews
Music
Reviews
Mike Jones is one of three lead
singers with the Grand Strand Blues
All Stars, depending on which night
you catch them.
Mike, Spider, and Michael
Stallings form part of the core of the
group. I’ve caught them at some of
the Sunday night jams in Little River
If you like Lara Fabian, Dina
Carrol, Lisa Stansfield, Laura
He’s back! This time with Neyo,
especially on “Sign Your Name,” a
Pausini, and Tina Charles, you’re sure
to like this 28 year old Greek lady
Terence Trent D’Arby hit from a few
years ago.
born in Switzerland.
While only 17 she became half
I’m sure you’ve heard some of the
criticism fired in his direction over
of a duo called Antique which
became the first act to put a song in
the years. Some are offended that he
even considers covering Soul tunes,
Sweden’s Top Five with a song sung
in Greek.
but he does it successfully and
consistently with a big following.
Since then Helena (which is the
with a number of fine musicians
International spelling, back home it’s
sitting in, so I probably have a
Elena) has produced hit after hit
skewed idea about exactly who makes
finally going double platinum in
up the band.
Greece. This lady has a voice with
All these fellas have miles and
Star Power!
miles of Blues on the road already
“You Set My Heart On Fire” is
under their belts, and more to come.
already catching the ears of many of
They’re currently putting
the region’s top jocks--and she has
together a CD, in the new 21st
five CDs yet to be explored. (I found
century way; leisurely, putting out a
a Greek song with a sound and beat
song or two at a time to test the
that I admire, who knows what else
waters. At some point they’ll pick
will be uncovered).
the best of the lot to form a collection.
We already have several Spanish
With their collective experience
language songs that have made the
there’re few limits on what they might
Beach charts, we’ve had more than
do in the future.
one Cajun hit with French patois
They jump. y
throughout.
Why hasn’t anyone ever criticized
his years as the lead singer for the
Ears up for Helena.
y
heavy metal band Blackjack in the late
70s and early 80s?
Does Michael Bolton look like a
heavy metal singer?
The truth is, Bolton has put over
a dozen songs on the Beach charts and
dance floors and isn’t likely to stop
anytime soon.
“Sign Your Name” was a hit on
the dance floors at Midwinter in
January from the first exposure.
Not only that, it was one of those
rare songs that pulled dancers to the
DJ booth immediately to inquire after
the singer’s name.
y
Volume 1, IIssue
ssue 3
17
Roadhouse B
lues and B
oogie Top 40
Blues
Boogie
Roadhouse Blues & Boogie Top 40
www.beachshag.com
8
3
3
3
11
3
3
4
4
25
4
8
9
3
3
8
3
2
2
3
4
6
9
2
5
10
14
15
7
16
11
8
17
19
12
18
25
26
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Year
Record Co. & #
STOMP THE BLUES TONIGHT
Robillard, Duke Jumpin’ Blues Revue
Stomp the Blues Tonight
2009
Stony Plain 1342
2
STILL CADILLACIN’
Johnny Guitar & Thousandaires
Still Cadillacin’
2004
Tuscon
2
LET’S WALK
de Lone, Austin
Soul Blues
2009
2
BLACK CAT BLUES
Café R&B/Roach
Black & White
IT’S BAD YOU KNOW
Burnside, R.L.
Come On In
I DON’T WANT NOBODY
Turner, Ike
Risin’ With the Blues
I GOT TO KNOW
Bohler, Kaye
Like A Flower
SAY NO MORE
Crivellaro, Enrico
Mojo Zone
TELL MY WHY
Walker, Joe Louis
2009
Between A Rock & the BluesStony Plain 1345
FAR TOO LONELY
Nulisch, Darrell
Just For You
TOO MUCH BUTT
Saffire - Uppity Blues Women
Havin’ the Last Word
LOOK BUT DON’T TOUCH
Robillard, Duke / Sunny Crownover
Stomp the Blues Tonight
HIGHWAY 49 (2009)
Thorogood, George & Destroyers
The Dirty Dozen
THAT AIN’T RIGHT
Dr. Wu and Friends
JESUS LOVES ME
Turner, Ike
Southern Soul Compil.
