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February 2011 - Back in Business: Chairmen of the Board reforms after the death of front man General Johnson.
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Back in Business - Charlotte Observer
By April Denee Baker
Special Correspondent
Posted: Sunday, Feb. 13, 2011
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Last June, Ken Knox, saxophonist and vocalist for the beach-music band Chairmen of the Board, sat in a conference room on East Boulevard, talking about the band's future.
"Man, I don't want to look into the future. I really don't. I don't know if that's bad or good," Knox said that day. "I just love it the way it is. I always wished it could stay like this. But I know it can't."
Unfortunately, Knox was right.
Even though a series of knee surgeries had kept front man General Johnson from performing since last February, he fully expected to recover and return to the stage. So when Johnson died in October from late-detected lung cancer at the age of 69, it was a complete shock.
"I never thought I'd be fronting the group," said Knox, who also helps manage General Entertainment and Surfside Records. "But General believed in me totally, from the stage to the recording studio. And I feel like he passed the baton to me, to keep his legacy and our brand going strong."
Since 1979, Johnson and Knox, along with vocalist Danny Woods, played across the Carolinas - a lively and spontaneous trio that made friends of fans and created experiences out of shows at every venue.
"What's meaningful to me is meeting people and letting them come into our world," Knox said last June. "Today, a couple came over to visit. They saw us for the first time at Wingate University. We're very fortunate to have a fan base who feels like we're friends. And that's from 8 to 80."
While Woods chose to pursue another direction after Johnson's death, Knox formed the new Chairmen of the Board to keep Johnson's music and memory alive, including a tribute tour that comes to Charlotte on February 19 at Amos' SouthEnd, where Johnson gave his last stage performance a year ago.
"We never did the routine thing. Some people have to move their hands six times and tap their feet three. And if the least little thing goes wrong, they're like, 'Man, you messed up. You tapped your feet four times,'" Johnson said in the June interview.
"Our very first performance was at the Apollo Theatre, one of the roughest places you could play. Even then, we gave an energized performance."
With back-up band The Executives on guitar, keyboard, and drums, the new Chairmen - Ken Knox, Darryl Johnson, and Thomas Hunter - aim to keep the lively tradition of Carolina Beach Music going.
"Darryl's been on almost every Chairmen record for the last 15 years. He and Thomas are artists in their own right, and there's a spark between the guys that makes things fresh and new," said Denny Wells, a friend of the Chairmen who's attended recent band rehearsals at Studio East on Monroe Road.
Knox said some of Johnson's writing partners believe so strongly in the new Chairmen, they've offered to write original music for the band - including Greg Perry who co-wrote Freda Payne's "Bring the Boys Home" and Ronald Dunbar, who co-wrote the Grammy-winning song "Patches," both with Johnson.
According to the band's Facebook page, many fans and friends are enjoying the fruits of Knox's dedication and hard work, celebrating Johnson's life and musical career at the new Chairmen's concerts.
"What a show! We never sat down," Jeffrey Zachary wrote after the House of Blues tribute in December. "Darryl and Thomas are great, sounded as if they worked together for years: so tight. What a great tribute. I know General was singing along."
The successful beginning of the new Chairmen, built upon the music career Johnson dedicated his life to, can be named among his proudest accomplishments - including a Grammy award, million-selling records, induction into the Music Hall of Fame in North Carolina and South Carolina, and a star on The Legends of Music Walk of Fame on Granby Street in Norfolk, Va.
"I was raised about 20 blocks from that street, and I couldn't afford anything on that street. But now they had my name in honor, a big star. And it's beside Pearl Bailey, Ella Fitzgerald, and Bruce Hornsby," Johnson said in June. "It'll be there for as long as the city's there. And my grandkids can go down there and say, 'Looka-there, look at Papa's name.'"
