Dancing On the Edge Journal - Beach Music

Dancing On The Edge JourournalnalVolume 1, Issue 10July 12, 2010Explorations in Beach and Shag HistoryCalvin Boze-The Origin of “Safronia B” Pt 2Milt Larkin’s Orchestra at Houston’s Harlem Grill in the late 30s. Bottom right front is ArnettCobb. Second from the right is the great Eddie Vinson in his sax-playing, pre-singing days.Other legends pictured are Cedric Haywood on piano, Bill Davis fourth from the right, andMilt Larkin third from the left, front row.Dancing On the Edge JournalPOB 422N. Myrtle Beach, SC 29597Tel: 843-602-4475www.beachshag.comThe Calvin Boze story is an extension ofthe ‘Medley of Beach Music Medleys’ story.It may seem I’ve gone a little far afield inpresenting his career, but in order to showhow he ‘sprsprang ang forth th fully grownwn’ in the R&Bfield in 1949, it requires showing the unseenplayers, tides, and undertows of themusic industry of the 20s, 30s, and early 40s.Rhythm and Blues, thus Beach Music,is an organic phenomenon which took time,countless people and evolutions to develop.It’s somewhat like taking an historical perspectiveon the growth of the tiny little maizeplant into today’s robust 10” ear of corn.Rhythm and Blues was also a hybrid of hybrids,so to speak.One of the background players, FloydRay, wrapped up part one, with the excep-tion of one detail I left out. The last referenceI find on him was second hand, statinghe was still involved in radio in 1969. I suspecthe was about 70 at the time.After publishing Part 1, I found anotherstory about him in the Chicago Defender,October 15, 1938, which stated that Floyd’sband would go to Mount Studios to be filmedin a new movie. The Defender went on tosay that Floyd’s was the first Race band toappear with Mount Studios since DukeEllington’s appearance a year earlier.In the Floyd Ray chapter I noted thathis popularity deemed it a natural segue forMilt Larkin to ask him to front Milt’s bandfor a tour in 1941 which included EddieVinson and Arnett Cobb.Volume 1 No. 10 1

Vintage GroooovesMilt Larkin -Last of the Greateat Texas Big ig BandsThe Milt Larkin band was an important steppingstone in Calvin Boze’ career. But I’m getting ahead ofthe story.From the Galveston Daily News, September 2, 1933.From the Lubbock, Texas Morning Avalanche, October15, 1932.Although Larkin’s unit was considered to be one ofthe greatest of all the territory bands, they never recorded.Milt was born in Navasota, Texas October 10, 1910.He taught himself to play trumpet after hearing NewOrleans’ Bunk Johnson on a road trip. Up until 1935he freelanced with bands like Chester Boone and HisTen Cotton Pickers and the Giles Mitchell BirminghamBlue Blowers. From 1936 to 1942 he toured with hisMilt Larkin seated front and center with his band.From the Victoria (Texas) Advocate, January 18, 1934.Once you’ve seen his personnel lineup that’s all the moredisappointing.2 Dancing On the Edge Journalown band throughout the Southwest, with occasionalengagements in Kansas City, Chicago, and the ApolloTheatre in New York.How long did Milt have to develop his chops beforehe started his own band? The Chester Boone ad from1932 above is the earliest I could find in Texas newspapersand the Birmingham Blue Blowers ad from 1934was the earliest I could come up with.

