TERRESTRIAL RADIO:”Yuck”

   Right off the bat I will disclose that as a younger man the advent of a clear FM broadcast channel and the music played on said channel might have been linked to my steering away from having a career in baseball. A fair to good hitter, an outstanding All-star infielder, and while not the ace of the staff I was a pretty good pitcher. Then, slowly, something happened.

   It just might be the two AM radios that I remember most. Two radios exactly the same model except one was black which was in my parent’s bedroom on Dad’s nightstand, the other a white model on top of the Frigidaire in the kitchen. Very rarely if ever would either be on but when one was, especially “whitey” in the kitchen, the sounds would be amazing. The magical tunes seemed to send the cares and woes of this seven year old far away. When I was tall enough to switch it on that one in the kitchen got a good workout. Then Christmas of 1959, I received a small transistor radio all for myself.The first tune I heard was MACK THE KNIFE by Bobby Darin and life would never be the same.

“Oh, the shark babe has such teeth, dear,

And he shows them pearly white

Just a jack-knife has ole MacHeath, babe

And he keeps it out of sight”.

   In 1865 Guglielmo Marconi was credited with inventing the “wireless” that is the first practical signaling system, therefore he was later granted the title of the “inventor of the radio”.

   To me it seems humorous and somewhat prophetic that the town I live in, Copiague, New York, a small hamlet located on the south shore of Suffolk County, Long Island would once have been named Marconiville.  There is still a large iron awning in the center of town proudly declaring to all visitors “MARCONIVILLE”. And of course, there is the obligatory Marconi Blvd, which years later in my story will be the location of The Record Rack, a short lived but interesting shop where I purchased many of my vinyl wares. Yes, at one point in his life Marconi resided in my town, however so short a time it was.

   In November of 1967 I was purchasing mostly albums, having drifted away from single (45rpm) releases.This change in my purchasing, as well as the purchases of like minded teens listening to the same current music, was due in part, a large part, by one singular event; that being the change in FM radio broadcasting.

   (A brief history thanks to Allen Sniffen) In 1966 the Federal Communications Commission ruled that major market FM radio stations could no longer simulcast their AM sister stations.  FM had to become separate with individual programming.  This was deemed necessary to allow FM to grow and develop its own audience.  The ruling put radio station owners in a bind.  They needed to come up with new formats for these weaker and less desirable stations. Since FM was more difficult to receive,  its universe of potential listeners was much smaller… and so was its billing. 

    The new formats therefore had to be both different and relatively inexpensive to program. It was in that environment that RKO General Broadcasting launched its new WOR-FM  (98.7Mhz) “Hot 100” format on July 30, 1966.  The name is deceiving because, in fact, it was the first progressive rock station in the country.  It marketed itself as stereo as a way to distinguish itself from AM radio.  The problem was that many of the records played by the station were not in stereo.  While it was true that most record albums were stereo, singles were not.  Since the singles came out before the albums, much of the new music it was breaking was in mono.

   So to me as a 14 year old, my listening experience changed overnight, well actually after purchasing an AM-FM radio which did not exist in my house.The newly staffed WOR-FM hired some of NYC’s hottest “Top Ten” dj’s, specifically MURRAY“The K”(Kaufman) from 1010 WINS, SCOTT MUNI from 570 WMCA and later 770 WABC, and ROSKO, the coolest sounding person on the radio, anywhere. Murray The K appeared to be the draw for WOR-FM and the “new” MURRAY was a 180 degree departure from what I was familiar with while listening to him on 1010 WINS (AM). This was not “Top 40” jive talking any longer, as a matter of fact it was a “cool” MURRAY, one who it has been claimed broke the song  “Society’s Child” in the Summer of 67 (because it should be heard), as well as PROCOL HARUM’s “Whiter Shade of Pale” simply because HE “liked it”. AND Murray was famous in the area  for his holiday stage show extravaganzas, the last which brought THE WHO and (as billed) THE CREAM to NYC for the first time, Easter of 1967. My buddy went and raved about those two bands.

   But WOR-FM was a short lived experiment as program directors tried to rein in the playlist, to the chagrin of the radio hosts. Murray was fired in September of 67 despite having the highest rated FM program in NY, even higher than most AM shows. During his short tenure at WOR-FM “The K” attracted not only a large audience but in the audience advertisers found a different demographic, a newer demographic, that being a more mature college aged kid and with this newer, older audience the station drew in record companies as their advertisers.