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0ctober 2010 - Beach music icon General Johnson dies
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Beach music icon General Johnson dies - Charlotte Observer
By Mark Washburn, Lawrence Toppmann and April Baker
Staff Writers
Posted: Friday, Oct. 15, 2010
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He set a million feet shuffling on the dance floor with his "Carolina Girls" and countless others rocking to his R&B breakthrough anthem "Give Me Just a Little More Time." General Johnson, Grammy-winning songwriter and gravelly tenor who led Chairmen of the Board, died this week after a long musical career that left his indelible footprint on the world of rhythm and blues and on that Carolinas mainstay, beach music. "He told me at times the difference between beach music and a national hit is that a national hit will be out there five or six weeks and gone," said longtime friend Chris Beachley, who operates the oldies record shop Wax Museum on Monroe Road. "He said you write a 'Carolina Girls,' and it's there forever. He was the king of Carolina beach music." As a songwriter, Johnson's 1970 top-10 hit "Patches" won a Grammy and launched the career of Clarence Carter. His songs "Want Ads," "Stick Up" and "One Monkey Don't Stop No Show" all put Honey Cone on the charts. A native of Norfolk, Va., Johnson started singing at 6 with his father in church. By age 12, he was singing with a group called the Humdingers. At 18, he hit the charts with his first hit, "It Will Stand" with the Showmen, a group of his high school pals. In his autobiography, Neil Sedaka honored that song, saying Johnson's voice haunted him. "As I traveled from city to city, the record sounded different in each place, almost as if the change of scenery altered the mood. ... I tried to capture the same kind of enthusiasm and mood in a song of my own" - which turned out to be "Breaking Up Is Hard To Do."
His signature 'Brrrrrrrrr'
Johnson moved on to Detroit, where he was recruited to the Invictus label by former Motown hitmakers Holland, Dozier and Holland and launched Chairmen of the Board. After the million-selling "Give Me Just a Little More Time" in 1970 came top-10 hits "Dangling on a String," "Everything's Tuesday" and "Pay to the Piper," punctuated with Johnson's trademark "Brrrrrrrrr" lip rolls. Johnson thought he deserved a raise, but the team behind Invictus thought otherwise. There was a split and a lawsuit, and Johnson headed to Europe to perform for a while until the legal dispute was dropped. He later signed with Arista Records but felt producers were too meddlesome. In 1978, he took the advice he would later give fans in "Gone Fishin:'" "Everybody wants me to be what they want me to be, But I can't be nobody else but me. I'm gonna take me some time, steal away and please myself, I'm gonna walk away and won't look back." Johnson and the final lineup of the Chairmen - Danny Woods and Ken Knox - moved their headquarters to Charlotte's East Boulevard to tap into the independent beach music market. Their high-energy act took off like a sea breeze and remained popular for three decades.
Last show in Charlotte
In February, Johnson - who had settled in Atlanta - had knee surgery after complaining of pain during a show at Amos' South End in Charlotte, his last live performance. Waiting for Johnson's return, Chairmen of the Board continued to perform with Knox and Woods. Johnson had a knee replacement in September and was recovering when he died Wednesday. "We did everything together," Ken Knox said Thursday. "He was like my big brother." General was really his first name and he was eternally evasive about his age, said Boomer Von Cannon, who used to do an oldies show on WBT-AM (1110). Johnson liked to say people didn't want to hear music from an old man. He was wrong on both counts: Johnson died at only 67 and like the women he immortalized in "Carolina Girls," beach music fans considered him "sweeter than candy, hotter than heat." In June, during one of his last interviews, Johnson said he preferred the career of an independent artist because he valued creative control and savored beach music. "That's the thing about a good song. Let's say that song was put out 10 years ago, the recording company is done, whoever wrote the song is dead or just ain't writing songs no more," he said. "But that song is still there."
Staff writer Steven Brown and researcher Marion Paynter contributed.
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Deep Soul Review Column July 2009
CHAIRMEN OF THE BOARD
Sometimes it can get frustrating to count all the songs on a new CD that have been released earlier. Off the top of my head I can say that on Soul Tapestry (Surfside, SR 1027; www.surfsiderecords.com) at least Bittersweet, You Gotta Crawl Before You Walk, Three Women and All in the Family have been available before, but that still leaves us with ten equally elevating tracks.