Vintage GroooovesThere’s a photo of Milt’sband from 1936 or 37 thatshows his band was loadedwith future stars such as EddieVinson, Arnett Cobb, CedricHaywood, trumpeters LonnieMoore and Lester Patterson,Henry Sloan on trombone andothers.A picture in 1938 showsthat Bill Davis, the future“Wild Bill” was added for guitar,piano, and arranger.Down Beat in July 1939shared the observations ofMilt Larkins band at the Rhumboogie Club, Chicago, 1941. Left: Cedric Haywoodon piano, Lawrence Cato bass, Milt in the white jacket, Alvin Burroughs the drummer.Trumpets: Calvin Ladnier, Clarence Trice, Jesse Miller. Trombones: ArnettAmerican music critic, musician,and producer, John Hammond Sparrow, ‘Streamline’ Williams. Saxophones: Frank Dominguez, Ernest “Tom”who heard Larkin’s 14-piece Archia, Moses Ga nt, and Sam Player. The band had already been ‘picked over’ byband in Beaumont, Texas andLionel Hampton and Cootie Williams.stated he was impressed.would end up in a battle with him, and ‘honking’That same year Illinois Jacquet played tenor sax withemerged from those battles.Milt (Larkin said once that Illinois played alto sax withIn 1941, Milt Larkin went to Chicago for a twoweekstint at Joe Louis’s Rhumboogie Club and endedhis band before switching to and becoming one of thegiants of the tenor sax), T-Bone Walker offered his guitarup staying nine months. T-Bone Walker would sometimescome in off the road and play with Milt there.and vocals that year, and Joe Marshall played drums withthe band.During their Rhumboogie run, Lionel Hampton andDown Beat’s September 1, 1940 issue listed Larkin’spersonnel as including Eddie Vinson, Tom Archia, ArnettCobb, Cedric Heywood and Tommy Ladnier’s brotherCalvin.Heywood, who was with the band from 1936-40and again in 1942 remembers Russell Jacquet playingfor awhile with the band.Unfortunately, Larkin refused to record during thepeak years of his success in the 30s and early 40s becauseof the low wages that record companies offered to blackmusicians.Larkin is quoted as claiming that the ‘honking’ ofsaxophones began with the saxophone battles that hisband engaged in. Whoever sat next to Arnett CobbVolume 1 No. 10 3

Vintage GroooovesCootie Williams often stopped by to listen, and ‘recruit’some of Milt’s players (Eddie Vinson had a fine careerwith Cootie Williams soonafter. Harry Sloan, and Illi-4 Dancing On the Edge Journalnois Jacquet were both recording with Lionel in December1941.).Like countless other musicians, Milt’s career in theearly to mid 40s was redirected dramatically by America’sentrance into World War II in 1942. It may have comejust in time, so many of his band members had been‘drafted’ he was ready to close up shop when he wasdrafted in November 1943 to play trumpet and valvetrombone in Sy Oliver’s service band.The August 26, 1946 Down Beat reported he wasjust out of the Army and rehearsing a 17-piece orchestrain New York. He played some at the Rhumboogie Cluband went on the road with them for awhile.Despite Down Beat’s announcement that Milton was justout of the Army in August, I found this ad in the DanvilleBee, for a dance in Martinsville, Va, March 6, 1946.

Vintage GroooovesI think Milton must’ve had a special arrangementwith the Army before he was released. He FINALLY gotinto the recording studio in early 1946, with a song thatmade the Billboard Advance Record Release chart May18, 1946. Note that it lists “Chicken Blues” by CorporalMilton Larkins--he was still in the Army.artists, and undocumented songs I found).It gets even more interesting.I have some extraordinary research resources I’ve collectedover the years. When I go to look up the discographyor biography of an artist I expect to get a completelisting.My master discography shows Milt Larkins next recordingwas in New York in 1947 and issued as a twosidedrecord on Sunrise. However, subsequent explorationhas uncovered something I have not imagined inyears -- there’s an enormous body of Rhythm & Bluesmaterial that still hasn’t been documented. I make thatstatement on the discovery that Milt recorded four moresides in 1947, issued on Sonora records # 116 & 117,but those are not listed in any of the standard, or rare,volumes I can find. (I’ll have more to say about this later-- I’m currently compiling the massive amount of records,September 24, 1946, Galveston News. Milton Larkin andHis Orchestra were road tripping with one of the hot, upand coming bands at the time -- Bill Samuels with theCats ‘n Jammers.Volume 1 No. 10 5