2009
ABM
26
DRINKIN’ LIQUOR & TELLIN’ LIES
McNeill, Frankie & Counts
Old Dog, New Tricks
2009
Banana Tree
2009
Kaye Bohler
2
I’LL GO CRAZY
Nighthawks
Last Train to Bluesville
2010
Ripbang 003
2009
Electro-fi
2
WHAT’S UP WITH THAT
Salgado, Curtis
Clean Getaway
TOLD THE TRUTH
Bar Kings
Sippin’ & A Slidin’
FIRST CLASS WOMAN
Tucker, Teeny
First Class Woman
NOBODY UNDERSTANDS
Bad News Blues Band
Live at Hot Licks
JANA LEA
Nighthawks
American Landscape
HAVE A GOOD TIME
Boogie House
Just for Fun
SCRATCH THE KITTY
Greenson, Liz Mandeville
Red Top
UHH!
Calabash Blues & Boogie Band
Driving Away the Blues
I LIKE ‘EM STACKED LIKE THAT
Kane, Candye & Mitch Kashmar
Superhero
IT IS WHAT IT IS
Castro, Tommy
Hard Believer
2009
Alligator 4931
COLD LOVE, HOT NIGHT
Ellis, Tinsley
Speak No Evil
2009
Alligator 4932
2009
Blues Flower Prodn
Last Train to Bluesville
Must Be Love
27
2
2
HIGH TEMPERATURE
Nighthawks
HINDSIGHT
Alabama Blues Machine
2010
Linus Entrtnmnt 270112
4
2009
Texas Blues Project 2 www.texasblues.org
Electric Dirt
I Need A Hat
2006
Zoho Roots 200611
2
STUFF YOU GOTTA WATCH
Helm, Levon
SOME MORE OF THAT
Downchild Blues Band
YOU CAN’T STOP ME FROM LOVING YOU
Kane, Candye
Superhero
2009
Capitol Records
Trouble In Store
2006
25
2
FRIES WITH THAT
Cadillac Kings
Chicago Blues: Alabama Style
13
2009
Stony Plain 1342
Hard Believer
CRAZY ABOUT A MERCURY
SharBaby & Rhythm Blues Band
7
2
TRIMMIN’ THE FAT
Castro, Tommy
23
Year
Record Co. & #
1998
Fat Possum
2009
Alligator 4927
Ready
32
22
BPM
(LP or CD)
2
2
ARE YOU REALLY READY
Motorcity Women & Detroit Express
30
21
Title
Artist
1999
It Works Music
2009
Severn 0047
UPTOWN-DOWNTOWN
Jones, Mike/Grand Strand Blues All Stars
29
This
Week
1
BPM
(LP or CD)
No.
of
weeks
Last
Week
Week
4
This
Week
No.
of
weeks
Last
February 20, 2010
Title
Artist
10
38
28
31
33
34
36
37
35
39
20
24
27
28
29
30
31
32
33
34
35
2010
KHP Records
2009
Delta Groove 133
2008
Shanachie 9038
2007
Full Moon
2003
Hot Rod Records
2008
ARV
2009
Powerhouse
2009
Boogie House
2008
Earwig
2009
Flyin’ Cloud 055
2009
FordCo
7
2009
Alligator 4931
8
2008
33Records
6
2009
Dirt Farm Music 79861
4
24
39
EYES LIKE A CAT
Walker, Joe Louis
2009
Between A Rock & the BluesStony Plain 1345
11
22
40
HIP SWINGIN’ BLUES
DieDra
Overcoming Hurdles
2010
Ripbang 003
21
23
40
36
37
38
2009
Delta Groove 133
2008
Ruff Pro 00127
FROM NORCIA TO GUBBIO Pugno, Maurizio w/ Sugar Ray
HALF PAST THE BLUES
Michelle Wilson
RENDEZVOUS
SAVE OUR LOVE
Downchild Blues Band
Benno, Mark
HEY! TOUGHEN UP!
HOLD ON
Kane, Candye
Brooks, Danny & Rockin’ Revelators
SEE SEE RIDER
SHAME
James, Elmore Jr.
Rodgers, Mighty Mo
BABY YOU DON’T KNOW
Robillard, Duke & Jumpin’ B.R.
