Dancing On The Edge News

Transcription

Dancing On The Edge News
Volume 1, Issue 31
April 3, 2013
Explorations in Beach and Shag Culture
L-R: Jerry Wilson, Doug Hyler, and John Irby with the Soulmasters
Jerry Wilson: 2nd Act for a Soulmaster
Sensational
Soulmasters
1965
Steve Scearce
Rickie Fox
Brian Thompson
Larry Davis
Wayne Womble
Ernie Dickens
Jimmy Matthews
Doug Hyler
Junie Walton
Dennis Shephard
John Irby
Jerry Wilson
Jerr
erryy Wilson:
Second A
ct F
or a
Act
For
Soulmaster
Soulmasters first practice, 1965 in Doug Hyler’s basement. back l to r: Rickie Fox,
Wayne Womble, Jerry Wilson. Front l to r: Doug Hyler, Jimmy Matthews, Steve
Scearce, Brian Thompson.
dios in Danville in 1967. Additional
recordings were made at a better stu-
a member of the Soulmasters on at
least five different occasions, starting
dio in Raleigh, but the master tapes
were given by Wilson to Eddie Floyd,
on drums, switching to bass, lead guitar and baritone sax. He went back
in hopes he could help the group
land a major recording contract. A
to bass just before the break-up.
--Jack W. Garrett
crude live recording of the band was
made during a performance at
The Soulmasters formed in 1965
Stratford College, and the
Soulmasters also taped several songs
with the merger of four Danville-area
bands. Fronted by Jerry Wilson and
at Leed’s Music Center in Danville.
To date, none of the tapes has sur-
John Irby, the group was one of the
first integrated bands in the segre-
faced and all are presumed lost.
Danville guitarist Rickie Fox was
gated South. Personnel changed often in the 11-piece group, which
became the premier Soul band in
Southside Virginia.
Raven Records, House of Sound
Studios, Danville, Virginia, 1967
“Jerry, how would you
The band has become legendary
among Beach and Northern Soul fans
like to play with some
on the strength of their lone 45,
which was recorded for Raven
white guys?”
Records at the House of Sound Stu-
2
Dancing On the Edge News
In retrospect, Fox says “if we had
known it was going to be so legendary, we might have taken it more seriously. We were just kids really.”
Their story is one of many nearmisses, ending with a name change
shortly before the group called in
quits in 1970. At the time, just two
original members remained.
A documentary on the band was
started but never completed. The
producers are currently seeking funding for the project.
Wilson recently returned to his
hometown and hopes to reunite the
Soulmasters for performances and recordings.
I sat down with him recently to
discuss the band.
I believe you started with the
Soulmasters in Eden. N.C.
It began one sunny day, man. A
guy named James Barksdale came up
to me and said, “Jerry, how would
Sensational Soulmasters 1966: Back l to r: Steve Scearce, Larry Davis, Wayne
Womble, Ernie Dickens. Front l to r: Jimmy Matthews, Doug Hyler, Junie Walton,
Dennis Shephard. Left front sunglasses: John Irby, to his left Jerry Wilson. Photo
taken WBTM studio on Grove Street, Danville, VA.
you like to play with some white
guys?“ And I said:
“Sure, man. I can go practice with
them.” I got out there and all the
guys (were) out there. Steve
Robertson and all the guys. Doug
Hyler, Wayne Womble, Jimmy
Matthews and some more guys that
I can’t remember right now. But we
practiced and It was nice but what I
remember most about it (was) that I
went and got John (Irby) after James
got me. And the funny thing about
it is that we got there and we didn’t
even know how to turn the mics on.
That’s how green we were, John and
I. So they were thinking about getting rid of us, you know. So finally
we practiced some songs. We did
some Sam and Dave stuff and we did
some Eddie Floyd, Otis Redding
stuff and man it just took off from
there. And we stayed with the band
in Eden I think about... We started
in the spring and we played our first
gig at the Rathskeller (in downtown
Danville, Virginia).
n ’66?
havee been IIn
Would this hav
That was ’65, I believe it was.
Then our second job that we played
was at the (Danville) Fairgrounds
with Percy Sledge. I think the Majors, and I can’t think of the other
band, ‘cause Ernie Dickens and Junie
Walton, Dennis Shepherd and all
these guys was playing together. And
it was two bands and they were really good. Joe Johnson was playing
with one of ‘em, lead singing. Him
and Butch Fox, Rickie Fox’s brother.
It was two bands. One was the Majors and I can’t think of the other
band, but these guys had formed this
band and so they heard us at the
Rathskeller.
And Danville and Eden had a
little thing going on. John and I
didn’t understand what it was, and
they came in and took, well John
and I went with ‘em, the horn section - Jimmy Matthews, Doug
Hyler, Dennis Shepherd, and Junie
Walton.
We (the Soulmasters) had four
horns at the time. Sometimes we
would have five.
Volume 1 No. 31
3
August 1967
in Danville. That’s where we would
have our crowd, at the Coke Plant,
the City Armory and the T-Bird Club.
There was a guy named Homer T.
that owned T-Bird Country and we
“....what I liked about
it at the time was the band
was integrated....”
July 29, 1966
And we played all over the South,
man. We played at all of the fraternities: UNC, North Carolina State,
University of Virginia, Georgia Tech,
Myrtle Beach, Virginia Beach, Nags
Head. We played all over, but we always liked to play at the Coke Plant
4
used to play all over Danville, man.
And you know, the funny thing
about it, what I liked about it at the
time was the band was integrated,
‘cause we had Bill Hundley joined
us later on and he played sax. So that
gave us most of the time five horns.
We would just feed off the crowd. You
know what I mean? They would see
us coming. The Soulmasters would
do like four sets. John and I would
do two. And when we came out we
were fired up because the band had
pumped everybody up and when we
came out we would be dressed flamboyantly you know and we had been
practicing songs like Sam and Dave,
Otis Redding, Wilson Pickett, Percy
Sledge. I mean, you just name it, we
did it.
And we played with Top 10
people, people that had songs in the
Top 40. I said Top 10, but l meant
Top 40. And we got just as many
applause as they did, you know. But
one of the favorite groups that I liked
playing with was the Tams. And we
Soulmasters at Chatham Hall, Chatham, VA 1966
Steve Scearce
The horn section
Wayne Womble organ,
Larry Davis, drums
Chatham Hall l to r: Junie Walton, Doug Hyler, Dennis Shepherd, Tommy
Matthewson, Steve Scearce, Ernie Dickens
Volume 1 No. 31
5
Baldwins Gymtorium, Martinsville, VA
1966. Jerry Wilson l, John Irby r
Soulmasters, Jerry, and a great shot of their drum, Baldwins....1966
did some shows with the Showmen,
just different groups. We had a big
band back then man and when those
horns started blastin’ I mean we
could blow just about anybody off
the stage, with our horn section.
Several of the bios say that you and
started
New
Brreed.
John star
ted in the N
ew B
No, that’s not correct.
February 11, 1967
June 14, 1967
The Soulmasters appeared on double bills with several groups at the 360
Drive-In in 1967, this is a selection of just a few of those dates.