Vintage GroooovesMilt is listed on Apollo 394 with “Big League Blues,”which came out in January 1948. As it turns out, thatwas part of his old bandmate from the late 30s, ArnettCobb’s, recording session in the autumn of 1947. Arnetthad gone independent after many years with LionelHampton, also backing Dinah Washington on many ofher early recordings with the Hampton unit.Milton joined Arnett for vocals on “Chick She Ain’tNowhere” on Apollo 784, and other side of Apollo 394,“Flower Garden Blues.”In December 1948, Milt and his group the X-Raysrecorded six sides with the Hal Singer Sextet for Savoy6 Dancing On the Edge Journalrecords in New Jersey on December 10th. That sessionincluded a rare Shag favorite, “I’ll Always Be In LoveWith You” with Milt on the lead. Other sides were:“Beef Stew”“Neck Bones”“One for Willie”“Teddy’s Dream” and an untitled, unissued track.On January 12, 1949, Milton joined again with HalSinger, with the addition of the great trumpeter BuckClayton for four sides recorded for Savoy, but were neverissued.Brownie McGhee and the X-Rays appeared inBillboard’s Rhythmand Blues Record Reviewson August 12,1950 with two sideson Savoy 760. “YouGot to Love Me Baby”and the Shag-favored“Feed Me Baby” bothwere the X-Rays, MiltLarkin’s group, thus,he was most certainlypart of the recordings.Early in 1951Milt was back in thestudio with the X-Rays recording twosongs for RegalRecords, “Best FriendBlues,” and an attemptto cash in on thehuge popularity of“Tennessee Waltz.”On February 23,1951 he was accompaniedby HowardBiggs and his Orchestrafor two sides for Regalrecords...Standard reference works list Milton Larkin with only one song in 1947, however this Septembr7 chart from Billboard shows two others on Sonora Records not in the master discography.

Vintage GroooovesLater that year, October 20th, they recorded fourmore songs together for Coral records, with the X-Rayssinging lead on two, “Charmaine,” and “I’ve Got A Pocketfulof Dreams.”On February 12, 1952, Milton was in the studiowith the Ace Harris Orchestra recording four sides forCoral records.There were twoother records byMilton, one onLloyds 45-110,“Tippin’ In b/w It’s ACrime,” and theother on Hub 3042,“My No Good ManOk, I’m embarrassed. This is b/w Jelly Roll Blues.”a really bad scan of the X- I’m not yet sure aboutRays’ “I’ll Always Be In Love either of those. TheWith You,” but I ran out of timeLloyds 110 record isbefore going ‘to press.’definitely by the Larksfrom 1954. That’s suspiciously close to ‘Larkins,’ someonemay have mistakenly added it to the master discographyI consulted. In 1954 the Larks were newly reformedby two members of the Golden Gate Quartet(including Eugene Mumford, in the original Larks and anative of Durham, NC) and two members of the KingOdum Four--none of those were Milt Larkins.Hub 3048 was released in June of 1948, but I don’tknow anything else about it as yet.Marion Williams brought Milton in to back her ontrumpet on three gospel sides for Cotillion Records onNovember 7, 1970.His only other recording that I know about was onhis 1976 album Down Home Saturday Night onCopasetic.From that album, Milt’s vocal on his smooth-shaggin’“Wait For Me” clearly mirrors the amount of time Milthad spent around Eddie ‘Cleanhead’ Vinson. He wasbacked by Johnny Grimes on trumpet, Paul “Hucklebuck”Williams alto and baritone sax, Wild Bill Davis on organ,and Johnny Copeland on guitar, among others.Mararvin vin Johnson (Told you ou to Keep eep an Eye e Out)ut)Marvin Johnson first shows up with Leon Rene andhis Orchestra in 1928. Leon was a composer-pianistfrom Louisiana. He wrote a couple of major hits, “WhenIt’s Sleepy Time Down South” and “I Like A Guy WhatTakes His Time” with his brother Otis. He produced ahit show named Lucky Dayay, played piano and directedLeon Rene’s Southern Syncopators in 1928. L to R:Russell Jones dancer, Ben Borders drums, Charlie Jonestenor sax, Marvin Johnson alto sax, Leon Rene, S. H.Phillips bass, Andrew Blakeney trumpet, Ceele Burkebanjo, and Leon White trombone.bands.Later, Leon wrote hits for Mae West, and anotherhuge World War II hit with “When the Swallows ComeBack to Capistrano.” With the success which came fromthose ventures he was able to start his Hollywood-basedExclusive Record Co., yet another huge success for himand several of his artists such as Johnny Moore’s ThreeBlazers, Joe Liggins and His Honeydrippers, Herb Jeffries,Charles Brown, Mabel Scott, Basin Street Boys, JackMcVea, Johnny Otis, and Big Jay McNeely from 1944to 1950.Volume 1 No. 10 7

