Southern music, 1976 – 1986

Large Time, Great Memories

AJC journalist revisits a musical South, 1976-1986

Back in June of 1981, I picked up the weekend edition of “The Atlanta Journal-Constitution,” and unfolded a surprising few pages that would stay with me for decades. Inside was a full, multi-page section dedicated to a rising phenomenon called Carolina Beach Music. A staff writer named Bill King had been sent to Myrtle Beach, Mecca for the genre, to find out what was behind this Southern soul revival that had swept into Atlanta’s club scene. The result was a joyful, immersive account of the music, the dancers, and the culture that gave birth to it all.

That prized insert was eventually lost during a move years later, but I never forgot the writer. I clipped the Top 50 chart from that spread and followed King’s columns for years. He had a gift—not just for writing about music, but for inviting readers into the scene. He introduced you to the artists, painted the setting, and made it feel like you were right there in the smoky club, on the humid beach, or backstage after a show.

Now, King brings us something even richer: “Large Time: On the Southern Music Beat, 1976–1986,” a collection of his music journalism from a defining decade. But this is not just a scrapbook of old columns. With the grace of a seasoned storyteller, King curates the experience, giving readers both the context for the original stories and the perspective that only time can bring.

For music fans—especially those from Athens, Atlanta, or anywhere in the South—this book isn’t just enjoyable. It’s essential.

About the Title
The phrase “large time” itself is a distinctly Southern expression—warm, nostalgic, and often used to describe a night or memory that was especially fun, spirited, or unforgettable. As King notes in his introduction, the title was inspired by legendary Southern songwriter and producer Buddy Buie, who often used the phrase to refer to the good old days. “We had a large time,” he’d say—summoning memories of shows, parties, studio sessions, and friendships forged in the golden years of Southern music. It’s a perfect title for a book that doesn’t just document those times but brings them vividly back to life.

A Musical Map of the South

At first glance, “Large Time” appears to be a collection of 52 columns and articles from King’s time with AJC. But it’s much more than that. He has revisited each column, article, and story providing an update to today.  This is a guided journey through Southern music history, filtered through the ears and eyes of someone who lived it.

Each chapter is structured around an artist, band, or musical movement. But what makes the book stand out is King’s scene-setting introductions. Before each refreshed article, he reflects on what was happening at the time—culturally, musically, and often personally. He reminds us that music doesn’t live in a vacuum. It’s shaped by geography, politics, race, and memory.

King covers a wide range of artists: from James Brown and Isaac Hayes to Willie Nelson, Tammy Wynette, and The B-52s. He writes about icons (Johnny Cash, B.B. King, Dolly Parton) and lesser-known legends (Chip Condon, Piano Red, Chip Moman). The full table of contents reads like a jukebox of Southern identity. He even includes chapters on phenomena like Carolina Beach Music, the Dixie Dregs, and the rise of R.E.M.—a nod to his Athens roots.

For those of us who remember a time when the music scene felt more local, more soulful, and more rooted in place, “Large Time” is a homecoming.

The Writer Behind the Words

Bill King isn’t just a music journalist. He’s a son of Athens and a product of the University of Georgia, where he once served as executive editor of “The Red and Black.” His writing reflects a deep understanding of both the culture and the artists he covers.

There’s a clarity and compassion in his writing that sets it apart. He isn’t trying to show off or impress the reader. He’s trying to connect. Whether he’s visiting with James Brown in Augusta or driving through Memphis or Tupelo, in search of a new angle on Elvis, King’s curiosity shines through. His interviews feel intimate without being intrusive. His portraits of artists are both reverent and real.

One of the book’s greatest strengths is King’s ability to revisit these columns and articles with hindsight. The prefaces he writes to each chapter are thoughtful, sometimes humorous, and often moving. He offers new insights into what the interviews meant at the time and how he views them today. These aren’t just “greatest hits”—they’re reflections.

Personal Favorites and Standout Chapters

Every reader will have their own favorites, but for me, Chapter 26 on Carolina Beach Music was a standout—not just because of my personal history with King’s original piece, but because it captures something essential about the Southern spirit. King traces how a local sound became a cultural touchstone, how shag dancers in Myrtle Beach created a movement, and how Atlanta clubs suddenly turned into beach music havens. His reporting doesn’t just tell the story—it feels like being there.

