Cultural Origins.... 1940s, Carolina Beach, North Carolina
Sub-Genres & International Influence..... Beach Music, Rhythm & Blues, Southern Soul, Motown, Northern Soul, Bubblegum Pop, Memphis Soul, Country, Soul, Chicago Soul, Beach pop, Mellow Gold, Quiet Storm, Deep Northern Soul, Rhythm & Boogie, Kurdish Folk, Classic Russian Rock, Classic Danish Pop, Brega, Classic Finnish Rock, Czech Folk, Arab Pop, Russian Rock, Dansktop, Classic French, Arabesk, Laiko
Hall of Fame..... South Carolina Hall of Fame, Myrtle Beach, SC -
Beach music, also known as Carolina beach music, and to a lesser extent, Beach pop, is a regional genre which developed from various southern rock - rythum & blues and pop music of the late 1940s, 1950s and 1960s. Beach music is most closely associated with the style of swing dance known as the shag, or the Carolina shag, which is also the official state dance of both North Carolina and South Carolina. Recordings with a 4/4 "blues shuffle" rhythmic structure and moderate-to-fast tempo are the most popular music for the shag, and the vast majority of the music in this genre fits that description.
Though primarily confined to a small regional fan base, in its early days what is now known as Carolina beach music was instrumental in bringing about wider acceptance of R&B music among the white population nationwide. Thus it was a contributory factor in both the birth of rock and roll and the later development of soul music as a subgenre of R&B.
While the older styles of R&B have faded from popularity nationally, the Carolina shag has gained wide popularity in swing dance circles around the US. This has not generally led to increased appreciation for the music of the beach bands, however. Many of these new shag dance aficionados prefer the "R&B oldies" and/or shagging to currently popular tunes that happen to have the required beat. As more networking is being done on the Internet among shag deejays and beach music fans nationwide, however, there is a growing acceptance of the regional bands by the "new shaggers"
As the most popular musical styles in the United States continued to grow out of African American tradition, it became increasingly taboo for white youths in South Carolina to listen to the genres. Therefore, beginning in the late 1940s, white teens flocked to the Carolina coast to visit establishments that specialized in playing the R&B sounds that were gripping America. This mass exodus to the coast was how the term “beach music” was coined, and a new genre was born.
Its reported that one of the first businesses to capitalize on this trend was the Tijuana Inn, located in Carolina Beach, North Carolina and owned by Jim Hanna. Other bar, restaurant and hotel owners took note, and eventually beach music spread south through the Grand Strand of South Carolina. Continuing through the 1950s and reaching its peak in the 1960s, the style has no single musical characteristic. What makes beach music especially interesting is that its defining qualities are very ambiguous and murky. The white youth in South Carolina acted as the curators of the genre, handpicking bands and songs which sounded appealing at the time, and placing them in the beach music category.
Brendan Greaves echoes this idea in his article “Beach Music: History and Myth,” explaining that listeners could choose freely from the abundance of African American artists coming out of areas such as Detroit and New York City: “As African American sounds continued to develop through the 1960s, fans, disc jockeys, and other listeners took on curatorial roles, ascribing the Beach Music label to songs and artists from all over the country and establishing standards with which to develop this canon“. Looking at their selections, it is clear that controlled, nuance singing was more agreeable to their idea of “southern soul” than the shout singing, which characterized the emerging genre of Rock N’ Roll. Listeners and fans of the style would therefore choose popular R&B bands, such as The Temptations and The Tams, which fit this style. The Shag was a dance that would often accompany the music, eventually becoming the state dance of both North and South Carolina.
This style of music, specific to the Carolinas, lets listeners act as curators of the genre, and fans popularize bands that they deem to have the quality of “southern soul.” For this reason, it possesses a mystery and romantic allure that Carolinians love to claim as their own. Beach music suffered a decline in popularity in the 1970s with the rise of disco, but re-emerged in the 1980s and continues to be a present day staple that South Carolinians enjoy both on and off the beach.
Historical accounts of beach music as it relates to the development of this dance are often conflicting, but most agree that the Ocean Drive section of North Myrtle Beach, South Carolina is where the beach/shag phenomenon had its greatest impact among vacationing teenagers and college students. The early development started around 1946.
