There are as many definitions of ‘Beach Music’ as there are grains of sand along our Mid-Atlantic beaches, where this wondrous music blossomed. One thing for sure: this great music certainly exists, a fact attested to by the many Beach Music nightclubs, Beach Music bands, Beach Music oriented events, Beach Music concerts, Beach Music radio stations, Beach Music trade magazines, Beach Music disc jockeys and Beach Music paraphernalia, as well as the numerous shag clubs scattered throughout the Southeast that play Beach Music. What is significant is an already established legion of loyal Beach Music fans from the mid-southeast region of our country. In fact, on August 4, 1995, Mayor Oberndorf, in a star-studded ceremony, proclaimed Virginia Beach, Virginia, ‘Home to Beach Music’ and the ‘Beach Music Awards’ and in August 1997 Governor Allen officially recognized the Commonwealth of Virginia‘Home to Beach Music’ and the ‘Beach Music Awards.’ There is no doubt about the future success of Beach Music.
No form of music, including Rock’ n’ Roll, Blues, Gospel, Folk, Country, Rhythm & Blues or Jazz can be explained in simple terms. Beach Music is no exception. For starters, the crossover influence found in other forms of music holds true for Beach Music as well. While Delbert McClinton’s Just You and Me, can be considered on the ‘country’ side of Beach Music, B. B. King’s Don’t You Lie to Me, is on the ‘blues’ side, and while Percy Sledge’s When A Man Loves A Woman, is on the ‘soul’ side, Michael Bolton’s Love Is A Wonderful Thing, is on the ‘pop’ side, and K.C. & The Sunshine Band is on the ‘disco’ side. Contrary to what many think, the song Brenda, sung by O. C. Smith and winner of five Beach Music Awards, is not Rhythm & Blues according to the song’s composer, Charles Wallert. And the song My Girl, sung by The Temptations is more than merely Motown in its feel and sound. Yet all these styles are very much present in Beach Music.
Most afficionados contend that if you can dance the shag to it, it surely must be Beach Music. That’s only partially true, as evidenced by the many ballads played at Beach Music clubs and on Beach Music radio stations to which people don’t shag. Then too, there are the ‘line dances,’ such as the continental, tush-push and the electric slide. And, who’s ever been to a Beach Music club where the shaggers did not ‘Cha Cha,’ and what about the ‘Twist’ or even the ‘Hokey Pokey?’ In fact, there are a number of identifiable exceptions to this often-misleading adage.
Nevertheless, let’s focus for a minute on the shag, which has been remarkably popular for so long that the General Assembly of South Carolina has named it the State Dance. Sometimes called the sexiest dance ever, the ‘Shag’ evolved in the Southeast along with Beach Music. In New York, the dance done with this music is called the ‘Lindy,’ in Florida – the ‘Bop,’ in Texas and California – the ‘Swing.’ So, while the music, if not specifically by name, is the same everywhere, the dance style and name differ from region to region. It is this writer’s opinion that the shag will increasingly dominate the other dance forms in view of the ever-growing focus on shagging through the organized dance contests sponsored by the many shag clubs and other organizations. These clubs also conduct contests with significant cash prizes for the winners.
In addition, numerous songs continue to popularize the dance such as Doin’ the Shag by O. C. Smith, Shaggin’ the Night Away by the Showmen, Shag With Me by Clifford Curry, Everybody’s Shaggin’ by Ernie LeBeau, Show Me How to Shag by Breeze Band, The Carolina Shag by John Mellencamp, Shaggin’ in the Moonlight by The Swinging Medallions, and even Country Music legend Alabama, originally from Myrtle Beach, with Dancin’, Shaggin’ on the Boulevard, just to mention a few. Needless to say, shagging and Beach Music are deeply rooted in the contemporary culture of the Atlantic coast states of Virginia, North Carolina, South Carolina, and Georgia.
Some devotees think that the music of the ‘50s and ‘60s is synonymous with Beach Music, but that is not actually the case. Unequivocally, there was also some exceptional Beach Music during the ‘70s, ‘80s, ‘90s, and even today. Unfortunately, there never has been a national Beach Music chart to educate the public as to what Beach Music really is. To understand what happened in the evolution of Beach Music, one must return to the beginning of Rock ‘n’ Roll, and Rhythm & Blues in the mid ‘50s and then see how those styles were shunned aside in the early ‘60s by the ‘British Invasion’ led by the Beatles and the Rolling Stones, and followed by an almost endless parade of British rock groups.