Vintage GroooovesThe January 2, 1928 Bakersfield Californian listed Leon Rene and hisSouthern Syncopators playing on KFI from 5:30 to 6:00 pm. A positionlike that at the near-dawn of radio (which started in 1923) was a godsendto *any* band, but to a black band, it was almost totally unheard of.KFI, by the way, was the same station where 60 years later, Rick Deesfrom Greensboro, NC, and the singer of “Disco Duck” became the morningman in the late 80s when KFI sold for the highest purchase price ofany radio station in history, $50,000,000.Rick Dees was ‘golden’ at that time. He had a late night TV show, shortlived,but soon after the American Top 40 and other successes.By 1930, Marvin Johnson had joined Les Hite’s NewCotton Club Orchestra which was backing LouisArmstrong on recordings for OKeh, Vocalion and Columbiarecords (see pgs 12 & 13, Vol 1, No. 9).Following his last recordings with Les Hite’s bandon August 15, 1935, Marvin went on to record with hisOrchestra accompanying Jesse Cryor in a November 2,1945 recording on Coronet 1023 entitled “PeculiahBeulah.” The flip side was a song by Bobby Pittmanfrom the same recording date, however, Bobby’s “Too8 Dancing On the Edge JournalBad,” on which he was also accompaniedby Marvin Johnson on also sax, was releasedon G&G 1023 as well as Exclusive81X.[At about this time, in the mid-40s,Calvin Boze was performing with theMilton Larkins Orchestra, where he wasreunited for a time with his old bandmateIllinois Jacquet, and played with Eddie‘Cleanhead’ Vinson.]I surmise that Coronet and G&Gwere likely owned by the same peoplewith G&G taking over the catalogue in1946. The Exclusive issue likely camethrough Marvin’s association with LeonRene.Marvin played alto sax at anotherrecording session in Los Angeles in January1946 on two titles, “Night and Day”b/w “Weeping Willie” issued on Black &White 41. The listed artist was WilbertBaranco and His Rhythm Bombardiers,a name obviously influenced by the justended WWII. Marvin played with alineup of ascending stars includingHoward McGhee, Snooky Young, JohnBurk (pseudonym for Dizzy Gillespie),Ralph Bledsoe, Henry Coker, WillieSmith, Lucky Thompson, Buddy Harper,and Charles Mingus, among others.Also that year, Marvin recorded “That’s My BabyPts 1 & 2” for Coronet 1022. “Mercy, Mercy” b/w“Jumpy Rhythm Jive” was released on Sepia 1031.The big news in the context of this story came earlyin 1946 when Marvin Johnson and Calvin Boze recordedtwo songs together. It was Marvin’s band and Calvinperformed the vocals.The recording was likely in the Spring or late winterbecause the first review in Billboard came on June 1,1946.

Vintage GroooovesCalvin ‘Boaz’ and Marvin Johnson’s record was reviewedin Billboard magazine’s June 1, 1946 issue.The Original version of “Saffronia Bee” in 1946. Calvinis listed as the vocalist on the right, middle part of thelabel.Billboard’s June 15, 1946 issue offered an extended reviewof the G&G record out of L.A.Frankly, Marvin and Calvin were fortunate to havereceived two reviews in 1946. Percentage-wise, not a lotof Race music was getting the spotlight at the time.Marvin Johnson enjoyed three more recording sessionsthat I know of, all in 1949.In January he recorded “Hey Lawdy Mama” for Capi-tol with Joe Swift on the vocal. Joe also provided a numberof great Shag-oriented vocals for Johnny Otis.In July ‘49, Marvin was part of Dave Cavanaugh’sOrchestra when they backed Kitty White on four songsalso for Capitol. Also on that session was Geechie Smith,Benny Carter, and Maxwell Davis. Maxwell was soon tobecome one of the most important band leaders in LosAngeles and on the West Coast.In August ‘49, Marvin Johnson had one last record-Volume 1 No. 10 9

Vintage Groooovesing session for Capitol with five sides recorded, one unissued.Joe Swift provided the vocals again.The Rise of Calvin BozeThe G&G recordings were Calvin’s second recording date,his first was in 1945. For two of his band mates the 1945session was also their first recording, i.e. it was Russell Jacquet’sfirst (and it was his recording session), as well as the firstrecording for bass player Charlie Mingus. Others in thatsession included Wild Bill Davis on piano and ChicoHamilton on drums.They recorded two sides, an instrumental, “Penny’s Worthof Boogie” b/w “Look What You’ve Done to Me” with Russellon the lead vocal, issued on a small L.A. label, Globe 105.The first ad I’ve found for Calvin Boze as lead artiston a record was in the Portsmouth, Ohio Times, December5, 1949. (He was mentioned on the G&G record in1946, but as a singer *for* Marvin Johnson, not as theHeadliner!)Calvin had recorded 10 songs with Big Joe Turner in1948 for MGM records. Apparently he worked alongside some of the greats such as Jake Porter on trumpet,Dootsie Williams on trumpet, Maxwell Davis on tenorsax, Pete Johnson on piano, and of course Big Joe Turner.The December ad above came just four months afterCalvin’s first Aladdin recording session in August, fromwhich two records were released, one on the Aladdin subsidiarylabel, Score 4003, and the other was “Waitingand Drinking” on Aladdin 3045.Globe Records advertised what was the very first recordingfor Russell Jacquet, Charles Mingus, and Calvin Boze,individually and collectively.1010 Dancing On the Edge Journal