    Record companies had found the station (WOR-FM) was highly valuable at influencing sales of rock albums especially new artists and groups like Cream, The Doors, Jefferson Airplane, and The Jimi Hendrix Experience, acts which were having their records played and /or being introduced. At WOR-FM (October 1967)with a new tighter playlist ROSKO quit while “on the air”. He was soon found (October 30,1967) hosting the 7PM to midnight program at the “all girls dj’s” of WNEW-FM 102.7 FM. WNEW-FM was a MOR station with an entire staff of female Dj’s, a unique experiment at the time. But at the 7PM hour Rosko had a free hand to “do his thing”. JONATHAN SCHWARTZ (10AM- 2PM) was added on November19, and a few days later SCOTT MUNI (2-6PM) joined the staff. ALLISON STEELE  later dubbed “The Nightbird” (2AM-6AM) was held over from the formerly “all girl” staff and WNEW-FM took off.Note: a few years later the line up included John Zacherle and Pete Fornatale with Vince Scelsa added on weekends.

    Today, this FM experience is an unlistenable offense to the ears. Psycho babbling “Morning Shows” with an announcer (no longer dj’s) ramble on while a partner is laughing uncontrollably. Example: #1: “He was wearing a yellow shirt…” #2 responds while chuckling, “A yellow shirt?”…#1: “yes, yellow”…#2 laughing even louder, “No way, truthfully, a yellow shirt?”…#1: “Yes, yellow”… #2 is now just laughing and sounds like he is hitting his hand on a table…#3 joins in: “Did you say yellow?”… and on and on it goes for five minutes. All of the above is almost verbatim. It sucks, what happened? The music played is all top 40 hits heard on all the other stations. Truthfully, this is not broadcasting but rather “narrow” casting with a cast of idiots.

to be continued…

Oh, Ye, gentle mistresses and most distinguished gentlemen, and others… The opinions and observations are solely my own views, and I take full responsibility for any errors of fact, not to mention any predictions that prove to be wildly inaccurate.

Today’s Listening Pleasure: Satellite Radio (Meg Griffin)

“SO LONG”…”You Said What…?”

Today’s Listening Pleasure: THE DEAD KENNEDYS: “Rawhide” 

   Needless to say at 70 years old I am still a sucker for the old black/white 30 minute television westerns I grew up with, some got even better when the programs grew to one hour in “living color”. “Gunsmoke” was a true favorite of mine. In hindsight I would have to question the integrity of the characters as represented in each episode. First, the star is U.S. Marshall Dillon who regularly patrols the wooden walkways of Dodge City looking for miscreants, criminals, and those on the “most wanted” posters found in his office. Usually, the Marshal is drinking beer in the saloon with his trusted companion “The Doc” and also found at a table is “Miss Kitty” the owner/operator of the saloon and brothel upstairs. In today’s world, let’s just say the constant public drinking of the “Doc” and Marshall would be frowned upon, and to be hanging with “Miss Kitty” a “lady of the evening” at their side, enough said.

   In more than one episode the “guest” character when leaving the saloon table with some sage advice will say, “So long, Marshall” which got me thinking. What the hell does “So Long” mean…and why would someone in 1870 Kansas territory use that phrase?(Kansas Statehood January 1869)…Hmmmm…

   So here it goes, the etymology of the phrase as best I understand it. “So long” used as an interjection is a parting salutation mostly of unknown origin. Legend has it that it was a slurring of words, that is a “mispronunciation” of Scandinavian phrase “adjo sa ledge” literally  “bye so long” used by sailors, dock workers and prostitutes. The phrase turned up about the same time in 1860 America, Great Britain, and Canada. However, its first use in print was in the last poem in WALT WHITMAN’S “Leaves of Grass” (1860). It was commonly used in subsequent years by laborers and middle class in port cities of the Northeast America, and considered a bit vulgar by the upper class. Picked up in early into the “roaring twenties” by the literary and artists it was then “hip” to use in common vernacular as a proper salutation of departure…”so long for now”

to be continued…

PS: The Arizona Historical Society and The Wild West History Association, documented that Matt Dillon’s TV character was shot at least 56 times, knocked unconscious 29 times, stabbed three times, and poisoned once.

Oh, Ye, gentle mistresses and most distinguished gentlemen, and others… The opinions and observations are solely my own views, and I take full responsibility for any errors of fact, not to mention any predictions that prove to be wildly inaccurate.

SIX DEGREES OF SEPARATION from “No Matter What Shape (Your Stomach’s In)”

PART 1: The Jingle, The Song, The Band, The Beatles…   

   What started out as a TV spot for Alka-Seltzer was later recorded as  a full length single“No Matter What Shape (Your Stomach’s In)” becoming  a hit for THE T-BONES in1966. And just like we can find  SIX DEGREES OF SEPARATION aka the KEVIN BACON GAME,as this one song will take us on a musical journey of the late1960’s and onward. 