In light of the sensation caused by this new music, which was reflected by the near hysterical response to it by tens of millions of American teenagers, the record companies and the media switched their focus and their coverage to this new sound. Simultaneously arriving on the scene was the wave of ‘60s inspired folk music such as Bob Dylan, The Kingston Trio, Joan Baez, Peter, Paul & Mary, and already on the scene, West Coast Beach Music (aka Surfing Music), such as The Beach Boys, Jan & Dean, and The Surfaris. The result was the some of the other popular music of that era was simply crowded off the air waves. This did not occur in the mid-southeast region where Beach Music, in particular, not only survived but continued to >be developed and expand, the cornerstones being Virginia Beach, Virginia, and Myrtle Beach, South Carolina. Beach Music was showcased at various beach clubs, concerts, dance halls, beach blast or bash, high school and college reunions, weddings, Christmas parties, sporting events, and syndicated radio shows.
Shortly thereafter came Folk Rock, Acid Rock, Bubble Gum, Heavy Metal, Art Rock, Jazz Rock, Funk, Disco, Punk Rock, Reggae, New Wave, Rap, Hip Hop, Alternative, and other music styles. But the desire to hear their own great music, always lingered in the mid-southeast region of our country. The major record companies, however, only heard the money call of the new rock sounds. They geared their efforts toward teenagers, who were not familiar with those earlier sounds and therefore never had an opportunity to identify or relate with those music forms. It is much the same as fashion designers determining what is ‘chic’ and therefore setting the tone for what trends and styles will be attainable at the clothing stores. It is, after all, the record companies in cahoots with the radio stations who dictate what music will be available for broadcasting. Proof positive that the record labels ‘missed the boat’ relative to the youth of America’s musical taste buds would be the twenty million plus sales of the soundtrack from the movie “Dirty Dancing.” This album was predominantly bought by American teenagers and primarily contained classic Beach Music during the heavy metal era.
Over the decades the major record labels and many music experts have continually mistaken Beach Music for Rhythm & Blues, Golden Oldies, Soul, Motown, Blues, or California Surfing Music. Many die-hard shaggers would adamantly argue that the latter is not ‘authentic’ Beach Music mostly because they cannot shag to it. However, there is no doubt that it has its place in the wider picture of Beach Music and for sure, The Beach Boys’ 1988 hit Kokomo is a Beach Music favorite. Even Jimmy Buffet might be considered a fringe element of the Beach Music scene. Nevertheless, and regardless of all the cross-over influence, the fact of the matter is that Beach Music has its own sound, and is a distinct American Music form,just like Country Music or Jazz and is as much a part of American culture as apple pie and baseball.
Music has always changed with the times. Neither Country Music nor Rock ‘n’ Roll sounds today as it did thirty years ago. The same change applies to Beach Music. Glen Frey’s hit song True Love, Phil Collins’ number one song Two Hearts, co-written by Lamont Dozier of early Beach Music fame, Rod Stewart’s The Motown Song, and Smoky Robinson’s number one song, Just To See Her are typical of today’s high energy genuinely refreshing Beach Music. New Beach Music songs are being recorded daily by top artists such as General Johnson of the Chairman of the Board Carolina Girls, Maurice Williams and the Zodiacs Stay, as well as the the Rhondels I’ve Been Hurt, who’s music epitomizes that high energy Beach >Music and the Virginia Beach sound. Traditional Beach Music songs are continually being re-done by such popular contemporary artists as Cher The Shoop Shoop Song (It’s In His Kiss) and even hard rocker David Lee Roth with Just A Gigolo. Unchained Melody, and old Beach Music favorite, sung by the Righteous Brothers, sold over one million copies from the movie ‘Ghost’ and there are scores of other examples. These songs are not only Top 40, but Beach Music as well. Beyond that is the great nostalgia associated with Beach Music. When one hears Under the Boardwalk, a Beach Music classic by the Drifters, memories come to mind of fund filled, carefree times, probably down at the Beach.
While Beach Music need not focus on life at the beach, many of the songs do, mostly because of the music’s strongest influence being in the coastal regions, as contrasted for example, with the inland influence of Country Music. Beach Trip by Billy Scott, Summertime’s Calling Me by the Catalinas, Ocean Boulevard by The Band of Oz, I’ve Still Got Sand In My Shoes by Steve Jarrell, Mr. Beach by Shagtime, Strollin’ on the Boardwalk by J. D. Cash, Living for the Summer by the Entertainers, Myrtle Beach Days by The Fantastic Shakers, Beach Fever by The Chairman of the Board, and Virginia Beach by Bill Deal/Ammon Tharp The Original Rhondels and Gary U.S. Bonds, typify the easygoing lifestyle associated with Beach Music while also denoting the carefree spirit of the beach.