Vintage Grooooves1950 was Calvin’s peak year for recording. By thenhe had his own combo, which included members ofMaxwell Davis’s soon-to-be highly sought after combofor recording sessions for Aladdin Records.Calvin and his All Stars returned to the studio torework his “Safronia B” from four years earlier,. HisAladdin version hit the R&B charts June 10, 1950 at #9You reach under the bed, you grab a jug, take a littlenip an’ get ready t’ mugYou look at your gal, you kiss her and you send hermake her holler, make her holler, ‘I surrender, Isurrender!’Ise a muggin’ shoot the liquor to me John boyTake a tip from me, she’s sweeter than Saffronia Bee.(There’s a long 1 minute 24 second jazz-style break,begins with sax solo, followed by a muted trumpet solo,wrapped up by a piano solo).Looka here Saffronia, have ya got a dollar on ya,In the state of California, if your ears’d like t’knowI want a little girl to be all mine in the wintertimeWhen the rain starts raining and the snow startssnowin’you reach up and turn on your radioLook out Jack you’d better take it slow‘cause the chicks are rarin’ t’ goand stayed on the chart for one week. That’s it, the entireextent of Boze’s career on the R&B charts.Calvin made several changes in the mix of instrumentsand the lyrics. The G&G version was 2:58 andopened with a alto sax and trumpet duet accompaniedby a walking bass and a little bit of low-end piano wayin the background while Calvin sang,“Looka here Saffronia, have ya got a dollar on ya,In the state of California, if your ears’d like t’know,I want a little girl to be all mine in the wintertimeYou reach under the bed, you grab a jug, well youtake a little nip an’ get ready t’ mugYou look at your gal, you kiss her and you send hermake her holler, make her holler, ‘I surrender, Isurrender!’Ise a muggin’ shoot the liquor to me John boyTake a tip from me, she’s sweeter than Saffronia Bee.(The flipside, “Just A Dream,” was a re-working of BigBill Broonzy’s song, also recorded by Russell Jacquet in 1947on the flipside of “Wake Up Old Maid.”)When the rain starts raining and the snow startssnowin’you reach up and turn on your radioLook out Jack you’d better take it slow‘cause the chicks are rarin’ t’ goThe Aladdin version of “Safronia B,” spelled her namedifferently as you can see on the record labels, it was2:20 long, 38 seconds shorter than the G&G version,and opened with two saxes, in a brasher, more in-yourfaceR&B style, accompanied by a piano’s bass end:Volume 1 No. 10 11