June 28, 1967
6
Thursday
April 11th
TOO MUCH
SYLVIA
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May 9th
THE NIGHT
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Thursday
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James L. Morgan
June 13th
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SEA CRUZ
(in conjunction with Scotland Place)
(1206 Turnpike Road)
Thursday
July 4th
6:00-9:00pm
$1 charge for adults. Kids under 12 are free.
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BREAKERS
Friday
Sponsored by:
Brought to you by:
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For more information:
910.276.7420 Ȼ www.laurinburgchamber.com
Volume 1 No. 31
7
Soulmasters at the 360 Drive-In, Summer 1967
The Soulmasters at the 360 Drive-In Summer 1967. L to R:
Wayne Womble organ, Dennis Shepherd trumpet, Jimmy
Matthews trumpet, Junie Walton sax, Doug Hyler sax
In front of the 360 Drive-In screen. L to R: Jerry Wilson,
John Irby, Ernie Dickens
360 Drive-In: L to R: Jimmy Matthews, Junie Walton, Doug
Hyler, Ernie Dickens
They were an all black band out
er
en
Grreensbor
eensboroo, w
wer
eren
en’’t they?
of G
No, they were from here.
They were great. I saw them at
Virginia International Raceway in
the summer of ’67.
They were good, but I tell you
what happened. They had the choreography. We used to moonlight
with them. Whenever the
Soulmasters didn’t play, John and I
played with them. And that’s where
8
a lot of people probably got that from.
And we played with them and they
had horns, too. They were really
good, man. In fact, Bill Hundley
used to play with them, the sax
player that played with us. He started
out with them and they were really
good.
But the Soulmasters used to draw
the crowd, black and white. And they
would be dancing and everybody
having fun. It was about music, and
July 19, 1967
1967 Publicity shot. Back row L to R: Dennis Shepherd, Wayne Womble, Ernie Dickens, Doug Hyler, Jimmy Matthews,
Charles “Chuck” Gentry, Larry “Sticks” Davis and Junie Walton. Front Row L to R: Jerry Wilson, John Irby
it was during the time of the demonstrations. And black and white
used to come and when they were
dancing on the floor you could see
that they were relieving themselves.
They were out of all that tension
and everything and we played for the
crowd and they used to always
(think) that we were pumping them
up, but they were pumping us up
because we fed off each other.
You know, I come home sometimes and in fact we have moved
back. My wife and I, we’ve got a foundation started to help kids get in
school and things like that,
mentoring. But the good thing about
it is the Soulmasters carried me for
years. I got four c.d.’s out and I always have horns in my songs. And
they started that. I very seldom
played in a band without horns. The
longest I ever played with a band was
about three years, and I played with
the Soulmasters three-and-a-half.
Wherever we would play, we had
a big yellow school bus we had
sanded it down and painted it blue
and had “Sensational Soulmasters” on
it. And we would go into some towns
man and people would be standing
on the side of the street waving. Everywhere we went we gave autographs
and things like that. And then when
we did our song, “I’ll Be Waiting
Here” that Dennis Shepherd wrote
and “You Took Away the Sunshine”
that Doug Hyler wrote, it was great.
You know, we were signing (autographs) and I think we only had
about 500 copies (pressed).
But It was a big regional hit.
Yea. In Tennessee it reached 7 or
Volume 1 No. 31
9
Soulmasters at the Danville Coke Plant
Ernie Dickens
1967 Danville Coke Plant. L to R: Junie Walton organ, George Parrish trumpet,
Dennis Shepherd trumpet, Jimmy Matthews trumpet
number 4 (on WLAC) in Nashville.
And that’s one thing I add. If it was
anything to regret it was that we
didn’t go back in the studio and cut
any more.
What do you remember about
those sessions?
Man, we had fun. It was just fun.
We went in and you know back then
you didn’t have all this digital equipment. You made one mistake and you
had to do the song over again. I think
we did it about four times until everybody became relaxed, laughing
and carrying on. And then after that
I think it took us two days to record
it, both sides.
Who had the idea for the stop and
startt on ““Y
Away
star
You Took A
way the SSununshine?”
Dennis Shepherd.
10
To me, that makes the rrecor
ecor
d. IItt
ecord.
was totally unexpected.
Dennis Shepherd was a diminutive type in stature. But he had a big
heart. He was one of my favorites,
man. We used to talk a lot and we
used to play tricks on each other
when we went out of town, especially
Coke Plant
gonna order. John used to wear
on long rides.
Tell us about that. You mentioned shades all the time, so I asked John
a story about stopping at a restaurant to let me use his shades. And I got
Wayne Womble to lead me inside to
in North Carolina.
Yea, we stopped at this restaurant order the food. And so I’m blind.
in this small town. I don’t even know And so Wayne leads me by the arm
and I had to order ‘cause if Wayne
the town.
John and I used to have to lay
down on the bus sometimes when we
went through some of the towns.
And we were kids, man. I think the
oldest guy In the
band was 21 years
old, and that was
September 30, 1967
John. I was 20. And
the rest of the guys
was in high school.
We used to have to
ordered, the bets was off. So I ordered
all these hamburgers, and sodas and
fries and all that stuff. And they were
looking out the bus window at me,
so I ordered everything.
“It was fun, man. I
mean we were kids,
we didn’t know.”
They were so
nice to me, man.
They were real
nice. And Wayne
would talk to me
as if I was blind
and I would feel
lay on the bus and
they would laugh at
us and we would laugh at them
whenever we would play tricks on
for Wayne. When he didn’t have his
hands on me I would feel for him. So
each other.
So this particular day I said:
Wayne said: “Is that all you need,
Jerry?”
said,“Y
eah.””
I said,“
Yeah.
“Look man, I’m gonna order dinner
for everybody.”
Everybody laughed of course. So
we put up money and I said that I’m
So one of the employees said: “You
want us to take it out to the bus?”
We said, “no, we got it.“ And so
November 19, 1967
circa 1967
Volume 1 No. 31
11
Soulmasters at the Danville Coke Plant
1967 on Danville’s Riverside Drive. Front row L to R: Paul Brooks, Bill Hundley, Doug Hyler, and Jimmy Matthews. Back
row L to R: Charles Gentry, Larry Davis, John Irby, Jerry Wilson, Bill Adams and Ernie Dickens.
outside. And then when I got to the
door I turned around and take my
play
ed the P
avilion in M
yr
tle B
each.
played
Pavilion
Myr
yrtle
Beach.
wer
eree telling me another stor
storyy
You w
er
when you really fooled the guys and
it came back to bite you.
shades off and I said: “Lady over in
the blue dress, thank you very much.
Jack, I didn’t know you was gonna
come after me with that. You know,
You’ve been so kind.” And we ran and
jumped on the bus and we just took
whenever we went to a place like
Myrtle Beach, Nags Head or differ-
off, man. And everybody was laughing. It was fun, man. I mean we were
ent places like that, it was guys that
would follow us. And we’d be down
kids, we didn’t know.
And there was another time you
there and there’d be about 40 people
comin’ in just to watch us ‘cause we
Wayne gave me part of it and I would
hold him by the coat until we got
Bill Hundley, sax player in the group
picture above, later served with the City
Council.