BARKIN’ UP THE WRONG TREE
Chocolate Thunder
HOLIDAY
HOMESTEAD BOOGIE
Hodge, Dallas
Brooks, Danny & Rockin’ Revelators
SHOES BLUES
SKINNY CHICKS
Zito, Mike
Morvan, Laurie Band
BIG DANCE WOMAN
CAROLINA
I LOVE ‘EM
I MUST BE CRAZY
Big James & Chicago Playboys
Jones, Bobby & Mannish Boys
SUM OF SOMETHING, THE Mayall, John
TEND TO YOUR BUSINESS Mojo Blues Band
COME ON OVER TO MY BBQ Morvan, Laurie Band
DISSATISFIED
Crandall, Kurt
JUKEBOX
KILL THE COFFEE
Holiday
Pugno, Maurizio w/ Sugar Ray
THAT’S WHAT LOVE WILL MAKE YOU DO Calabash Blues&BB
UBU
Estrin, Rick & Night Cats
DO ME RIGHT
DOLLAR TO A DIME
MAKE IT GO
MOAN
Chambers, Sean
Rogers, Robin
WHY’D I DRINK SO MUCH Goudreau, Mike
YOU CAN’T LOSE WHAT YOU AIN’T GOT Dean, Roosevelt
BubblingUnder
AN EYE FOR AN EYE
Mayall, John
Blue Stew
Brooks, Danny & Rockin’ Revelators
Robillard, Duke & Jumpin’ B.R.
Albasile
DON’T LOOK AT MY GIRL LIKE THAT Robillard, Duke & J.B.R.
DON’T YOU WANT A MAN LIKE ME
Blue Stew
MONEY’S GETTING CHEAPER Robillard, Duke & Jumpin’ B.R.
NINE BELOW ZERO
B, Johnny & the Goodes
YOU DON’T LOVE ME
YOU GOT ME RUNNIN’
Downchild Blues Band
Adams, Jim Blues Band
EL STEW
FEET ON THE GROUND
Downchild Blues Band
Holm, Dallas
NOBODY CAN TURN ME AROUND
Sojourners
ONE SCOTCH, ONE BOURBON, ONE BEER Littlefield, Little Willie
YOU UPSETS ME BABY
R&B Bombers
FINE BROWN FRAME
Thompson, Big John & Julie
PLAYFUL BABY
Robillard, Duke Jumpin’ Blues Revue
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
Dancing O
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Roadhouse Blues and Boogie Reviews
Two of the greats, harpist/
vocalist Mark Wenner and guitarist
Jimmy Thackery, started this group
in 1972 in Washington DC as
basically a ball-bustin’ bar band
dipping deep into the Chicago well
of songs and style.
There have been a few band
changes in 38 years, but very few.
Jimmy left in 1986 and Mark
reconstructed the band with Jan
Black and White was Cafe R&B’s
first CD in 1999, however they’ve
they look. They’re backed by
Detroit Express, four guys who
only recently been uncovered in the
Bop and Shag market. Since then
jump the beat with sledgehammer,
and who have numerous music
they released another CD entitled
Blues and All the Rest in 2005 which
industry awards to prove it.
Valerie Barrymore is called the
may spawn another tune or two on
the dance floors.
‘Queen of Funk.’ Stacia Petrie
recently released her fourth CD,
Roach is the name of the lady on
the lead mic. She brings a lot of sand
Ruby Blues, and has won songwriting
awards, as well as nominated for
to whatever she does--much like
DieDra but with a little more gravel
mixed in.
The band’s hometown is L.A.
and their turf is generally from the
top to the bottom of California.
Bill Carruthers is the guitarist
and works some of the vocals, as does
Bobby Pickett on bass.
Two CDs doesn’t seem a lot for a
group with this kind of high-octane
jump blues, but we’ll take what we
can get as long as we can get it.
I hope they make tons of money,
get plenty of rest, and send out more
to those of us who can’t jet to the
Motorcity Women sound like
Zukowski and Pete Ragusa.
Together they’ve put out seven
albums and CDs and I’m not sure
that’s their complete discography.