Vintage Grooooves“Look here, Safronia, have ya got a dollar on ya,in the state of California, if your ears’d like t’knowI want a little girl to be all mine in the wintertimeCalvin anchors the song with two lines that weremusical standards by 1946,“I’se se A Mugginuggin’”’” was recorded repeatedly by top recordingstars beginning withWhen the rain starts raining and the snow startssnowin’you reach up and turn on your radioLook out Jack you’d better take it slow‘cause the chicks are rarin’ t’ goWell, you reach under the bed, you grab a jug, takea little nip an’ get ready t’ mugLook at your gal, you kiss her and you send hermake her holler, make her holler, ‘I surrender, Isurrender!’Ise a muggin’ shoot the liquor to me John boyTake a tip from me, she’s sweeter my Safronia Bee(A 49 second R&B style break, begins with two saxesswapping the solo, followed by a trumpet solo, then anothersax solo).Reach under the bed, grab a jug, take a little nip an’get ready t’ mugLook at your gal, you kiss her and you send hermake her holler, make her holler, ‘I surrender, Isurrender!’Ise a muggin’ shoot the liquor to me John boyTake a tip from me, she’s sweeter my Saffronia BeeYeah, she’s sweeter, Oh, she’s sweeter,She’s sweeter, my Safronia B.”I’ve added Calvin Boze at the end of the ‘Medley ofBeach Medleys’ story because “Safronia B” is a medley--of sorts. It reflects Calvin’s experiences from the earlyside of his career up to the moment of his peak of success.1212 Dancing On the Edge JournalStuff Smith 2-11-36 VocalionThree T’s (Charlie & Jack Teagarden & FrankieTrumbauer) 3-10-36 VictorAndy Kirk 3-11-36 DeccaJoe Haymes 3-11-36 ARCMezz Mezzrow 3-12-36 BluebirdPaul Whiteman 3-15-36 Fanfare“Shoot the Liquor to Me, John Boy” came fromArtie Shaw 9-17-37 BrunswickMilt Herth 9-17-38 Deccaand which triggered many popular spin-offs:“Shoot Me the Meatballs, Dominick Boys”Jimmy Dorsey 1939“Shoot the Arrow to Me, Cupid”Clyde Hart 1944“Shoot the Japs for Craps”Dr. Rhythm Johnson & His Hokumeers 1942“Shoot the Rhythm to Me, John Boy”Artie Shaw February 1939“Shoot the Sherbert to Me, Herbert”Tommy Dorsey 1939Bob Chester 1939If you consult your Beach Music Guide 1945-2006you’ll find a long string of songs released by Calvin from1949 to 1952. I think the rest didn’t make the chartsbecause they didn’t demonstrate any ‘progression’ or ‘evolution,’they were all basically the same style, same mood,and in the same groove. The listening and dancing publicusually seeks out more variety.

Vintage GroooovesOff the ChartsCalvin had a big year in 1950 with an extended gigat Georgia’s Playroom in Los Angeles. He toured theWest Coast with the Ravens and by the summer began atour of the East Coast, including an appearance at theApollo Theatre.Have you ever made a statement to someone, knowingexactly what you meant to say, and discovered laterthat you didn’t make that statement, or use those words,at all?I’ve done it. More than once. Now I want to correctit as best I can.In Volume 1, No. 4 I misstated the evolution of theHarlem Hit Parade, to Race Chart, to R&B charts inBillboard. Nor did I picture the original Race Chart.And, at the beginning of this Calvin Boze story inVolume 1, No. 9, I posed a question concerning the originsof the R&B charts in 1948--and those charts didn’tbegin until 1949.So, let me do what needs to be done. This isBillboard’s first Black chart, the Harlem Hit Parade whichbegan October 24, 1942.The Lima, Ohio News of December 30, 1950 showsCalvin sharing the bill with Dinah Washington.Although he recorded more than a dozen additionaltunes from 1951, by 1953 Calvin dropped totally out ofthe music business, became a teacher and social workerand died in Los Angeles June 18, 1970 where he’s buriedin the Los Angeles National Cemetery. y13Volume 1 No. 10 13

Off the ChartsChanges were underway at Billboard magazine inearly 1945. The February 10th issue mirrors some ofthe attitudes that had been prevalent, and were about tochange.questioning whether the music that played on juke boxescontributed anything to the American character and soul.Highly respected contralto Marian Anderson, one ofextremely few blacks ever to play the White House,weighed in on that subject in that same February 10thissue.Up to February 10th *Folk* Record Reviews coveredHillbilly, Race, Cowboy Songs, and Spirituals. In otherwords, Country and Black music were considered to bein the same social class. This was even more evidentduring the ASCAP wars of the late 40s when radio stationsrefused to honor ASCAP’s higher licensing fees andset out to start their own licensing company, BMI (BroadcastMusic Incorporate, often referred to as “Black MusicIncorporated.” When the stations set out to find musicthat was not licensed by ASCAP, they found that nearlyALL the Black and Country music had been ignored byASCAP. That’s one reason why Black and Country stationsbegan to sprout in the late 40s and 50s).Juke Boxes were under close scrutiny February 10th.There were at least two groups of people who questionsthe value of Juke boxes to society. One of the opposinggroups was likely influenced by the fact that jukeboxesseemed to be replacing bands all over the country. Witha 20-play jukebox, one could have 20 of the Best Bandsin the World playing 40 of the Top Sons in the Worldwithout having to pay the exorbitant prices of the bandin order to fill up an 8-table restaurant or a 30-tablenightclub, neither of which could pay for a 12-piece bandor orchestra.The other group had its collective head stuck in theclouds atop the mountains of the ‘moral high ground’1414 Dancing On the Edge Journal‘Juke music’ was an issue which concerned Billboardas well, especially when you realized they were gettingready to move in that direction. July 10, 1945 wasBillboard’s last Harlem Hit Parade chart:

In n Case ase you ou Missed the 1968 Spring BreakeakMovie Soundtrack included:Billy Joe Royal, narrator Bill Lowery-music supervisorGrand Funk Railroad, the Tams and Swingin’ Medallionsas themselves. Filmed at the 1968 spring break duringDaytona Bike Week with a “hidden camera!”1616 Dancing On the Edge Journal"Backfield in Motion" performed by Joe South"Down in the Boondocks" written by Joe Southperformed by Billy Joe Royal"On Time" performed by Grand Funk Railroad"Paranoid" performed by Grand Funk Railroad"What Kind of Fool" performed by The Tams--all these performed by Swingin’ Medallions:"Double Shot of My Baby's Love"--"Hush" written by Joe South"These Are Not My People" written by Joe South"She Drives Me Outta My Mind"(From thevideobeat.com) Musical Mutiny and Week-end Rebellion (a.k.a. Mondo Daytona, a.k.a. Get DownGrand Funk) 1968.

Grand Strand in Grand Funk ‘bout RocknRocknRollollU.S. film. Grand Funk Railroad, Billy Joe Royal,Swinging Medallions, The Tams. Very cool teen-orientedtravelogue to Florida's Daytona Beach. Partying teenagerstryin' to get laid during spring break. Rock n roll,nightclubs, dancing, balcony diving, drunken mayhem,beach frolic and motorcycle gangs. Cool 1960s teen happenings!Weekend Rebellion![The folks in the movie business tried to market thismovie, filmed at Daytona Spring Break of 1968, severaltimes under several different names in the late 60s and veryearly 70s? Do you remember it? No? That’s how big a hit itwas.But let’s start with “Musical Mutiny and Weekend Rebellion.”I think 1969 would have responded better to “NudeMusical Rebellion in Daytona.” After all, Woodstock camelater that year with a Nude rebellion of 500,000 -- ok, noteverybody, but those who weren’t naked were watching thosewho were -- to what turned out to be a great soundtrack.The next marketing attempt was to equate the movie tothe 1962 international box office success of “Mondo Cane,”a rather cool, travelogue-like movie with vignettes from allaround the world showing cultural practices meant to *shock*the audience!Then, they came back again with a new focus on GrandFunk, who had dropped the‘Railroad’ from their name asthey became the leading proponentsof the kind of Power Rockthat would eventually morphinto Heavy Metal under theguidance of some Rock groups.Tell the truth, were you everSHOCKED by what you sawthe audience do while they listenedto “Double Shot of MyBaby’s Love,” “What Kind ofFool Do You Think I Am?,”“She Drives Me Out of MyMind,” or “Backfield in Motion?”According to the FlorenceMorning News, April 9,1971, the Grand Strand folkstried to get in on some of thatexciting “Ina Gadda Da Vida”action as well. See story to theleft.] y17Volume 1 No. 10 17

Beach MusicTop 40 Reviews“Build Me Up” with Jerry Weston the lead helped launch this newCD like a catapult. Coming rightbehind that, Scott Fine and theB.O.O.’s title track, “Dance to theRadio,” is riding up all the charts.Naturally that’s far from all you’ll findyou love here. This CD is loaded!They even have a new line dance with“Are You Ready to Party.”Other notable tunes are JackieWilson’s “This Love Is Real,” GeneRedding’s great, but underexposed,“This Heart,” the terrific “GonnaWin You Back,” “I Can’t Think,” and“She Shot A Hole in My Soul.” yDivine Brown used to be knownas Divine Earth Essence. The truth is1818 Dancing On the Edge Journalthat she’s been around for years, butwas simply too talented, at least forsome record company execs. Shestarted onstage as a teen but movedinto music at 18 with a five-octaverange that was simply too much forthe record companies to know whichway to aim her.Divine has an aptitude for notonly Old School, but also Old OldSchool, you’ll find she’s very comfortablewith the Doo Wop genre andother Soul styles.” yThe group is only four years old,consisting of Charles Kelley (brotherof singer/songwriter Josh Kelley),Hillary Scott (Grammy-award winningcountry singer Linda Davis’sdaughter), and Dave Haywood.Are they talented? Their debutalbum in 2008 had already goneplatinum.Their “Need You Now” is currently# 1 on the Beach Music Top40, and has crossed over into severalother charts around the world.Great, smooth-stepping love song.yThe right Reverend SolomonBurke has come with a very strongnew CD.In a recent conversation he saidit was Willie Mitchell who got himback into the studio (Willie was theproducer behind ALL those early AlGreen hits).Willie had written “Nothing’sImpossible” especially for Solomon torecord. The other tune from herethat’s already on the Beach Top 40 is“Everything About You.”Willie passed away about threeweeks after they finished the CD. ySisbro Records gospel Shag collectionis from North Myrtle Beach.Scooter Lee’s “Oh Happy Day” andDawn Clark’s “I’m Not Giving Up”are already on the Beach Top 40. y