Produced and all songs written by General Johnson, the rhythm section consists of live musicians and as always the background is rich and arrangement-wise supports melodies in a delicate way. In the line-up of General, Danny Woods and Ken Knox (www.chairmenoftheboard.com), the boys bring the heat up on a melodic dancer called I Go Crazy, a tough beater titled Beatin’ the Bushes and What’s Up, a funky chugger with social comments.
Mid-tempo songs include Keep on Foolin’ Me and two quite infectious tunes, Can’t Get over You and What a Woman Wants. The opening bars of the foot-tapping That’s My Story (and I’m Stickin’ to it) may remind you of Rock Your Baby, and with Danny on lead this song has evolved into a Southern & shag hit.
Chances Are is a nostalgic, melodic beat ballad, and For Old Times’ Sake is an even more heart-breaking sobber. Please Give Some Love Today is another touching social plea. Overall, this whole CD just radiates the joy of creating back-to-basics music. With story-telling, melodic songs and emotional deliveries - be it a jolly dancer or a tear-jerker - it certainly is one of the top albums this year.
My own in-depth interview with General dates back already fifteen years (in our printed issue # 1/94), but in case you’re interested in the history of the group the members do some reminiscing on their recent DVD, Under the Radar (www.soulexpress.net/deep109.htm#chairmen).
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April 2009 - The 30 or so Greatest Southern Songs
The 30 or so Greatest Southern Songs
Y’ALL, March/April 2009, Volume 7, Number 1, page 36
A note from Y’all Magazine associate publisher Keith Sisson:
Basically all forms of American music originated in the American South. From The Carter Family and Jimmie Rodgers to Elvis Presley and Robert Johnson, the South’s cultural influence on American music cannot be argued nor measured. Why is it that so many Southerners go on to make some of the deepest marks in musical history? Perhaps it could be the people and the place that inspires them. There is no doubt that the South has the highest concentration of regional pride in the country and that pride can be illustrated by our music. That got all of us at Y’all Magazine thinking about what the greatest Southern songs of all time would be. The criteria would have to be that the songs provoke a uniquely Southern experience, either by place or emotion. The songs could be of any format and would need to have stood the test of time. The following is a list of songs we rank as the “Greatest Southern Songs.” We hope you enjoy our list. If you feel we have made and error in the rankings or left something out, we would like to hear from you. Please email us with your feedback at southernsongs@yall.com or leave us a comment at www.yall.com.
11. Carolina Girls
A song doesn’t have to be a smash hit in order to become popular. That is evident from the success of “Carolina Girls.” When the band Chairmen of the Board first came to the Carolinas, they noticed the girls there had a specific style. Band member Danny Woods noticed that New York girls and California girls had their own songs, and that girls from the Carolinas felt left out.
With the release of “Carolina Girls” in the famed mid-Atlantic beach music style, girls from both North and South Carolina had a reason to be prideful. General Johnson and the Chairmen of the Board released the song in 1980, and it would prove to forever be an empowering and endearing song to not only Carolina girls in the ‘80s, but future generations of Carolina girls to come. The song spurned bumper stickers, license plates, and clothing. Girls from both states were proud of the song’s claim that “Carolina Girls (are) best in the world.
The women’s athletic teams at the University of North Carolina use the song as an unofficial fight song. Other schools do similarly, some even having marching band adaptations.
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SoulTracks - "Soul Tapestry" Release
Nearly forty years after crashing onto the pop and soul charts with the hit "Give Me Just A Little More Time," the Chairmen of the Board continue to defy gravity, regularly playing to sellout crowds and recording while many of their early 70s R&B peers have long since left the music industry. Two decades ago they became the face of Carolina Beach Music, a rollicking brand of music that mirrors the feel-good R&B of the 60s and early 70s (wonderfully captured in the group's 2008 documentary Under the Radar) and they've ridden the wave they created to continued success.