These guys are the real deal on
every album with great songs like
Buddy Johnson’s “A Pretty Girl,”
Jimmy Reed’s “Honest I Do,” Etta
James’ “Jump Into My Fire,” Snooky
Pryor’s “Nine Below Zero,” the Jacks’
“Smack Dab In the Middle,” Frankie
Miller’s “Heartbreak Radio” (Ok,
Delbert did it too, so did Lee
Greenwood, the Dynatones, Rita
West Coast for one of their live Coolidge, and ShagTime), and more
performances. y
worth searching out. y
eleven different Detroit Music
Awards. Long John Baldry says
Cheryl Lescom is one of the biggest
voices he’s heard in his career.
Lady T (also known as Dirty Old
Woman, Bo Hawk Grind Lady, and
Detroit Lady Cobra of the Blues),
took home the 2006 award for
Outstanding Blues/R&B Vocalist in
Detroit.
Aja Sardis has performed with
Johnny Reed and the Houserockers
and was in the 2007 American Idol
sing-off.
Elena Papillo rounds out the
group as writer and singer. “Ready”
is their hot
single. y
Volume 1, IIssue
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19
Off the Charts
Tiger Radio Chart -- March 29, 1969
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Tiger Radio 1965 - 1981
juke box in sight. That’s community research on a high
order.
Tiger came to its dominant position in the days of
One of the advantages Tiger Radio had over other
radio stations is that it filled the ears of tens of thousands Boss Jocks, Personality Radio, and lots of Platter Patter
of tourists who visited the Grand Strand for more than to go with the vinyl spinning on the turntables.
In the early 80s, WTGR began simulcasting their
John Cougar Mellancamp told the story in an programming from WKZQ (formerly WTGR-FM).
interview with Billboard editor Timothy White about Soon, the WTGR call letters were dropped and 1520
traveling with is family to Myrtle Beach from Indiana would become WKZQ-AM. In the early 90s, WKZQtwo decades.
AM moved to 1450. For a few years, the WTGR call
Mellancamp always marveled at the kids listening letters could be found at 97.5 FM in Union City, Ohio.
Nowadays, Banana Jack has taken steps to revive the
to portable radios on the beach who jumped up and
shuffled in the sand when one of their favorite Beach Tiger legacy on his AM station licensed to Loris, SC.
several times in the sixties.
songs played. The station they were listening to was
One way or another, WTGR epitomized “Beach
radio” on the Grand Strand. I’ve heard innumerable
likely 1520 WTGR.
In 1965, Tiger Radio hit the airwaves on AM 1520 stories about the jocks, the music, and the station for
in the Myrtle Beach area. Notable announcers in the years.
Note their Top Fifty in the chart on page 20. It’s
Hubs, Skip Paradise, Bill Hennecy, Big Al Irvin, Bill one of the *extremely rare* stations in the Carolinas which
Connell (who went on to become a major fixture with not only played Beach Music, they put it all the way to
the Charlotte Motor Speedway as well as picking up a the top of the charts when the song warranted that honor.
Tiger airchair included the ‘B.S.er’ Billy Smith, Hot Scot
Number One on the chart is a purely regional
*BeachSong* by the Georgia Prophets, Billy, Barbara and
Frankie, with “For the First Time.”
Playing Beach Music was not a fluke for the Tiger,
there are other prime Beach tunes,
“Only the Strong Survive”
Jerry Butler
“Not Too Long Ago”
“Chokin’ Kind”
Uniques
Joe Simon
“I Love My Baby”
“Whose Little Girl Are You”
Archie Bell/Drells
Tams
“Me Tarzan You Jane”
“Is It Something You Got”
Intruders
Tyrone Davis
“In the Bad Bad Old Days”
“I’ll Try Something New”
Foundations
Temps/Supremes
mixed in with lots more fine Soul:
Carla Thomas
The B.S.er -- the late Billy Smith
Aretha
David Ruffin
SAG card for numerous minor movie roles), Bruce Miller,
Gladys Knight
Sam and Dave
Steve Mims, and J. Patrick Milan.
WTGR, "The Voice Of The Carolina Coast," started
at a sprint after Skip Paradise traveled up and down the
Grand Strand writing down the songs playing on every
and more as you’ll see.
y
Volume 1, IIssue
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21
In Search of....
