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Beach Buzz September

A Story Of Music Evolution: Did you know that the first significant horn band in the history of Rock music is also the second largest selling group in American Rock history, trailing only The Beach Boys in combined album and singles sales? Originally called Chicago Transit Authority, Chicago debuted in 1969 with what was referred to as 'Rock with Jazz fusion', combining the traditional group instrumentation of guitars, drums and keyboards with a powerful three piece brass section. Their first album went platinum and they were off and running, influencing arrangements and creative mix that was to be emulated by many for years to come. At roughly the same point in time, a group of musicians in the San Francisco / Oakland Bay area were pulling together a horn driven funky outfit that would be known as Tower of Power. Often utilizing as many as five horns in their performances, some forty plus years and twenty five albums later, they are still going strong.  The sound of brass had already infiltrated R&B and  Soul music, particularly the infusion of saxophonists like King Curtis at the Atlantic and Capitol Records studios and Junior Walker at Motown. James Brown's traveling band was a large troupe complete with the JB Horns, producing some famous players over the years such as Maceo Parker and Fred Wesley. New Orleans R&B had been heavily influenced by horn play for years, evolving from their fundamental use in Jazz and Blues. Full horn sections became more popular in the mid to late '60's, used in house bands like The Funk Brothers in the Motor City and The Mar-Keys (aka Memphis Horns) at the Stax Recording studio in Memphis. Session musician brass players at the legendary Fame Studios in Alabama became known as the Muscle Shoals Horns. The desire for brass further expanded in the mainstream in the early '70's as horn sections became an integral part of big name groups like Blood, Sweat & Tears, Kool & The Gang, Average White Band, Earth, Wind & Fire,  Commodores, Parliament-Funkadelic and Ohio Players. Other bands later 'borrowed' horn sections at times when heading into the studio to record. The legendary Tower of Power horn section has been part of dozens of studio recordings, including multiple albums for Little Feat, Huey Lewis and Santana. Regional bands with big horn sections have become almost cult status among their most devoted fans. In Los Angeles, there's Jack Mack & The Heart Attack, a band that has had several Beach music hits over the years. From the eclectic music land of Texas, there is the funky soulful stylings of Mingo Fishtrap. In New Jersey one of the long time fan faves' complete with multiple horns is Southside Johnny & The Asbury Jukes (one of my favorites as well, see the What's Not So Way Old article below). Remember several years ago when a group known as Tyn Tymes from Alabama came to the CBMAs and opened the Sunday show? They performed complete with at least five horns in the band if I remember correctly. Then there is a group called Here Come The Mummies from Nashville (or maybe Mars!!). Six horns in the band with some crazy live performances (all members completely wrapped in mummy outfits) and jammin' songs. Check out the sounds of Big Mouth & The Power Tool Horns, getting it done up in Wisconsin for many years.  Beach music bands have evolved over the years with a realization that the sound of a brass section certainly enhances live performances as well as studio recordings. Band of Oz, Swingin' Medallions, North Tower, Part Time Party Time Band, Holiday Band, Craig Woolard Band, Out of Towners, Embers, Men of Distinction, Castaways, Attractions, Sensational Epics including newer bands like Atlantic Groove and Steve Owens & Summertime - what the heck, practically all of them out there are using multiple horns as part of their overall presentation and have found that this is the way to go.  I believe it would be safe to say that a horn section is a definite enhancement for almost all types of music – whether it be Pop, Rock, Blues, R&B, Soul, Funk or Beach! What’s Not So Way Old:  A friend and work colleague of mine (yes, I did once work!) moved South from his native New Jersey in 1995. Upon realizing we had a mutual love of certain types of recordings, I tried a few times to explain Carolina Beach music to him. Finally he said “Oh, I got it, it's like when we used to spend summers at Cape May listening to Southside Johnny performing covers of old Kinks tunes”.  LOL, uh no, that's not quite it...... Southside Johnny & The Asbury Jukes is a horn driven Rock band with a whole lot of Blues, R&B and Soul.  The band was formed by Johnny Lyon and Steven Van Zandt in 1974. Although Van Zandt left the group shortly thereafter to join fellow New Jerseyite Bruce Springsteen's E Street Band, he continued to be involved with the Jukes as their manager, key songwriter (along with Lyon) and producer. The original horn section became known as The Miami Horns, touring not only with the Jukes but also with The E Street Band, Little Steven, The Max Weinberg 7 as well as a host of additional guest appearances with other noted musicians. The Jukes signed with Epic Records in 1976, releasing three albums over the next two years. Each recording was heavily influenced by R&B predecessors, with artists Lee Dorsey, The Coasters, The Drifters, Ronnie Spector and The Five Satins contributing their vocals on several of the songs. Over the years, Johnny and The Jukes have recorded on major labels like Mercury, Capital and Sony as well as smaller entities and their own Leroy Records. Although eleven of their albums have made the Billboard charts, The Jukes have seldom been considered a 'major' player in the music business. If you listen to signature tunes such as I Don't Want To Go Home, Sweeter Than Honey, Little Girl So Fine, Love On The Wrong Side Of Town, Trapped Again, It's Been A Long Time, Tell 'Em I'm Broke, Dancing On The Edge Of The World, Baby Don't Lie and Without Love you really wonder why their star didn't rise to the top. Along the way, stand up covers of tunes such as Nothing But A Heartache, Having A Party, Ain't That Peculiar, Fannie Mae, Hootchie Cootchie Man, Walk Away Renee, Lovey Dovey, Got To Get You Off My Mind and Snatchin' It Back further demonstrate the influence Soul and Blues music had on the band. Fessa John Hook's Beach Music Guide recognizes The Jukes 1976 version of It Ain't The Meat (It's The Motion) as being shag worthy. It is also interesting that the Craig Woolard Band covered Southside Johnny's I Can't Dance on their 2007 Come Get To This album, injecting some good local references along the way! Ditto for Band of Oz, with their rendition of The Jukes monster horn tune She's Still In Love on their 2010 Dance To The Radio release. I believe you will find even more of the music of Southside Johnny & The Asbury Jukes to be beach environmentally friendly and Ocean Drive relevant if you listen carefully! Artists, DJ’s, Club owners etc. send me your latest news for potential inclusion in Beach Buzz at nealfur@aol.com.