It is fair to say that while the heart of Beach Music beats in southeastern Virginia, the Carolinas and eastern Georgia, its lifeblood courses north to Maryland, south to northeastern Florida, and west into Alabama and Tennessee. The rest of America also hears the beat of Beach Music. Because of the crossover influence, many Beach Music songs are broadcast in the many music/radio formats that exist such as Adult Contemporary, R&B, Easy Listening, Pop, Oldies, Urban, Middle-of-the-Road, Swing, Contemporary Christian, Soul, Reggae, Gospel, Classic Rock, Jazz, Country, Disco, Blues, Dance, Big Band, and even Latin. Also, millions of people have traveled to the mid-southeast region and in so doing, many discovered the joy of Beach Music. The beach beat goes on with those countless regional bands who not only perform Beach Music but advertise and market themselves as Beach Music acts.
Still and all, while many artists such as The Tams Be Young Be Foolish Be Happy, and The Clovers Don’t Play That Song, can be considered Beach Music oriented, it is actually the songs that determine the outcome. In fact, unbeknownst to many, most popular recording artists have traversed onto the Beach Music scene at one time or another with at least one song. For sure, it’s a most unlikely conglomeration consisting of such dissimilar artists as Natalie Cole This Will Be, Celine Dion Lovin’ Proof, Johnny Mathis Fallen, Andy Williams So Rare, The Platters With This Ring, Paul McCartney Kansas City, The Bee Gees Happy Ever After, The Four Tops I Can’t Help Myself, Billy Joel All Shook Up, Dionne Warwick Do You Believe In Love At First Sight?, Frank Sinatra with Anita Baker Witchcraft, Manhattan Transfer Groovin’, The Mills Brothers LOVE, Stevie Winwood Roll With It, Bette Midler Hang On In There Baby, Neil Young Jellyrole Man, Dion And The Night Stood Still, Gladys Knight Bourgie, Bourgie, Bruce Springstein Savin’ Up, Marvin Gaye Got To Give It Up, Kim Carnes Move Love, James Brown How Do You Stop, Donna Summer La Vie En Rose, Chuck Jackson Any Day Now, Andy Griffith Bad Bad Business, Cuba Gooding, Sr. Meant To Be In Love, Rick Astley Never Gonna Give You Up, Lou Rawls Upside Down, Frankie Valli Oh What A Night, Bill Ocean Love On Delivery, Bob Seger Old Times Rock ‘n’ Roll, George Benson Love Is Here Tonight, Daryl Hall Stop Loving Me. Stop Loving You, Pattie LaBelle Right Kind of Lover, Tracy Chapman Give Me One Good Reason, Neil Sedaka Laughter in the Rain, Sheryl Crow All I Wanna Do, Patti Austin Ability to Swing, John Mellencamp Cherry Bomb, Johnnie Taylor Real Love, The Rippingtons/Jeffrey Osborne I’ll Be Around, Michael Jackson Billie Jean, and Mariah Carey Dream Lover. Unbelievably, even the Harlem Globetrotters recorded a song and got in on the act with Rainy Day Bells, a Beach Music classic.
What’s most important is that Beach Music is good, clean, fun and is stamped ‘Made in The USA!’ While grounded specifically in the culture of the mid-Atlantic coastal region, it reflects all of America. With the broadcasting of the Beach Music Awards Television Specials, the rest of America will meet a new friend. It will not be long before a larger audience recognizes the joy of Beach Music. Beach Music Awards has received inquiries from all corners of the world. In England particularly, Beach Music is increasing in popularity with more Beach Music products being ordered daily.
A middle-aged friend in Los Angeles recently asked, “Why can’t they make music like they used to? You know, happy music that you can hear the words, music for having fun, and music to fall in love by.” “You just described Beach Music” was my answer. It was given its name for all time by the Embers in their 1979 hit I Love Beach Music.
Beach Music is the next worldwide music phenomenon and is America’s gift to help guide humanity into the 3rd millennium. If you are a lover of good American music, get ready for the ‘Wave’ of BEACH MUSIC…a music for all occasions…a wholesome sound for the times…and the sound of the future!
©Copyright Beach MusicAwards LLC, June 2016