12
Soulmasters at the Peabody Warehouse, Va Beach
1967 Peabbody’s Warehouse, Virginia Beach. L to R: Charles Gentry and Ernie Dickens.
always had a following.
And this particular day the
Soulmasters, we had a beach house
and we stayed upstairs. And I was
the jokester in the
bunch. So I met a
guy that worked in
the
Pavilion
kitchen, a black
guy. And he says:
he had that he was playing with. And
he was playing with people with it.
So naturally, I start thinking devilish thoughts ‘cause the Soulmasters
So I tell the guy, “I’m going back
to the beach house and in ten minutes you come upstairs.” I’m gonna
be sittin’ alone, ‘cause everybody up-
“So he comes up the steps running and he
says: ‘Where’s Jerry Wilson? He been messin’
around with my wife.’”
“Man you guys are
great. I need to take you to our side
of town and introduce you to
people.” I said: “Okay man, we can
do that.” So we went to a little club
and had fun and l noticed he had a
little gun. It was a little blank pistol
had always said we’re gonna stick together. You know, no matter what,
we’re gonna stick together. We’re
brothers and all this, you know. So I
thought I’m gonna test this theory.
stairs
was
pIayin’ cards. So
I said: “You
come in and
say, ‘Where’s
Jerry Wilson?
He
been
messin’ with my wife.’ And you shoot
me.” And he said “okay’” and we
laughed about it.
So, I went back up (and) I got over
in the corner by myself, just playing
with cards. So he comes up the steps
Volume 1 No. 31
13
Soulmasters at the Peabody Warehouse, Va Beach
1967 Peabody’s Warehouse, Virginia Beach. L to R: George Parrish trumpet, Paul Brooks trumpet, Jimmy Matthews
trumpet, Bill Hundley sax, Doug Hyler sax. In the backgrouond Bill Adams keyboards, Larry Davis drums, Ernie Dickens
bass, and Charles Gentry guitar.
running and he says: “Where’s Jerry
Wilson? He been messin’ around
with my wife.” And everybody looked
over there at me as if to say, “What
have you done, Jerry?” And he starts
shooting. And it was some steps we
had to go down to get outside. And
when he shot me, he shot about
three times with a blank pistol and
I’ve never seen that many guys run
at one time and get out the door.
They were fightin’ to get out this
little narrow door. And I was laughing so hard I couldn’t catch ‘em, ‘cause
14
they were runnin’ to the police sta-
think that’s why the Soulmasters was
tion to tell the police. And I finally
got their attention and was scream-
so popular, because we used to make
people happy. And that’s our thing.
ing at ‘em. They looked back and saw
me and I told ‘em what had hap-
John and I, we used to sit backstage,
listen to the band and we would
pened and they didn’t speak to me
for two days; I had to come on stage,
psyche ourselves out. If we were performing with Sam and Dave, Wilson
John, none of ‘em would speak to me
because I scared ‘em, plus I killed that
Pickett, whoever we were performing
with, we would give our best. And
theory.
It was those kind of things that
we would always have new outfits on
when we would play.
You always looked sharp.
we used to do to each other. All kinds
of tricks, some I can’t say. But we had
fun and we played music. And I
Yea, the band, too. Man, they
would have tuxedos and things like
Soulmasters, Stratford College, Danville, 1967
1967 Valentine’s Dance Stratford College L to R: Wayne Womble organ, Dennis Shepherd trumpet, Jimmy Matthews
trumpet, Doug Hyler sax, Junie Walton sax, Larry Davis drums, Charles Gentry guitar, Ernie Dickens bass
that. But Ernie Dickens was the went just completely bonkers over
hardest. I mean, I couldn‘t under- our tapes. And we had pictures of
stand how he dealt with all of us, 19 ourselves and they were talking about
years old. And he used to have this how this would go over well with the
Maalox on his Fender bass. And he crowd, being an integrated band
used to have a whole bottle. At the playin’ soul music. And they just
end of the night it was gone. He had didn’t believe white guys was playin’
dranked it all, ‘cause I mean we gave like that.
him ulcers, man. He used to get all
Two weeks before we went, Marour bookings.
tin Luther King got shot. And that
He was the one that got us the stopped everything, as far as us goin’
booking at the Apollo Theatre. He to New York, ‘cause we was gonna
and I flew up; the band played one drive the bus up. And I think... I
night (and) we made about $500. don’t think, I know if we had came
And we used that money to drive to out and played at the Apollo the
Greensboro and flew to New York. heights we would have reached, you
And we carried ‘em our tapes. They know, the pinnacle. But It didn‘t
happen and that was it.
But Danville was the best place
for us at that time to play because it
would bring a lot of people out. Kids
would come out, especially the Coke
Plant.
So you were with the band
through 1969? `
No, to the end of August of ’68.
Why did you leave the group?
It was like this: Most of the guys,
we had an interchangeable band.
Everybody wanted to play with the
Soulmasters. So, a lot of guys was
going to college and I had to think
about what I wanted to do. And after the riots, after Martin Luther
Volume 1 No. 31
15
Soulmasters, Stratford College, Danville, 1967
1967 Stratford College Valentine’s Dance L to R: Dennis Shepherd, Jerry Wilson, Doug Hyler, John Irby, Charles Gentry,
Ernie Dickens.
King got killed, we kept playing. But
at a club one night. They got me a
the only problem was I had to think
about what I really wanted to do with
car, a nice little ’65 convertible Mustang. They were good guys, man.
my life. And after the Apollo it
looked like things just didn’t go well,
They were real good guys. And they
made sure I got my money when I
you know, the way I thought it
would, and some of the other guys
performed.
The biggest show I did was at the
agreed.
So, I went to D.C. I did shows
D.C. Armory with Stevie Wonder,
Roberta Flack, Chuck Brown and the
when I got to D.C. I got an agent.
One of the Washington Redskins was
Soul Searchers, the Young Senators
and Brock Peters. He was a movie star.
my agent. His name was Spane
Musgrove. He was a rookie, and a guy
You remember the movie that Gregory Peck played in, “To Kill A
named Dick Smith that played defensive back. And they took me un-
Mockingbird?” He and I had a twohour conversation, man. And he told
der their wings ‘cause they saw me
me a lot of things to do, how to act.
16
He was just a good guy. And I remember the outfit. He had a brown
outfit. I’ll never forget it. And we
talked and he was impressed with my
singing.
And (Muhammad) Ali came out
and the drummer and I was pickin’
at him. Because, you know, he was
on probation during that time. This
was January of ’69. And he was going around tryin’ to get the fight with
Joe Frazier. Now he was a big guy.
And he was talking about how fast
he was to the crowd and everything.
Well this was at practice. We were
continued on page 18
Rhythm & Blues Retrospective
JET magazine brought news to
African Americans that had theretofore been difficult if not impossible
to find with its first issue November
1, 1951
Like any researcher, I’ve dreamed
Eisenhower at Denver’s exclusive
Cherry Hills Country Club. Bing
Crosby and Bob Hope will share the
bill with the Dominoes during the
golf tournament scheduled as part of
the activites August 19-20.
of having the entire 62 year archive
available. My dreams have come
true.