Tommy Whiteside’s son contacted DOTEJ to see if
anyone has a copy of his father’s record on Cheeco they’d
be willing to part with. He doesn’t have a copy and
would like to own one in memory of his father.
Yo’ Fessa’ is in search of pictures and information on
this gentleman and his band (whatever its name was).
Jimmy Michaux grew up in Georgetown, SC and
was involved with one band for several years. I have yet
to determine the name of the band although I’ve talked
If you have any specific recollections about Tommy,
or pictures of Tommy and the Warriors performing, I’m
sure his son would love to know about those as well.
Cheeco was one of many labels spawned or
supported by Copeland Studios in Greensboro, NC.
That’s a lot of ground we’ll be covering eventually.
I met the fellow who bought out the record pressing
plant with all the masters for the Copeland sessions. That
was 32 years ago. I believe those slipped through his
fingers long ago.
There’s always an opportunity, though, to find a
complete discography or labelography. There are always
people who kept records on the side because they enjoyed
it as a hobby.
By the way, if there’s something *you’re* in search
of in the Beach and Shag world, let me know and I’ll
add it to the DOTEJ. Maybe we can all join in on the
great Treasure Hunt of Beach Music and help one another
out. y
Dancing O
n the E
dge JJour
our
nal
On
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ournal
22
with members of everyon of the well-known bands of the
area.
I’ve met several people who remember him, and remember he was in a band, but don’t recall the name of
it.
Jimmy’s band played Pawley’s Island, several Carolina universities, presumably frat parties, and may have
played in Charleston, Folly Beach, etc.
There’s also a book I’m looking for which refers to
Jimmy, entitled “View from Stage Left.”
If you’ve any information, pictures, or the like, please
pass it along to me. I think this fellow has a unique story
to tell, given what I’ve learned so far, and I’d like to pursue it further.
(Jimmy died in Vietnam in the 60s).
-- Fessa’ Hook
y
Nabs and N
ews
News
S.W. Virginia Quadrangle, I can include some great
pictures and stories on Lynchburg groups as well. It’s
endless! I love it).
___________________________________
We’ve already got so many stories prepared for the
Vintage Grooves and Current Grooves columns, I may
have to double them in future issues or we’ll ‘never’ get
a chance to share them all.
DOTEJ V 1 No. 4 will also follow the development
of the Black charts from their Harlem Hit Parade to their
Soul days, with some interesting stops in between.
___________________________________
Their hasn’t been as much attention paid to the Shag
and the Bop as I intend. Frankly, I’m still finding my
bearings on this project. I love it, but there’s a lot of
This Week magazine in Eastern North Carolina gave
the front page to the Jolly Knave’s 25th anniversary-they’re now coming up on their 40th.
Fred Fletcher, one of the two original owners, is the
Captain of the steering committee and we’re expecting
more news on their Dual Reunion in both Raleigh and
Atlantic Beach, North Carolina.
In one of the next issues we’ll revisit the Jolly Knave
(s) via some playlists copied from their jukeboxes by longtime patrons.
I ran across a set of three cassettes a few months ago
which purport to contain nothing but songs from the
Knave jukeboxes and 40% of the tunes are DEEP Beach
music that one rarely, if ever, heard anywhere else.
___________________________________
DOTEJ V 1 No. 4 will spotlight much of the history
of the Beach scene in the Southwest Virginia Triangle of
Roanoke, Martinsville, and Danville -- with special
emphasis on the early Danville groups. (If I make it the
planning and e-mailing that has to take place.
On the other hand, it’s become abundantly clear
that I can’t try to complete every story, otherwise I’ll never
get the journals out weekly. That said, I’ll put what I’ve
got in your hands for your pleasure, and you can look
forward to future additions and expansions on those
stories, just as I do.
In that spirit, I’ll be adding shorter stories to be
built up over time.
___________________________________
CORRECTIONS: We’ll have a much-expanded JCP
Records discography in an upcoming issue. Several
expert collectors are working on additions to it now.
___________________________________
If this is your first issue and you like the DOTEJ,
subscribe for six months at $3000 or $5000 for a year.
Order at the Dancing on the Edge Journal link at
www.beachshag.com y
-- Fessa’ Hook
Volume 1, IIssue
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