It has been four years since the group's last regular studio album, All In The Family, and fans could have legitimately thought that the act's recording days were over. But General Johnson was positively enthused late last year when he talked to us about the songs he was writing for the group's brand new release, Soul Tapestry. During a spell in the early 70s, Johnson was one of popular music's most celebrated songwriters, providing hits for several of the acts on the Invictus record label. But he still had the fire, and he believed, the tunes to share, even as he and his bandmates enter their sixties.
The good news is that Soul Tapestry demonstrates that both General Johnson the songwriter and The Chairmen as a group are solid as we exit the first decade of the 21st Century. Johnson's historic success has largely been due to his talent as a storyteller, from the now legendary child-turned-man song "Patches" to the sly 8th Day hit "You Gotta Crawl Before You Walk" (which is covered again by the Chairmen on Tapestry). And these stories are central to group's concerts, where their multi-culti, multi-generational audience sings along with every word. Soul Tapestry adds a few new tales to the collection, most notably "That's My Story (and I'm Stickin' To It"), the private confession of a philandering man who won't admit to an affair despite all the evidence against him. But just as infectious are "I Go Crazy," a bouncy cut that sounds like the successor to "Dangling On A String," and the sing-songy "Beatin' the Bushes."
A bigger surprise on Tapestry is Johnson's more serious take on family and social issues. "What's Up" is a pre-Obama rant of an exasperated man tryin to make sense of inequality, homelessness and an ill-conceived war, and "All In The Family" relies on family as tie-that-binds in a world of personal and societal failings. Best of all is "Chances Are," a rumination of an older man who looks back at his financial and business failings, but finds comfort -- even redemption -- in the romantic love he found during his life.
Like many recent independent albums issued by classic soul artists, Soul Tapestry lacks the rich orchestration that the Chairmen would have had in their Invictus days, but programmer Mark Stallings does a nice job without a major label budget, particularly the wall of sound he establishes on "Chances Are."
It is uncertain how many people outside the Carolinas will be able to find Soul Tapestry in their local stores, but it is worth seeking out. It is a fine disc that features the fun, entertaining sounds for which the Chairmen have largely established their legacy but also provides a deeper, more mature set of songs that make the album a sweet, enjoyable addition to an already solid group discography. Recommended.
By Chris Rizik
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SoulTracks - "Under the Radar" Release
The Chairmen of the Board came out of Detroit in the early 70s with a string of major soul hits, led by General Johnson's plaintive vocals and underrated songwriting. Songs like "Patches," "Dangling On a String" and "Give Me Just A Little More Time" gained for the group a sizeable following among R&B fans, but not the kind of across-the-board success that their talent merited.
For most of the US, the Chairmen were an afterthought by the mid-80s, no longer recording national hits and seemingly another in a string of soul groups that peaked quickly and faded into oblivion. But the new documentary Under the Radar shows a much different story that has largely been hidden from the popular media: that of a group that has not only survived but thrived on its own terms, as the leading purveyors of "Carolina Beach Music," a brand of good-time R&B unique to a loyal fanbase in a specific geography.
Under the Radar centers itself at a Chairmen 2007 outdoor North Carolina concert of over 12,000 fans, and it is a stunner for those who assume that all music is driven by powerful oligopolies in New York, L.A. and Nashville. Here are thousands of people, ranging from teenagers to senior citizens, wildly participating in a concert filled with songs that 95% of Americans have never heard. And the audience clearly knows by heart the dozen or so sing-along songs like "Gone Fishin'" and "Carolina Girls." Even more of a non-sequitur is seeing a group that 30 years ago was viewed as an R&B act that couldn't "cross over" now performing for an enthusiastic, almost exclusively white, Southern crowd.