Since JET started in 1951, I
thought I’d start with Billy Ward and
the Dominoes who took the beaches
of the Southeast that year with “Sixty
Minute Man.”
I soon found that other R&B legends were in the JET stream of news
which the mainstream press never
reported:
NOVEMBER 8, 1951
JET noted that it had been less
than a year since Amos Milburn’s
OCTOBER 15, 1953
Syd Nathan, president of King
Records, awarded Billy Ward and the
Dominoes with a gold record during
their appearance at the Apollo for
“Have Mercy Baby” which recently
***
MAY 28, 1953
The Dominoes appearance at New
York’s Bandbox must have been a
blockbuster. In the spring of ‘53.
Although “Sixty Minute Man” sold
over a half a million copies following
its fall 1951 release, the group was
still considered to be relatively un-
passed the million selling mark.
(Note: Clyde McPhatter sang the
lead but was no longer with the
group).
known. Their Bandbox performance
must’ve changed that; they were
given more than $250,000 in cafe
and theatre bookings after leaving the
***
DECEMBER 10, 1953
A feud which apparently broke
Bandbox.
“Bad Bad Whiskey” was a chart
***
out on the road, spilled over into the
press. The Dominoes’ Billy Ward
topper. In November 1951
AUGUST 27, 1953
stated he would be filing charges with
the musician’s union over a number
the Peoplestown
housing project
age tour was announced featuring
Sugar Ray Robinson, Billy Ward’s
in
Atlanta
found a new use
Dominoes, and Count Basie’s band.
A triple-billed nationwide pack-
for the song, playing it on a sound
wagon making the rounds of the
***
project where 35 people had already
died of poisoned moonshine.
AUGUST 27, 1953
***
Clyde McPhatter, who used to
sing lead with the Dominoes, signed
a contract to head up his own band.
APRIL 13, 1953
JET noted that “teenagers used to go
into hysterics” during his lead tenor
Billy Ward and the Dominoes are
slated to entertain President
years with the Dominoes.
***
of issues which he and Sugar Ray
Robinson disputed with one another.
The last straw, allegedly, was Sugar
Ray’s refusal to pose for pictures with
Ward.
***
JANUARY 7, 1954
Billy Ward charged the Joe Glaser
booking agency with mismanagement in booking, failure to properly
represent the Dominoes and improper billing in the recent Dominoes-Sugar Ray Robinson tour.....
***
Volume 1 No. 31
17
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.
5.
Greatest Love Ever Known
Working On A Big Chill
When the Moment Comes
6.
7.
I’d Give Up Everything for You
Second Chance
8.
9.
I Dig Everything About You
Do You Love Me Like That
10.
11.
Dance With My Father
A Much Better Place
12.
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!
18
practicing — the band to perform — the whole show because l kept eggand it was a lot of people at practice. ing him on. He said: That’s your
Ali, as you know, was a showoff, fault; you did that.” But he was
but he was a good guy. And the scared and I was looking at him
drummer kept yellin’ to him: “Yea, laughing out the corner of my eye
you fast, but can you beat Joe ‘cause I wouldn’t move my head beFrazier?” And I would egg him on, cause Ali’s hands was like giants. And
(with) “say it again.” And we didn’t Ali laughed at us and talked to us a
know what Ali was doing. He was long time afterwards, man.
sneaking up on us all the time. The
I did shows with a lot of people
drummer, he was just puttin’ his up there during that time. A guy
drums together and said: “Yea, you named AI Johnson used to play with
can do all this. Your hands are fast; the Unifics, they had a million seller.
you’re big and can’t nobody hit you,
A guy named Joe Tate. He probut can you beat Joe Frazier?” By that duced one of my songs that I did in
time he had grabbed both of us and ’76; it was a disco song. You know,
he said: “If either one of you dudes just havin’ fun man with people back
move, I’m gonna knock you out.”
during that time (and) playing with
Man, we was standing there fro- some of the greatest musicians that
zen scared and he took his hands and you could imagine. But I used to alhe put both of our heads about six ways think, if only the Soulmasters
inches apart and he started doin’ his were here.
hands between our heads real slow
Very early shot of Rickie Fox with
Gene and the Team Beats
He said: “Jerry, the reason I think we
so the audience
could see him.
“I started singing when I was 16 years old at John M. Langston
And then he
started goin’ so
High School in the choir and in talent shows. But l never knew that
James Barksdale would walk up to me one day and give me the
fast we couldn’t
feel nothing but
opportunity to go play with some guys in Eden.
.”
wind coming. He was talking to us
It all hearkens back to the
the whole time he was doin’ it. He Soulmasters. Why didn‘
ou guys
didn‘tt yyou
said: “If you move, I’m gonna knock ever do a reunion?
you out.” And we stood there scared
We did. We did a couple of reto death. And after he did that he unions.
slowed down a little bit and then he
I know you did, but you never got
asked the audience: “Who’s the great- into the studio again.
est?” And everybody cheered: “Ali!”
We never got in the studio and
The drummer went over and sat we talked about that. Rickie Fox said
down and he wouldn’t speak to me something that was really profound.
didn’t make it, it
had something to
do with God not
allowing us to
make it ‘cause
half
of
us
would’ve probably ended up on drugs or our lives
would’ve been totally different than
they are now. We wouldn’t have the
families that we have.” I mean he just
broke it down to where it eased me
in thinking and living in regret.
That’s just the way it was. Because
Ernie Dickens asked me, “Jerry, you
and John wanna cut some more?”
And we looked at him and said “no,”
Volume 1 No. 31
19
because it wasn’t
we
what you’d call a
great looking stu-
other.
And that’s the
dio. But the
sound wasn’t bad.
way we performed.
And that’s the cama-
And it was for free.
But after ten years
Jerry on the disco side. 1976 recording, released 1978.
you say, “man, we
should’ve done a bunch of songs.“
And if we had, I know one side hit
real good so I know what would‘ve
happened if we had followed up. But
we were young.
ou’’re yyoung
it’’s
You
oung and yyou
ou think it
going to last forever and you have no
appreciation. I only saw the group
once at the 360 Drive-in when I was
ten, but the thing that struck me was
the way the momentum built. The
band came out and played and then
ou and JJerr
err
brought
erryy on stage.
they br
ought yyou
The Generals performed first and
ed. You guys
played.
then the Soulmasters play
got as much crowd response as the
er
wer
eree headlining the
Tams and they w
bill.
20
And that’s the way it was most of
the places we went because what happened is it was hard. This is what
kept John and l humble. When we
were in our community — in the
black community — when we would
go home and we’d go to the pool
room or they would see us downtown, people would say: “You guys
are good, but ya’ll wouldn’t be anything without them white boys.” You
know, they would tell us that. So,
when we were around white people,
white people would tell us the
Soulmasters wouldn’t be anything
without you and John. So that
helped us keep everything in perspective, you know, helped us know that
needed
each
raderie we had. Traveling in the bus, like
the time we were
coming from Asheville, North Carolina and Dennis Shepherd had
bought a 1965 Ford Galaxie. And we
were comin’ over this hill and ran over
these Black Angus cows. And we
thought the farmer was gonna kill us,
man. He came out and he was as nice
as he could be and he said it wasn’t
your fault, the cows broke down the
fence.