   The original jingle was written by ALEXANDER BURLAND (The Nutty Squirrels) Producer JOE SARACENO turned the jingle into a full length instrumental recording using studio musicians credited to THE T-BONES (Tommy Tedesco guitar, Hal Blaine, drums;Carol Kaye electric bass; Lyle Ritz, upright bass). This studio band was actually part of THE WRECKING CREW, all “first call musicians” known for their exceptional studio chops for the hits of THE MONKEES, SONNY and CHER,THE RONETTES, THE TIJUANA BRASS and so many more. To tour as THE T-BONES would have cost them money as the  studio money was so much more profitable than touring money.

   The WRECKING CREW started in 1962 working at GOLD STAR STUDIOS on hits produced by PHIL SPECTOR (The CRYSTALS/THE RONETTES/IKEand TINA TURNER/THE RIGHTEOUS BROTHERS). As “first call” LA musicians they worked with producers as diverse as BRIAN WILSON, TERRY MELCHER, LOU ADLER, BONES HOWE, JIMMY BOWEN and MIKE POST.

LOU ADLER often seen court side next to JACK NICHOLSON at LA LAKER games or seen in the crowd behind the catcher at DODGER games LOU ADLER (with the signature white beret) was the originator of The Monterey Pop Festival, owner of DUNHILL Records and later ODE Records. He produced JOHNNY RIVERS, THE GRASS ROOTS, JAN and DEAN, THE MAMAS & THE PAPAS and won a GRAMMY AWARD for producing CAROLE KING’S “Tapestry” in 1972. He was Executive Producer of THE ROCKY HORROR PICTURE SHOW and films for CHEECH & CHONG. Early in his songwriting days with HERB ALBERT they wrote “Wonderful World” a huge hit in 1960 for SAM COOKE and in 1965 became a hit for HERMAN’S HERMITS. LOU ADLER was married in 1964 to SHELLY FABARES and produced a few hit records for his then wife, along with one son

JIMMY BOWEN produced FRANK SINATRA’S “Strangers In The Night” (1967’s Grammy for RECORD OF THE YEAR)among other hits. “Old Blue Eyes” hired BOWEN as a record producer (using THE WRRECKING CREW) for his newly established (1960) REPRISE RECORDS, thus giving a new meaning to “CHAIRMAN OF THE BOARD”. SINATRA garnered the fellowship of the RAT PACK by signing DEAN MARTIN, SAMMY DAVIS ,Jr ,also NANCY SINATRA, DINO, DESI and BILLY to the label. In later years BOWEN worked with GLEN CAMPBELL, KENNY ROGERS, HANK WILLIAMS,Jr, THE OAK RIDGE BOYS, REBA McEntire, GEORGE STRAIT, SUZY BOGGUSS, KIM CARNES, CONWAY TWITTY and GARTH BROOKS.

BONES HOWE originally was an engineer under ADLER. He later produced hits with THE WRECKING CREW for THE ASSOCIATION and the 5th DIMENSION.

TERRY MELCHER, the son of DORIS DAY, was a singer, songwriter and as a producer he helped develop the “California Sound” and “folk rock”. He sang as TERRY DAY, later in BRUCE(Johnston) and TERRY, and was also  in THE RIP CHORDS. MELCHER produced the first two BYRDS albums including the singles “Mr. Tambourine Man” and “Turn,Turn,Turn” as well as hits by PAUL REVERE and THE RAIDERS.Years later he produced the BEACH BOYS’ hit “Kokomo”. TERRY MELCHER is also known as the original target of CHARLES MANSON’S family attack on 10050 Cielo Drive the rented home that MELCHER shared with girlfriend CANDACE BERGEN and his friend MARK LINDSAY. They had moved out prior to that fateful day.

MIKE POST produced the 1964 hit by THE MURMAIDS “Popsicles and Icicles”(written by DAVID GATES). Got his first GRAMMY (age 23) in 1968 for Best Instrumental Arrangement on MASON WILLIAMS (backed by THE WRECKING CREW) “Classical Gas”.  At 24 he was Musical Director on THE ANDY WILLIAMS SHOW, then got his second GRAMMY for his theme song for THE ROCKFORD FILES, He was the “go-to guy” for many TV shows producers including The A-Team, Baa Baa black Sheep, The Commish, Doogie Howser, MD, Magnum, PI, and many others. To me he is best known for his “dun, dun” sound effect he created for the “Law and Order” franchises.

BRIAN WILSON:simply stated the genius of The Beach Boys.

PART 2: The Beatles???

   What started out as  a TV spot for Alka-Seltzer was later recorded as  a full length single“No Matter What Shape (Your Stomach’s In)” becoming  a hit by THE T-BONES in1966. And just like we can find  SIX DEGREES OF SEPARATION aka the KEVIN BACON GAME, this one song will take us on a musical journey of the 1960’s and onward.