In the period from roughly the end of WWII through the mid-1950s, a great many white youth in the still-segregated South could not always hear the compelling music of primarily black popular recording artists in their home towns. At the time, much of these recordings were characterized as "race music", a term later replaced by "R&B." In some communities, this remained in effect even after racial integration was implemented in the region. However, young people flocked to the bars and pavilions of the Carolina beaches where the shag was gaining popularity, R&B along with jazz instrumentals by artists such as Earl Bostic ruled the jukeboxes, and the "beach clubs" where R"B artists performed live also thrived. Even though toward the end of the 1960s more and more such clubs with similar jukebox selections and live band performances opened in other locations than the beach resorts, the term "Beach Music" which began to emerge in the mid-1960s, keyed off of the memorable experiences of dancing the shag to this music at venues by the sea.
A major contributing influence upon this musical affinity beginning in the late 1940s was radio station WLAC in Nashville, Tennessee, which blanketed the Southeast with everything from R&B to blues and more. Stations with similar playlists began to emerge in the Carolinas and surrounding states throughout the late 1950s and the 1960s, increasing the popularity of the music across racial lines and contributing to the increasing popularity of the emerging new gospel-infused R&B sound, soul music.
Among the most popular and influential R&B artists who produced "beach records" in the 1950s and 1960s were the Dominoes, the Drifters, the Clovers, the Tams, the Tymes, the Temptations, the Four Tops, and the Chairmen of the Board. Beginning in the 1960s, certain pop records that had the right tempo to do the shag to also came to be included as a part of the beach music genre. Among the best-known examples are "More Today Than Yesterday" by the Spiral Starecase, and "Build Me Up Buttercup" by British soul band the Foundations. While some of the "beach hits" by these artists appeared on the R&B and rock and roll charts nationally, a great many of them were "B-sides"—or even more obscure recordings that never charted at all. With this penchant for obscure R&B, especially from the 1960s, beach music has much in common with the northern soul phenomenon in the UK, and perhaps even more with the popcorn sound in Belgium.
Another wave of artists, known today as the "beach bands" came into prominence in the mid-1960s to early 1970s, heavily influenced by the sound of Motown and the other prominent R&B labels of the day such as Atlantic Records, Stax, etc. These included the nationally-charting groups The Swingin' Medallions, The O'Kaysions and Bill Deal and the Rhondels. Many of the bands got their start backing the famous R&B/Soul artists who played at The Myrtle Beach Pavilion, the Spanish Galleon, the Afterdeck, Fat Harold's and The Beach Club in Myrtle Beach, The Coachman and Four in Bennettsville, The Cellar in Charlotte, The Embers Club in Raleigh and Atlantic Beach, The Galaxy Club in Wilson, Williams Lake, Rogues Gallery and Peppermint Beach Club in Virginia Beach and other such venues. These venues also featured many of the popular regional bands such as the Embers, the Tassels, the Catalinas, Doug Clark and the Hot Nuts, the Jetty Jumpers and the Rivieras also became popular playing these venues. This wave of primarily white R&B artists was part of a strong but nationally short-lived musical trend known as blue-eyed soul.
In the 1980s, beach music enjoyed a major revival in the Carolinas, thanks largely to the formation of a loose-knit organization known as The Society of Stranders (SOS). Originally intended as a relatively small social gathering of shag enthusiasts, "beach diggers" and former lifeguards meeting yearly in the Ocean Drive section of North Myrtle Beach, S.O.S. quickly grew to become a major Spring event.
At around the same time, a fanzine called It Will Stand (from the song of that name by The Showmen) began to delve into the history of beach music. Concurrent with the new enthusiasm for the shag, and an increased emphasis on the roots of the music came a period of revival for many of the beach bands that had come to prominence in the 1960s. In addition to these groups, younger artists began to emerge, either as members of established groups, or with groups of their own. Dedicated beach music charts began to appear, tracking the musical tastes of shaggers and other aficionados of the genre. The number of regional radio stations playing beach music began to increase substantially.
In 1981, Virginia entrepreneur John Aragona sponsored the first Beach Music Awards show at the Convention Center in Myrtle Beach. He would sponsor and produce two more TV Specials over the next several years. In the late 1980s interest in Beach Music was revived and expanded. On November 19, 1988, live from Reynolds Coliseum, on the campus of North Carolina State University, "The Third Annual Beach Music Awards" was videotaped by Creative Center, a Los Angeles-based TV production company. The Awards show featured 20 of Beach music's stars and groups, ten Los Angeles based dancers, 20 professional shag dancers, and a twenty-piece back-up band, performing 50 of beach music hits.