But you know, this may sound
crazy to you but John and I gettin’
on the floor and laughing and we’re
laughing on the floor and he’s saying, “Jerry, why are we going through
this?” And we would laugh at each
other and the guys would laugh at
us, and when we see them in a pre-
Jerry Wilson and Rickie Fox in the Fox studio working on Rickie’s third album (CD).
dicament we would laugh at them.
But it was just, you know, kids not
understanding the seriousness of
what was goin’ on in the other parts
(of the country) and even in Danville,
the things that was happening. We
very seldom had an incident, but we
had some. You know, people calling
us names and things like that. But I
think that overall, I would do it all
over again a hundred times if I had
to, because it was something I
learned. It was my roots.
I started singing when I was 16
years old at John M. Langston High
School in the choir and in talent
ing the music.
And you know soul music was the
shows. But l never knew that James
Barksdale would walk up to me one
thing back then. If Wilson Pickett did
a song, Ernie Dickens would bring
day and give me the opportunity to
go play with some guys in Eden.
the song and say, “Jerry, ya’ll gotta
learn this.” And we would learn it in
And they accepted us right away,
man.
no time. Or whoever would come out
with a song we would learn it. But
Music is music. When you’re playing it, you don’t see colors; you’re just
the thing about it is, they wanna learn
it just like the song, you know, and
into the music. Half of the time we
couldn‘t even see the faces out there,
that’s the way we did it. Everything
like that.
but we could feel the electricity. And
we know that the people were enjoy-
It was just three-and-a-half years
of good times. When I think about
Volume 1 No. 31
21
Jack W. Garrett and Jerry Wilson
the Soulmasters I just think about the music and that you have a foundasun shining, you know. And it was tion.
We have a foundation named afbeautiful.
And I run into some of the people ter our daughter that passed away at
now. But it’s some good songs on
12 years and seven months. She
wasn’t supposed to live but three
You’ve heard of the Band of Oz?
They did a compilation. They put
days; she had a heart interruption as
far as her aorta is concerned. And she
some of my stuff on there and a guy
named Marion Carter, out of South
had four operations and she passed
But it was just fun. In the sum- away on her fourth and final. She
mertime we would go to the beaches wrote her mother and I two letters
and we would play. And everybody thanking us for everything we did and
Carolina, he did a compilation on
there. And one of ‘em made it to
we just named the foundation
Imani’s Heart. And we have moved
the guy.
I’m still doin’ it and I’m still
the foundation already to Danville
and my wife and I have moved back
thanking God every day for breathing and getting me this far. I just
today that remembered us and they
show me pictures; they introduce me
to their children. And then it starts
scaring me when they introduce me
to their grandchildren.
was shocked. When we would play a
lotta people just wouldn’t dance,
they would just sit and watch, or
stand and watch.
And a lotta people forgot we home. And we’ll be doing some
played at the Crescent Drive-In. Re- partnershipping with people.
member the Crescent? We played at
But the c.d.’s I have, I’m getting
a band together down here like I got
the Crescent Drive-In a couple of
up there.
times before they tore it down.
And I just gave you a c.d. (and)
ou ar
w.
aree doing no
now
So tell me what yyou
I kno
w that yyou
ou
know
ou’’ r e still activ
activee in I’m working on another one. That’s
the fourth one that I’m working on
22
there. All of them you can line dance,
shag and hand dance off of them.
That’s the way I made it.
number seven and one made it to
number four. Deejay John Hook, he’s
wanna continue to play music and
get some of the guys back together. I
talked to several of them and they’re
ready to go. And so we’ll get some of
them back together and just see what
happens.
***
Volume 1 No. 31
23
Up & Coming Weekly
ay
etteville, M
ar
ch 20
eekly,, F
Fay
ayetteville,
Mar
arch
I had the distinct honor on
March 27th to deliver a
presentation on Beach and Shag
history at the main library in
Fayetteville.
The talk was entitled “The
Carolina Beach Music and Shag
Legacy - Dancing to Music We
Cannot Hear.” It was the first time
I’ve offered excerpts from my
upcoming book on the ‘complete’
history of the Shag and Beach
Music.
As a prelude, Up and Coming
Weekly magazine asked me to
provide a brief look into the Beach
and Shag legacy for their
publication. That offered an
opportunity for other material I’ve
never or only partially presented.
The take-away in the printed
story is that both Shag and Beach
Music are appellations we applied
to cultural phenomena that were
around for decades before they
were named.
An important point. Especially
in the ongoing debates about ‘what
is Beach Music’ and ‘what is Shag
music.’
The following is the complete text
from Up and Coming Weekly.
---------------------------------------Fessa’ John Hook is the foremost
authority on Beach Music and
Shag history. He will present a
program on Beach Music at the
Fayetteville HQ Library 7 pm,
March 27, 2013. This is in support
of the “Spring Break: The Beach
Comes to Fayetteville” festival from
3 pm to 10 pm on March 28, 2013
on Hay Street.
Classic Soul and the Embers will
perform in this fund raiser for the
Cameo Art Theatre. (For more
information on both John Hook
and Beach Music go to
www.beachshag.com ).
24
Beach Music and Shag –
Carolina Heritage without a Name
“BEACH MUSIC IS COMING
TO TOWN” is a headline you
couldn’t see in 1951, 1957, 1961 or
1963, even though Beach Music was
all around. Fas’ dancers in the Carolinas were steppin’ to this music at
the coasts, a few dozen inland armories, lakeside dance slabs, and other
widespread pavilions. But it didn’t
have a name.
In 1965 Beach Music silently celebrated its 20th birthday. There still
wasn’t a universal name which everyone understood, it had just blossomed. Jack Stallings, one of the
early Catalinas from Charlotte remembered a party they played in
Conway that summer. Several times
that day, a few of the kids requested
some ‘beach music.’ Jack finally
asked what they were talking about.
“You know, those songs you can
hear down at the beach,” they named
a few by the Impressions, Four Tops,
and Drifters. Jack thought, ‘oh,
rhythm and blues, we play that stuff all
the time.’
Two years earlier, Dillon county
musician Rufus Oates took the first
steps of his dream to open a music
store to sell all kinds of instruments
to school bands and musicians like
himself (if it had strings, Rufus could
play it—bass, mandolin, guitar,
banjo, fiddle). Rufus opened his
Music Center September 1963 back
at the beach where he’d wanted to
return since he and his wife lived in
Conway a few years earlier before
moving to Tarboro, NC. The dream
was on with his new Beach Music
Center in downtown Myrtle Beach.
Funny thing about that
name….right away folks saw the
sign, went in and asked if he had
“Sixty Minute Man,” “One Mint
Julep,” or “Green Eyes.” Ever the
capitalist, Rufus said he’d be getting
them in pretty soon. That was the
beginning of the section of his store
which became the (*Beach Music*
Center) inside the Beach *Music Center.*
It took two or three years for the
word to spread about the new ‘Beach
Music’ store in Myrtle Beach. Apparently the term ‘Beach Music’ automatically made sense to people
who had experienced the R&B heard
almost exclusively on the Pavilion
jukeboxes up and down the coast.