Roadhouse Blues and Boogie ReviewsPrepare yourself for a side ofCyndi Lauper you’ve never known.Forget that she’s 57 years old, she’shere to Boogie, Memphis Style! “JustYour Fool” is a collaboration betweenshe and Johnny Lang that’s alreadyon the Beach and Roadhouse Top 40sand there’s more to come from thiscollection, I guarantee. yCan we ever say enough aboutBig Joe Maher and his Dynaflows?They have a new CD coming entitledThumpers and Jumpers and it isfilled to the brim with everythingyou’d hope to hear. Now fillingseveral slots on the Beach andRoadhouse Top 40 charts. yThese guys are causing trouble.They have a song out entitled “NineOne One” which is cute, infectious,a great dance song, and they say “ass”in it so many times it’s just not worthediting to try and play on the radio.Many radio stations wouldn’t mind,but those who mind, Mind. Theyhave several other great songs out,check the Roadhouse chart. yCee Cee James has already beenthrough several incarnations in herlife and career.She recorded her first album,SpirituallyWetet, in 1999, since thenshe’s been through a divorce, lostanother partner to cancer, released herCD, Low DownWhere e the SnakesCrawl,and now Seriously Rawaw.A talent with something to sayand on the Roadhouse Top 40. yEllen keeps a low profile exceptwhen she’s recording or performing.There’s little but a video and concertdates on her website, but she’salready put out 4 album in the last10 years, so there’s lots more to learnabout this lady.Currently enjoying “BluesWalked Through My Door” on theRoadhouse Blues and Boogie Top 40.yHey, it’s Magic Slim’s latest CDout of Chicago. Do I need to saymore?It’s pure T Chicago blues byMorris Holt, born August 7, 1937in Mississippi (you can’t go toChicago and play the Blues, til youbeen to Mississippi!). yVolume 1 No. 10 19

Beach Music on the ChartsWHSL, Wilmington, NCJanuaranuary 16, 1967WORD, Sparpartanburg, SCJuly 8, 1967A pretty good mix of Beach Music on the WHSLformat.“I’ve Been Hurt” by the Tams at #17, “Standing inthe Shadows of Love” by the 4 Tops at # 9, “It Takes Two”by Marvin Gaye and Kim Weston at # 30, “Love IS Hereand Now You’re Gone” by the Supremes at # 31, “I”vePassed This Way Before” by Jimmy Ruffin at # 35, “Shelter”by the Tams at # 36.Bubbling under (V.I.P.’s)“Wish You Didn’t Have to Go” by James and BobbyPurify.On the Soul ballad side of things, “Tell It Like It Is”- Aaron Neville at # 2, “Special Prayer” - Joe Simon at #29, “Try a Little Tenderness” - Otis Redding at # 33,“”Are You Lonely” - Freddie Scott at # 34, and the greatSpyder Turner with “Stand By Me” at # 40. yLegend Bob Canada signed off on this chart.The Showmen are at # 9 with “39-21-46.”Temptaions “All I Need” holds the # 25 spot. JohnnyRivers sings Smokey Robinson’s “Tracks Of My Tears” at# 31.Franki Valli’s perennial favorite for smooth steppers,“Can’t Take My Eyes Off You,” is at # 33, James andBobby Purify’s “I Take What I Want,” at # 34 and StevieWonder’s “I Was Made to Lover Her” is # 35. y2020 Dancing On the Edge Journal