The 3rd Annual Beach Music Awards TV Special was produced by Ron Dunn and Susan B. Donovan. Ron Dunn, DGA, served as director and writer, along with Susan B. Donovan (choreographer), and the show's executive producer, John X. Aragona. One of the key factors was a new song by O.C. Smith, "Brenda", written and produced by Charles Wallert. "Brenda" was on the national Billboard charts for three months and became the number one beach music song for two years. "Brenda" was nominated for six Awards and won five at the Third Annual Beach Music Awards. The telecasts of the Beach Music Awards in the 1990s (the footage appears in TV shows currently being broadcast) brought new awareness to the wide appeal of this music. New songs that were also national hits became popular in the beach music markets. Aragona spent more than 30 years promoting beach music.
These shows set the stage for the CAMMY Awards show, first held at Salisbury, North Carolina in 1995. The shows soon moved to Charlotte and then to North Myrtle Beach, South Carolina, where they are still an annual event under their new name, The Carolina Beach Music Awards (CBMA). The CAMMY (CBMA) show has turned into a five-day-long showcase and party for the fans and the bands, with shows all along the strip in NMB. It culminates in a show at the Alabama Theatre. Chuck Jackson and William Bell were the national stars featured in 2009, backed by the Craig Woolard Band and the Band of Oz respectively.
The best of beach music from the early decades, from both national and regional artists, is known today as "classic beach". However, there is more to beach music than just the oldies. New recordings in this style are being produced regularly as part of the regional music industry in the Southeastern United States. While the terms "beach music" and "Carolina beach music" are still used, the increasing popularity of the shag has led to it sometimes being identified as "shag music". Many websites have lately begun to refer to this music as "beach " shag".
In a related trend, since the year 2000, there has been a steady increase in the popularity of Southern Soul, led by such R&B labels as Ecko and Malaco. These labels feature both original and new artists of "the old school", and sometimes turn out recordings aimed specifically at the beach/shag market. An example of this is "I'm In A Beach Music Mood" by Rick Lawson. In addition, at least one dedicated Beach act, General Johnson and the Chairmen of the Board, charted both nationally and internationally with their brand of Southern Soul - sometimes with songs that were not aimed specifically at the beach and shag market, such as "Three Women". In 1994. General Johnson released a beach music version of The Ramones' punk anthem "Rockaway Beach" as a duet with Joey Ramone as part of the collection "Godchildren of Soul." In its October 15, 2010 edition, the New York Times obituary for General Johnson referred to "beach music" as an "upbeat brand of rhythm and blues".
Jimmy Buffett cites beach music as a major influence. His CD Beach House On The Moon was intended as an homage to the genre. Though it featured The Tams, and for a while they toured with him as vocalists, the CD did not yield any tunes that were big hits with beach music fans. However, it may have been influential in popular country music. Since that release, there have been others by artists associated with Buffett that have had that "perfect shag beat" and a beach music feel to them. Some have become hits with shaggers, including "Drift Away" and "Follow Me" by Uncle Kracker, "Need You Now" by Lady Antebellum, "Why Don't We Just Dance" by Josh Turner, "Some Beach" by Blake Shelton and "When The Sun Goes Down" by Kenny Chesney. Just as was the case with "Dancing, Shagging On The Boulevard" by Alabama in the 1990s, these country-flavored songs went over well on the dance floor regionally but did not please the more R&B oriented beach music fans. They did, however, impact the growing national shag dance scene to some degree.
National and international pop artists have also contributed to beach music in recent years. Among the most notable are Rod Stewart, Adele, Kelly Clarkson, Pharrell Williams, Robin Thicke, Bruno Mars, Meghan Trainor, and Justin Timberlake, all of whom have had records that performed well on the regional beach music charts.
In addition to these country and pop connections for the music, the pure R&B aspects of it have led to a kind of cultural cross-fertilization of beach and shag music with the northern soul scene in the UK and elsewhere. This has been due in large part to communication between DJs of the respective genres on the Internet. 'Fessa John Hook's Endless Summer Network, streamed on the Internet, has a weekly program featuring noted northern soul deejay Kev Roberts, and there are plans for its programming to also be carried on satellite radio in Europe.
Carolina beach music was featured on the soundtrack of Shag, a 1989 film starring Bridget Fonda and Phoebe Cates, filmed in part at the Myrtle Beach Pavilion and other Grand Strand locations. Though not a wholly accurate portrayal, with the actresses' uneven attempts at Upstate Carolina accents especially notable, many viewers consider it an agreeable and entertaining "coming of age" movie, with a good soundtrack and some excellent shagging. Not widely popular in its initial release, Shag has gone on to become something of a cult film. No doubt it has helped to foster and maintain some interest beyond the Carolinas for beach and shag music.