Other highlights include:

• Chapter 1: Elvis – Interesting that a funeral led to the creation of the AJC’s music critic desk. Bill explains the behind-the-scenes editorial decisions that shaped the AJC’s new music coverage—seeking fresh angles, untold stories, and deeper context around Elvis’s passing.
• Chapter 3: Allman Brothers Band – A loving portrait of the band that defined Southern rock, complete with context about their roots and reinventions.
• Chapter 4: James Brown – King writes with awe and precision about the Godfather of Soul, who reigned with charisma and complexity. Peter Guralnick, author of Sweet Soul Music and Sam Cooke: Dream Boogie, sent King a brief but telling note… “GREAT article…I really dug it.”
• Chapter 6: The B-52s – King captures the quirky brilliance of Athens’ breakout band just as they were beginning their meteoric rise. You must read Bill’s friend Owen Scott’s story of the beginning.
• Chapter 13: Jimmy Buffett – A revealing look at Buffett during a pivotal transition. King interviewed him in 1974, before ‘Margaritaville’ exploded, and again in 1978, when Changes in Latitudes, Changes in Attitudes had made Buffett a national star. His refresh for the book captures Buffett as a sharp, self-aware storyteller—an artist on the cusp of becoming a brand, and eventually, a lifestyle empire.
• Chapter 16: R.E.M. – Essential reading for any Athens resident; King understood early on that something special was brewing in those jangle-pop guitars. And how they went from playing music for fun to cashing in.
• Chapter 41: Swingin’ Medallions – For those who love the “party bands” of the South, this chapter is pure joy.

There are dozens more worth mentioning, from Lionel Richie and Randall Bramblett to Delbert McClinton, Millie Jackson, and Chips Moman. But what ties it all together is King’s steady voice—curious, respectful, always tuned to the heart of the matter.

Southern Music as Cultural Memory

“Large Time” doesn’t just chronicle music. It captures a time and place. King’s stories, articles, and columns offer a lens into what the South was becoming in the late ’70s and early ’80s—a region reckoning with its past, embracing new identities, and still dancing to a backbeat of soul.

There are threads of racial tension and reconciliation in these stories. There are portraits of working musicians, road warriors, and genius producers. There are reflections on how music venues shaped cities, how clubs like Muhlenbrink’s Saloon in Underground Atlanta or the Purple Onion became the proving grounds for new sounds.

Readers over 50 will find themselves transported. Whether you were living in Athens, visiting Myrtle Beach, or cruising Peachtree in Atlanta, this book will stir memories—and maybe even send you digging through old vinyl or cassette tapes.

A Book to Savor

Clocking in at just over 200 pages, “Large Time” is perfect for picking up and reading a chapter or two at a time. The writing is clean and accessible, with a rhythm all its own. King’s blend of music history and memoir makes it enjoyable for casual fans and devoted collectors alike.

For longtime Georgians, especially those who remember the region’s club scene, radio DJs, or college concerts, the book reads like a walk back through the soundtrack of our lives. For younger readers or newcomers, it’s a masterclass in understanding what made Southern music tick during a transformative decade.

Final Thoughts

Bill King’s book is a love letter to the South—its music, its makers, and the people who danced, listened, and lived through it all. It’s a gift for anyone who remembers what it felt like to fall in love with a song in the summer heat or to hear a voice on the radio that sounded like it was singing just to you.

This book deserves a spot on the shelf of every music lover, every UGA alum, and every Southerner who believes that good music and good memories are forever intertwined. It may be titled “Large Time,” but it’s also filled with quiet moments, tender insights, and unforgettable stories.

For those of us who grew up on jukebox hits and Southern music, this book is more than a read. It’s a reunion.

Chris Jones is a retired public affairs executive and music researcher based near Athens. A University of Georgia alumnus, Jones now writes about Southern music and culture, with a focus on the college scenes, regional bands, and forgotten venues that helped shape generations. He is a co-author of The Embers: The Bobby Tomlinson Story and a previous contributor to Boom Athens. He brings a journalist’s eye and a fan’s heart to his work.