Beach Music is a phrase that describes more than one phenomenon.
It’s the convergence of at least three
influences.
1) There was the unnamed music
which Shaggers and Boppers (or Fas’
Dancers and Basic dancers) danced
to from 1945-1965. A tiny percentage of those songs were retroactively
named Beach Music.
2) Local combos began to appear
Up & Coming Weekly
ay
etteville, M
ar
ch 20
eekly,, F
Fay
ayetteville,
Mar
arch
…. The term wasn’t
universal beyond the
Beach and Conway.
f .
The first documented
mention of “Beach
Music” we’ve found
beyond the Beach is
in a May 1967 issue
of the Robesonian in
Lumberton, NC.
3) Some
bands played as early
as 1960 and 1961 at
the Magic Attic upstairs in the Myrtle
Beach
Pavilion.
Bands played at Folly
Beach pavilion in the
early 60s, the fourth
Pawley’s Pavilion
from 1960 onward,
Atlantic
Beach,
North Carolina, and
a number of other
bandstands throughout the region.
People showed up to
Shag and Bop, but it
still wasn’t called
Beach Music until after the mid-point of
on college campuses before Rufus’
College 1959
the 60s.
store opened:
a. Gladiolas at Limestone Col-
d. Hot Nuts at UNC Chapel
Hill 1959
Randy Rowland of Statesville used
to co-own Groucho’s, one of the pre-
lege 1957, Clemson 1958, USC
Chapel Hill 1958
e. 1961-1965 Plaids, Weejuns,
Madras, Turk-Cords, Bob Collins
mier Shag clubs in Charlotte from the
70s to the 90s. Not surprisingly, he
b. Catalinas at Charlotte College 1958
and the Fabulous 5, Embers and a
few others were playing the campuses,
left a good, full-time job to be close
to the music and dance he loved.
c. Jetty Jumpers at Wilmington
but they still weren’t *Beach Music*
Rowland also has one of those
Volume 1 No. 31
25
Up & Coming Weekly
ay
etteville, M
ar
ch 20
eekly,, F
Fay
ayetteville,
Mar
arch
memories that are a researcher’s
dream.
The first three records he heard
on his family’s vacation together at
Cherry Grove, SC in 1959 were “Almost Grown” by Chuck Berry,
“…some of them were half timing to
it and some of the jitterbugs were
trying to dance to it straight up [at
its natural tempo],” Rowland remembers. The other two songs were
“There Goes My Baby” by the Drifters and Lloyd Price’s “Stagger Lee.”
Occasionally, Rowland and a
friend visited Kostakes Music in the
NoDa district of North Charlotte.
Kostakes was a juke box and music
distributor who sold used records in
‘grab bag’ boxes of 125 for $40.
“We’d take those boxes home and
look for treasures, Billy Stewart,
Marvin Gaye, the Four Tops, and the
Temptations to name a few,”
Rowland went on, “we called it ‘soul’
music.”
After Larry Pressley’s Cellar
opened in 1965, Rowland and
friends attended Wednesday nights
to hear the Embers and dance to the
music, but it still had no name.
“We danced to it at Grace Park
Recreation Center and George’s in
Statesville, but I never heard it called
‘Beach Music.’ That was still true at
the big 1967 dance contest put on
by Jimmy Kilgo of TV 9’s Kilgo’s
Canteen at the National Guard Armory in Statesville.
26
Kilgo had
Maurice Williams and the Zodiacs
set up at one end of the building and
the Catalinas at the other. They’d
alternate, playing the music we
loved,” but it didn’t have a name.
Randy first heard the term “Beach
Music” in the Army in 1968.
“One of the first guys I met was
Durwood Martin. We used to talk
about the music that we listened and
danced to back home, the music
Durwood’s band played. Durwood
was an early member of the Embers.
Once in a while someone would say,
‘yeah, I miss that good old Beach
Music back home.’”
they’d turned the ‘basic’ dance
around. The dance became known
as the P.C. Bop. Bop music dove
deep to find the right beat in Gulf
Coast rhythm and blues and blues.
In our Beach Music Guide Vols 1
& 2 we show that the first Black music
on jukeboxes in white venues showed
up in 1945 simultaneously at Carolina Beach, Minnesott Beach, and
Oriental Beach. It wasn’t by committee or telephone conference, it just
happened.
Beach Music has blossomed and
spread in many ways. It’s a ‘collective memory,’ not a single event.
We asked Randy how he thought
that ‘Beach Music’ might have ret-
@ John Hook, March 2013
roactively annexed songs from earlier
years and moved them under the 60s’
--I am indebted to Jane Casto of
umbrella term ‘Beach Music?’
“The first record I bought was ‘I’ll
the Cumberland County Public Library, Jason Wetzel, Army historian,
Be Satisfied’ by Jackie Wilson in
1959. I’ve loved that song ever since.
and Sharon Valentine with Friends of
the Library.
Funny thing is, most of the records
on the juke box at Sonny’s Pavilion
It was also my honor to perform
[Cherry Grove section of Ocean
Drive, SC—JH] were still on the juke
alongside Dr. Warren McDonald and
Classic Soul and to enjoy countless
box in 1966. They switched them
out from time to time for some oth-
stories from Robert Honeycutt, the
man who brought us Williams Lake,
ers, but the same records were being
rotated.”
great music, great bands, and countless hours of fas’ dancing from 1965
Shag and Beach Music ended up
in Panama City, Florida in 1953 as a
to 1969.
direct, personal import by a young
girl and two guy-friends who trav-
***
eled to Ocean Drive just to learn the
Shag. By the time they got home
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.
Hence, The Recession Sessions.
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....
***
Volume 1 No. 31
27
Beach M
usic Top 40 Countdo
wn
Music
Countdown
The Beach Music Top 40
www.beachshag.com
15
25
20
BEFORE THE NIGHT IS THROUGH
109
2
Sicilia, Gina
SHARE MY LOVE
Can’t Control Myself
110
3
Kelly, R.
PRIVATE NUMBER
Write Me Back
108
4
Morgan, Marsha Band w Gary Lowder Keep On Getting’ It On
HARLEM SHUFFLE
4
1
2
2011
Vizztone
2012
RCA
2012
angelmusic.com
26
Rissoff, Angel
WHAT’S UP WITH THAT
Nu Soul Stories
25
5
28
27
Clark, Tim Band
LET THE MONKEY RIDE
Minute By Minute
Concord/Fantasy
2013
Gore, Jackie & Original Members
COASTIN’
Nothin’ But A Party
KHP 1107
8
Lowder, Gary
CATCH THAT TEARDROP
Coastin’
127
Hanck, Terry
I’M GOIN’ BACK
Look Out!