More than just a concert film, Under the Radar provides a history of an act that, out of the national spotlight, went to the South and created a sound for which the region was ready. For decades, segregation and racism had largely kept R&B an underground music in the Carolinas, but thousands of suppressed white R&B fans found their solace in the musical freedom that existed at the beach. The Chairmen became the right group at the right time in the 80s to capitalize on this and create a very different type of "beach music" than the Beach Boys/Jan and Dean version that was known around the US. It was instead a rollicking brand of R&B that was perfect for the regional crowd and took on the "Carolina Beach" moniker. And the Chairmen have been riding that wave now for over two decades, performing dozens of concerts in the region around the year, but especially in the Summer.
The documentary's interviews with group members General Johnson, Ken Knox and Danny Woods are fascinating but too short. The explanations of the group's history and its surprisingly successful relocation to North Carolina provide wonderful context for the music that dominates most of the film.
Under the Radar is a particularly appropriate release at a time of major label implosion and the uncertain hope of independent artists. It shows the story of a trio written off by the music establishment over two decades ago who have created both DIY success and an unexpected legacy as they enter their sixties. It also provides a much needed -- but previously hidden -- ray of hope for struggling young artists to grasp as they search for their own place in a changing musical world. Recommended.
by Chris Rizik
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April 2007 - General Johnson inducted into the City of Norfolk's Legends of Music Walk of Fame
In The News:
4/18/2007
Springsteen Sax Player, Chairman Of The Board Frontman To Receive Hometown Honor
Bruce Springsteen and the E Street Band's Clarence Clemons and Chairman of the Board's General Norman Johnson are being recognized by their home state. The Virginia natives are set to be inducted into the City of Norfolk's Legends of Music Walk of Fame. The veteran rockers are expected to be on hand for this afternoon's formal induction ceremony, during which medallions for each honoree will be installed on Granby Street. They'll also join other inductees for a special free concert at Norfolk's Roper Theater later tonight. Five locally-born entertainers make up Norfolk's 2007 Legends of Music. Along with Clemons and Johnson, pianist Pat Curtis, conductor Jo Ann Falletta, and "Chesapeake's Singing Cowboys," the late Phelps Brothers -- Norman, Willie, and Earl -- have been tapped for the recognition this year.
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April 2007 - Beach Music's Five-Star General
In The News:
4-17-2007
Beach Music's Five-Star General
"You could make a blind man see,
You could make a cripple man walk
You could make the quietest man in the world talk."
— General Norman Johnson
"39-21-40 Shape"
Jim Newsom
Tuesday, Apr. 17, 2007
Was there an actual girl with such measurements who inspired that 1960s Beach Music classic?
"I was only about 14 years old when I wrote that song," General Norman Johnson laughed when he called me last weekend from Myrtle Beach. "I don’t know—maybe it rhymed with ‘ape-itty ape.’ That came from a young teenager’s brain!"
Johnson, who comes back to his hometown this week to be inducted into the Legends of Music Walk of Fame, has been singing since he was a youngster living at 852 Washington Avenue in the Huntersville section of Norfolk.
"I started when I was about 6 years old," he said, "singing in churches and stuff. We formed our first little neighborhood group called The Humdingers. Our first professional job where we got paid a little bit of money was with Ruth Brown in a place called Chowan Beach.
"Noah Biggs from Norfolk put some money behind The Humdingers. He was our manager, and he took us down to New Orleans to record our first records—which had ‘It Will Stand’ and ‘39-21-40 Shape.’ The people at Minit Records said ‘no’ to the name Humdingers, so we had to come up with a name right on the spot. We came up with The Showmen there in New Orleans."
"It Will Stand" was a national hit for The Showmen, but around here it was "39-21-40 Shape," mislabeled "39-21-46" on the 45-rpm record, that really took off.
"Most people say they printed the label wrong," he explained, "but I think they did it as a ploy because it was more commercial, it aroused curiosity. Actually, when I wrote the song it was called ‘You.’ And ‘It Will Stand’ was ‘Rock and Roll Will Stand.’ So they just changed the names of the songs."
Johnson has one of the great voices of rock and soul, an instantly recognizable sound that wraps itself around a lyric and pulls every ounce of emotion out.