The novel Beach Music by South Carolina author Pat Conroy takes its title from this regional genre of music. The novel's protagonist, Jack McCall, seeks to get his daughter more in touch with her Southern roots. He does this by introducing her to the shag and to classic beach music. He describes The Drifters' immortal song, "Save the Last Dance For Me" in this way: "This is your Mama's and my favorite song. We fell in love dancing to it." and "Carolina beach music," her uncle Dupree tells her, "is the holiest sound on earth."
Beach Music Air Force, An updated listing of all local radio station reporting the play of Beach Music in a regular rotation.
WFBS, an FM station in Salem, South Carolina players Beach & Oldies all the Time with Beach Music Weekends all year with Frank Patterson, Jazzy Jeff Bright, Johnny D. " Durham" and Pat Gwinn syndicated radio show along with many other big names in the Oldies and Beach music. WFBS not only listen to via 107.9 FM in Salem and Clemson, South Carolina but is integrated into the Myrtle Beach, South Carolina, Charleston, South Carolina, Virginia Beach, Virginia, and Nags Head, North Carolina markets via www.WFBSFM.com. Also WORZ 107.9 FM, Key Largo, Florida and WWND 103.9 FM are stations that rebroadcast WFBS FM on weekends. WFBS can be found also on Tunein app as " WFBS FM Sunny 107.9"
WFLO, an FM station in Farmville, Virginia is home to the "Saturday Night Beach Party," hosted by Steve Leonard on Saturday evenings.
WSGI, an AM oldies station in the afternoon
WKSX, an FM oldies station in Johnston, South Carolina plays beach music.
WIOZ, an FM oldies station in Southern Pines, North Carolina Star 102.5 plays beach music on Sundays from 2pm - 7pm with DJ King Curtiss Carpenter.
WLWL, an AM oldies station in Rockingham, North Carolina, plays beach music almost exclusively
WRBK, an FM oldies station in Richburg, South Carolina, prominently features beach music every Saturday afternoon from 2 PM to 9 PM, interspersed with other oldies
WSWO-LP, an FM oldies station in Dayton, Ohio, broadcasts the Carolina Beach Music Show every Saturday evening from 6 to 9 pm.
WSGE, an FM station in Dallas, North Carolina playing beach and shag Friday nights, all day Saturdays and at 1pm on Sunday afternoons.
WNCT-FM, an FM oldies station broadcasting in Eastern North Carolina, features Steve Hardy's Original Beach Party on Sundays from 5pm-10pm.
WNCT-AM, an AM station broadcasting in Eastern North Carolina, plays beach music full-time
WPCM 920, an AM oldies and beach music station in Burlington, North Carolina. 2007 and 2008 AM Station of the year for CBMA. Home of On The Beach with Charlie Brown syndicated program.
WVCO, an FM station in the Myrtle Beach, South Carolina market which won Carolina Beach Music Station of the Year nine years in a row.
PBS 106.7FM, a community station in Melbourne, Australia, features beach music alternating Wednesday mornings from 2am - 6am on 'Shaggin' the Night Away' with DJ Big Ian Sutherland.
The 'Carolina Shag' is a partner dance done primarily to Beach Music (100-130+ beats per minute in 4/4 time signature). Today, the Shag is a recognized dance in national and international dance competitions held across the United States.
The basic step in Carolina Shag is a six-count, eight-step pattern danced in a slot. The rhythm is similar to six-count Swing in that it is triple step, triple step, rock step or counted as "one-and-two, three-and-four, five-six". There are eight shag dance steps in the basic pattern. The "one-and-two" and "three-and-four" steps should take about as much time to complete as the "five-six."
Carolina Shag often bears only the faintest resemblance to other dances that share the "shag" designation.
The term "Carolina Shag" is thought to have originated along the strands between Myrtle Beach, South Carolina, and Wilmington, North Carolina, during the 1940s. According to Bo Bryan, a Carolina Shag historian and resident of Beaufort County, the term was coined at Carolina Beach, North Carolina. The Carolina Shag is a descendant of Carolina Jitterbug, and its predecessor, Little Apple (whose origins can supposedly be traced to Columbia, South Carolina in 1937).
The 1989 film Shag starring Bridget Fonda, Phoebe Cates, Annabeth Gish, and Page Hannah as four high school friends on their last road trip together before graduation, was filmed in Myrtle Beach and features the Carolina Shag.
In 1997 the country music band Alabama recorded the single called "Dancin', Shaggin' on the Boulevard" referencing this style of dance.
In a 2014 episode of Steve Harvey (TV series), Harvey introduced a couple who dance the Carolina shag, and then Harvey disclosed that he has been studying and practicing the Carolina shag for an hour a day for the past year.
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