I’m Goin’ Back
Gore, Terri and Jackie
JELLY BELLY
12
Fantastic Shakers
WOO
32
20
11
13
13
Toast to the Coast
117
It Don’t Get Better Than This
106
Good Lovin’
16
15
14
CAN’T BUY MY LOVE
Lil Ronnie & Grand Dukes
98
Gotta Strange Feeling
9
16
15
BOBCAT WOMAN
4 Jacks
114
Deal With It
20
14
16
OLD FRIENDS
Wilson, Phil & Jackie Gore
7
17
17
MINUTE BY MINUTE
Hunter, James Six
8
22
18
LIL HOUSE BIG PARTY
Soul Children
4
29
28
32
29
Scaggs, Boz
BACK IN THE DAY CAFÉ
Memphis
5
Ecko 1139
1999
34
30
Lee, Andre
KEEP REACHIN’ FOR THE TOP
Stories of Life
4
Forevermore Rec’s
2012
4
37
31
Schermer, Mighty Mike
YOU SHOULD KNOW BY NOW
32
Burton, Jonathan
BOOGIE SHOES
33
Glee Cast
IN BETWEEN DISASTERS
Midnight Special
98
Welk Music
2010
Shake What God Gave Ya
Warner Bros
2013
KHP 1105
2012
30
24
2013
128
2012
2012
Eller Soul 121201
10
31
34
Uncle Kracker
GROOVY LITTLE SUMMER SONG
2013
City Hall
4
33
35
Otto, James
TING A LING
2011
KHP 1102
2
39
36
Neville, Aaron
My True Story
WHY HAVE THE BLUES WHEN YOU CAN BOOGIE AT THE BEACH
2013
Concord/Fantasy
2
38
37
Sugar Bees w Mary Vella
SMOKE AND MIRRORS
2011
4
35
38
Bean, Shoshana
O’Farrell Street
NO ONE COULD EVER TAKE THE PLACE OF YOU
30
2012
KHP
6
36
39
Royal Drifters
DON’T STOP NOW
2012
Atlantic/Sou.Ground
2
40
40
Entertainers
PONTOON
19
YOU’RE SO YOUNG BUT YOU’RE SO TRUE
Owens, Steve & Summertime
Steve Owens & Summertime
16
23
20
OVERNIGHT
Brown, Zac Band
Top Picks--Bubbling Under
Fletcher, Kirk
Brown, Norman
Big Time Party Band with Clifford Curry
Dee, Jesse & Rachael Price
McNeir, Ronnie
Haywood, Heather
Cherry B & Soundmakers
Gore, Terri
Bridges, Eugene “Hideaway”
Black, Tommy Band
Oates, John Band
Harris, Paula
Mellow Fellows
Brown, Chris & Justin Bieber
Russell, Rene
Lauritsen, J. T.
Bonds, Gary U.S.
2012
2013
Forevermore Rec’s
2012
Nothin’ But A Party
2012
Little Big Town
SECOND CHANCE
SMOOTH STEPPIN’ PAPA
SOMETHING YOU GOT
STEP ON BY
STEPPIN’ WITH YOU
STRANGE TIMES
TASTES LIKE CANDY
Blue Note
2013
Bradley House
2013
Tornado
Capitol
Carolina Breakers
Night Move Band
Oates, John Band
Kelly, Winzell
Lee, Andre
Hamilton, Roy
Rudolph, Koree
The Beach Music CD Top 10
3
1 1 DEAL WITH IT
4 Jacks
City Hall
47 2 2 STEVE OWENS & SUMMERTIME
47 3 3 HANGIN’ OUT
Owens, Steve & Summertime
KHP 1103
Strickland, Rick
rickstricklandband.com
66 4 4 SWEET WONDERFUL YOU
53 5 5 AIN’T NO MIDNIGHT TRAIN
Hudson, Lesa
Calabash Blues & Boogie Band
SRS 0711
Flyin’ Cloud 60
37 6 6 NOTHIN’ BUT A PARTY
55 7 7 STEPPING OUT TONIGHT
various
various
KHP 1107
KHP 1102
47 8 8 WHERE THE BOYS ARE
46 9 9 RECESSION SESSIONS, THE
McDaniel, Rhonda
Reverend Bubba D. Liverance
KHP 1101
85 10 10 MEET THE QUEENS OF SOUTHERN SOUL various
Coday Records
2013
12
21
28
Warner Bros
2013
2011
Hatman Prodns
12
AIN’T NO WAY
EVERYBODY LIKES IT
FOUR O’CLOCK IN THE MORNING
FROM THE START
GYPSY WOMAN
HE’S MY BABY
I WANT TO GIVE YOU
I’M A BELIEVER
LEARN HOW TO LET YOU GO
LUCKY ME
MISSISSIPPI MILE
MR. RIGHT FOR A NIGHT
MY BABY NEEDS ME
NEXT TO YOU
OUT OF MY MIND
PLAY BY THE RULES
POUR ME
2013
Delta Groove
2012
Lil House Big Party
Uncaged
Dynotone
2012
Hunter, James Six
GONE BABY GONE
Stepping Out Tonight
Minute By Minute
Polydor
2012
KHP
2011
C.T.C. The Music Lives On
110
Woolard, Craig Band
GOOD LOVIN’
Hamilton, Roy
2010
12
7
11
100 Miles from Memphis
92
Real Love
95
8
10
98
2013
Shaw, Ryan
FINE WINE
28
39
23
Big John and Roger
SIGN YOUR NAME
25
Ecko 2013
2012
Ray, Donnie
FOR YOUR LOVE
18
22
20
Ms. Jody
Blues Mix 9
MY LOVE IS YOUR LOVE (FOREVER) 127
10
22
26
19 Recordings
19
6
12
7
2012
Clarkson, Kelly & Vince Gill
BOULEVARD BOYS
24
5
22
DON’T RUSH
19
35
9
21
37
5
9
27
Year
Record Co. & #
Sisbro
2012
6
41
4
BPM
(LP or CD)
Crow, Sheryl
EVERMORE
27
7
Title
Artist
KHP 1108
2012
Woolard, Craig Band
STILL STROKIN’
29
This
Week
1
Last
Week
3
See affiliate links at www.beachshag.com
March 30, 2013
Year
Record Co. & #
No. of
weeks
BPM
(LP or CD)
This
Week
20
Title
Artist
Last
Week
No. of
weeks
To hear the Top 40 with Fessa John Hook
KHP
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Volume 1 No. 31
29
Roadhouse B
lues and B
oogie Top 40
Blues
Boogie
Roadhouse Blues & Boogie Top 40
www.beachshag.com
This
Week
1
1
9
15
29
24
32
26
15
31
15
9
8
11
28
11
6
5
9
8
5
3
4
2
5
7
6
9
10
11
12
14
13
8
16
17
18
19
20
22
Year
Record Co. & #
DRIVING WHEEL
Ain’t No Midnight Train
2
BOBCAT WOMAN
2012
Deal With It
3
4 Jacks
LIVIN’ THE BLUES
The Blues Broads
4
Blues Broads, The
YOU CAN HAVE MY HUSBAND
5
Morgan, Marsha Band
SOLID GOLD CADILLAC
Blues Beyond Borders
6
Woods, Mitch & Rocket 88s
OLSEN RANCH SHUFFLE tk 2