"You know what’s so funny?" he asked. "Up until the age of about 14, I sung the range of female alto. I went out at lunch one day at school, and I started coughing. I thought I had laryngitis. My voice changed and this is what I ended up with. And I thought, what am I gonna do?"
He is also a successful songwriter. When The Showmen split in 1968, he moved to Detroit where he formed The Chairmen of the Board. It was there that he hit his songwriting stride, writing lyrics that were simple yet poetic.
"I’ve always aimed for simplicity," he said. "I’ve always aimed for things that people could understand. A title that awakened the imagination like one I did for the Honey Cone, ‘Want Ads:’ ‘Wanted, young man single and free/Experience in love preferred but we’ll accept a young trainee.’ I mean everybody can understand what you’re saying.
"In Detroit they better be great lines! My bosses were Holland-Dozier-Holland, and you can’t even begin to count their successes. But I learned from them real good. They had just left Motown and were in a lawsuit, and I was stuck up there in the middle of that. But I was learning from them the art of how you write a song. It paid off, because in a year and a half I had amassed six million-selling songs that I had written. I got the Grammy for ‘Patches,’ I was the BMI Songwriter of the Year. That’s pretty heavy stuff."
The Chairmen of the Board had several huge hits with Johnson’s compositions in the early ’70s, most notably "Give Me Just a Little More Time" and "(You’ve Got Me) Dangling on a String." Hit versions of his songs like Freda Payne’s "Bring the Boys Home," "Somebody’s Been Sleeping" by 100 Proof (Aged in Soul), and the string of hits for label mates Honey Cone proved his mettle as a songwriter. But it is "Patches," a #2 smash for Clarence Carter in 1970, that remains his most recorded song.
"That came from imagination," he replied when I asked about the genesis of the song. "You put yourself in another person’s shoes, but at the same time I wanted to put it in a setting that everybody could understand. It’s a little bit about me, but I try my best not to write a song exclusively about me. I try to write a song that touches the emotions of everyone. And ‘Patches’ was that kind of song. I’m not born and raised in Alabama, but that made for a better song than being born and raised in Huntersville!"
He credits his father, whose name was General Johnson, for his career in music.
"I owe it all to my father," he said, then laughed, "Every slap beside the head for hitting a flat note! My father is the one who taught me how to sing, and I was singing on the radio and singing in churches from Norfolk to New York City.
"He was working over at the Naval Shipyard in Portsmouth. He wanted to be a singer, he was singing with a spiritual group. But that could not be a career because he had a family. So I think he lived through me."
Though he was born General Norman Johnson, he was called Norman when he was growing up. A record company executive changed that.
"I was working at a record company called Swan Records in Philadelphia," he remembered. "The owner of the company, a big Italian guy, said, ‘General is your name and furthermore, General is more marketable.’
"It was the kind of name that you don’t want to use in school. I absolutely hated that name. That just goes to show you—I hated my name, and my name turns out to be marketable. I hated the way my voice had changed, and my voice has been said to be one of the most distinctive. You never know when you’re being given a blessing."
For the last 30 years, General Norman Johnson has been one of the biggest names in Beach Music. But when he first moved down to his current home base, Charlotte, he didn’t know what "Beach Music" was.
"Later on," he said, "I found out that way back when, black music was known as ‘blue music,’ and it was forbidden fruit for the Caucasian race. It was no different from when they couldn’t listen to Little Richard sing ‘Tutti Frutti’ but Pat Boone could sing it. Those people that wanted to hear the authentic sound could go down to Myrtle Beach to those jukeboxes and they could listen to rhythm & blues music. So that’s how it got the name as being ‘Beach Music.’
"It’s been a blessing for me because during the time of disco and all the different changes in music, I didn’t have to worry because I had a vast audience that loved the music that I loved to do. If you’re looking for melody and a strong song structure, where the singer is still the main focal point, then you’re talking about the music that I love to do."
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July 2005 - Pro Audio Review
Pro Audio Review July 2005
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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:' |
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