In compiling
the Chairmen of the Board's career- defining 30-song
collection, bandleader General Johnson -- the singer,
songwriter and producer behind many R&B hits of the last
four decades -- led a daunting task. For the Beach
Music Anthology to be a comprehensive release,
essential Johnson-penned hits such as "It Will Stand" --
a song he originally recorded with the Showmen in 1961 -
would coexist alongside new millennium fan faves such as
the Chairmen's "It Ain't What You Do (It's The Way That
You Do It).” Further, because of licensing issues,
several early songs recut as hopefully undetectable
recreations of original recordings.
The project was wholly but not surprisingly a success,
thanks to a superb-sounding catalogue and Johnson's
discriminating ear. According to Tim Eaton -- owner and
chief engineer of Studioeast Recording in Charlotte,
North Carolina -- each of Johnson's skills, developed
through years of Detroit-based studio work and
relentless touring through- out the South, is a part of
the Chairmen's supreme reign over the enduringly popular
East Coast Beach Music scene. "General knows what he
wants and he gets it, no matter what it takes," explains
Eaton, who has regularly worked with Johnson and the
rest of the Chairmen -- saxophonist/vocalist Ken Knox
and vocalist Danny Woods -- for over 25 years.

The Beach Music Anthology's undisputed single --
an ode to Southern beach-dwelling beauties entitled
"Carolina Girls" -may have been originally recorded in
1980, but its classic, warm, yet pristine production and
an impeccable remastering job by Studioeast's Mark
Stallings contributes to the song's timelessness.
"Carolina Girls" was recorded via an MCI JH-600 Series
console and incorporated musicians from both Detroit and
Charlotte. A fervent and self-defined "head arranger,"
Johnson directed the band with no sheet music
whatsoever.
For Johnson's distinctive lead vocal, a Neumann U 87
microphone through a Universal Audio 610 mic preamp and
Teletronix LA-2A limiter comprised the chain to a Studer
A80 24-track machine.
"He's always felt comfortable with the U 87," tells
Eaton. "It has a warm color to it, and you can modify
the top end a bit for crispness.” On the song's catchy
signature sax solo, Knox used an Electro-Voice RE20,
which Eaton says is a perfect choice for high-level
horns. "Handling high SPL-- or 'concussion' is what I
call it -- is a great aspect of the RE20:'