Blue & Instrumental
7
Appelrouth, Ivan
I MIGHT JUST CHANGE MY MIND
Right Here Right Now
8
Crownover, Sunny
MORGAN COUNTY JAIL
And the Band Played On
9
Malone, J.J. & Backroad Blues
I LOVE THE LIFE I LIVE
Blues Express
2012
A Few Days In Pianoland
10
Bogart, Deanna
LOOK-A HERE BABY
Blind Pig 5148
2012
Delta Bound
11
Mississippi Heat
SHE AIN’T WORTH A DIME
Delmark
2013
Deal With It
12
4 Jacks
BETTER CLASS OF BUMS
Eller Soul 121201
2013
Blues Enough
13
Hitman Blues Band
FROM THE START
On My Mind, In My Heart
14
Dee, Jesse w/ Rachael Price
BIRTHDAY BLUES
15
Taildragger & Bob Corritore Longtime Friends in the Blues
I WON’T FORGET ABOUT YOU
On My Mind, In My Heart
16
Dee, Jesse
MONEY’S GETTING’ CHEAPER
Blues with a Mood
17
Morganfield, Big Bill
BABY’S GOT A NEW FRIEND
Six Pack of Cool
18
Big Papa & the TCB
RIGHT MAN
My Turn
19
Cee, Lisa
BLUES ENOUGH
Blues Enough
20
Hitman Blues Band
TWO TIMIN’ WOMAN
Delta Groove
2012
Club 88 Rec 8812
2011
EllerSoul 1101
2012
Shining Stone 0001
2001
Nerus 4490
2012
Alligator 4952
2012
Delta Groove 150
2012
Alligator 4952
2013
Black Shuck 002
2013
Inland Blue Recs 1018
2013
Rip Cat 1112
2013
Nerus 4490
2011
Piece of Work
BubblingUnder
BIG TRAIN, THE
BIG WHITE CADILLAC
Eller Soul 121201
2012
2012
Fuller, Ray & Blues Rockers
7 YEARS
BAD LUCK
Flyin’ Cloud 60
2013
Sorin, Ron & Blue Coast Band
Juke Joints
Earl, Ronnie & Broadcasters
Sharpe, Jill
5
23
This
Week
Week
29
BPM
(LP or CD)
No.
of
weeks
Last
Week
No.
of
weeks
Last
March 30, 2013
Title
Artist
21
Title
Artist
BPM
(LP or CD)
8.47
Little G Weevil
Year
Record Co. & #
2011
The Teaser
4
24
22
SEE YOU LATER ALLIGATOR
Allison, Bernard
33
15
23
CAN’T BUY MY LOVE
Lil Ronnie & Grand Dukes
Gotta Strange Feeling
ROLLER COASTER BLUES
Spencer, Ron Band
Roller Coaster Blues
TOO LATE
Cash Box Kings
Black Toppin’
DRY SPELL
Scaggs, Boz
Memphis
I AIN’T COMIN’ BACK
Eldred, Mike Trio
61/49
JUST YOUR FOOL
Gillespie, Lamont & 100 Proof Blues
(same)
BACK IN TOWN
Delta Wires
Delta Wires
I CAN DO ALL THAT
Tucker, Teeny
Voodoo to Do You
GOTTA GET OVER
Clapton, Eric
Old Sock
CRY TO ME
Earhardt, Sena
All In
GIFTED IN THE WAYS OF LOVE
Biales, Lisa
Just Like Honey
LIVE AND LEARN
Earhardt, Sena
All In
2013
Blind Pig 5151
KIND LIES AND WHISKEY
Southern Hospitality
Easy Livin’
2013
Blind Pig 5152
LOST AGAIN
Margolin, Bob & Mike Sponza Band
Blues Around the World
2012
Vizztone
I DON’T WANT TO HAVE A HEART
Montgomery, James Band
From Detroit…to the Delta
2013
Open E 063
HOPELESSLY IN LOVE WITH YOU
Murphy, Shaun
Trouble with Lovin’
2010
Serenity Hill
TOWN CRIER
Thomas, Robert T‘ op’
Town Crier
HARD WORKIN’ WOMAN
Richey, Kelly
Sweet Spirit
4
4
4
9
5
5
5
5
4
5
4
4
15
9
5
5
5
25
26
27
28
21
31
32
33
34
35
39
40
29
30
36
37
38
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
2009
2013
Blind Pig 5150
2013
2013
Rip Cat 1113
2012
Mt St Catherine
2006
2013
2013
Surfdog Recs
2013
Blind Pig 5151
2012
2013
Wildroots Recs 2013
2013
Sweet Lucy 1141
I WOULDN’T-A DONE THAT
Robillard, Duke Band
I’LL BE ON MY WAY Goudreau, Michael & Boppin’ Blues Band
SEE SEE BABY
SEND FOR ME
I’LL BE ON YOUR SIDE Goudreau, Michael & Boppin’ Blues Band
I’M READY
Miller, Bill Band
SNAKE RHYTHM ROCK
STAPLED TO THE CHICKEN’S BACK
Omar & the Howlers
JUBILEE
JUKEIN’
STROLLIN’ WITH LOWELL AND B.B.
SUGAR DITCH
Omar & the Howlers
BLUES HAD A BABY
BOOGIE MAN
Juke Joints
Omar & the Howlers
LAURENE
MATCHBOX
BUILT FOR COMFORT
DON’T COME HOME
Omar & the Howlers
Poxon, Andy
MEAN OLD MAN
MISS YOU
Brooks, Danny Band
Goudreau, Michael & Boppin’ Blues Band
Sugar Blue
TEARS LIKE RAIN
TEMPERATURE 110
Solon Fishbone f Alice Azam
National Debonaires
Omar & the Howlers
Rhodes, Bill & Party Kings
THERE IT IS
TOO BAD
Magness, Janiva
Poxon, Andy
Hanck, Terry
Cash Box Kings
DON’T START ME TALKING
EVERY DAY I HAVE THE BLUES
Bottoms Up Blues Gang
MY BABY WANTS TO BOOGIE
Brown, Mel & Snooky Pryor
NEVER MAKE YOUR MOVE TOO SOON
Martens, Jessy
TRAIN KEPT A ROLLIN’
TRYING REALLY HARD
FLAT BLACK AUTOMOBILE
GETTING TO KNOW YOU
NO MORE DOGGIN’
OVER YONDER WALL
TRYING TO LIVE MY LIFE WITHOUT YOU
WATERMELON TEA
GOING TO CHICAGO
HAPPY BIRTHDAY BLUES
Sayers, Hadden
Salgado, Curtis
Juke Joints
Boppin’ Blues Band
I DON’T CARE BLUES
Dr. Wu & Friends
2012
Eller Soul Records
PLAY BY THE RULES
RUNNIN’ FROM THE BLUES
RUSH HOUR
Smith, Holland K.
Bluesmasters f. Mickey Thomas
Lauritsen, J.T.
Fabulous Thunderbirds
Big James
Retro Deluxe
YOU LIED
YOU MADE ME LAUGH
Poxon, Andy
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 at www.beachshag.com
30

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