   THE T-BONES as recorded was: Tommy Tedesco on guitar, Hal Blaine, drums;Carol Kaye electric bass; Lyle Ritz, upright bass. This studio band was actually the basis of THE WRECKING CREW, all “first call musicians” known for their exceptional studio chops for the hits of THE MONKEES, SONNY and CHER,THE RONETTES, THE TIJUANA BRASS. To tour as THE T-BONES would have cost them money as the studio work money was so much more profitable than tour money.

   It was suggested that a “tour” band of THE T-BONES would be compiled to tour, photos etc…sorta like THE MONKEES (but not as famous). The T-Bones were now identified as JUDD HAMILTON, DAN HAMILTON, JOE FRANK CAROLLO and TOMMY REYNOLDS none who played on the original record, nor the (previous of course and) subsequent recording until the last album “Everyone’s Gone To The Moon”.

   Years later (1971) HAMILTON. JOE FRANK and REYNOLDS have two huge hits with “Don’t Pull Your Love (Out)” and “Fallin’ In Love”.

   THE BEATLES are connected to our KEVIN BACON GAME, so bear with me on this one. “Red Rubber Ball” a silly hit written by PAUL SIMON and BRUCE WOODLEY of THE SEEKERS was recorded by THE CYRKLE in 1966 climbing the BILLBOARD Chart to #2.  Original called THE RHONDELLS, the band was managed by BRIAN EPSTEIN of BEATLES fame who changed their name to THE CIRCLE, JOHN LENNON re-christened the band THE CYRKLE. THE CYRKLE opened on numerous US dates for THE BEATLES and played THE BEATLES last live date ever in San Francisco.

   Here’s the connection.  In 1976, Alka Selter stops using “No Matter What Shape” and now rallies around a new jingle “plop, plop, fizz, fizz”. This jingle was written by musician TOM DAWES, a former member of THE CYRKLE…

ROCK’S IN MY HEAD: Chapter 7-More Thievery

Okay, back to more thievery. With The 18th Amendment replaced by the 21st Amendment, PROHIBITION is officially repealed. Its time to have a drink, legally.

The glamorous supper clubs and the “legitimate” night clubs reopened their doors. The speakeasy’s turned their lights on even brighter, as most never truly closed AND all continued to be financed by THE MOB.

The Mob ruled clubs in Cleveland, Portland, Corpus Christi, The swanky Beverly Hills Supper Club of Newport, Kentucky, a jazz venue CLUB 18 on West 52nd St in NYC, The Chez Paree in Chicago,The Cloister of Chicago,The Copacabana (NYC), The Latin Quarter(NYC) just to name a few. To get a paying gig in these establishments you had to join the “local”…As Frank Zappa wrote, “Hey,you can call me Rudy, I’m the union man, and any of you boys not paid up on your card”.

One could seek employment through the AGVA- THE AMERICAN GUILD OF VARIETY ARTISTS, a mob run union or through its sister organization the GAC (General Amusement Corporation) a massive talent agency.

So let’s pick one hot spot away from my NYC… say we travel south to Miami Beach located in beautiful, climate controlled as well as mob controlled south Florida. In the 1950’s Miami Beach had over 300 hotels. (Las Vegas had 4, hold that thought for later). AGVA acts would tour via booking by the General Amusement Corp, these acts would make the circuit from Miami to Chicago to Houston then to NYC and so forth with the agencies taking a piece of the action.

Tennessee was not one of those hot spots where these acts traveled on a regular basis. On January 5, 1950  the senator from Tennessee introduced Senate Resolution 202, AKA, “the investigation of organized crime bill”. In time, many clubs around the country were shut down only to find solace in LAS VEGAS, Nevada.

The BIG BAND acts peaked in the 1940’s and 1950’s with Count Basie, Tommy Dorsey, Duke Ellington Orchestras all rotating into the NYC Broadway houses: The Capitol, The Music Hall, and of course The Paramount (the home of Frank Sinatra and the bobby-soxers booked by not so clean William Morris Agency). A few years later Martin and Lewis are huge hits at the 5500 seat Roxy,

These shows as well as the coffee house folkies, and the comedians will make a smooth transition over to the newest AUDIO/VISUAL medium, the Television.

The radio networks of yore now become TELEVISION NETWORKS with Milton Berle’s TEXACO STAR THEATRE hitting the airwaves in 1948 as did Ed Sullivan’s TOAST OF THE TOWN .

At that time there was a total of 19 television stations in only 12 cities: Baltimore, Chicago, Cincinnati, Cleveland, Detroit, Los Angles, Milwaukee, NewYork, Philadelphia, St Louis, Washington, DC, and Schenectady-Albany and over 200 different advertisers vied for airtime.

Keep in mind that there were only 750,000 TV sets manufactured by then. Advertisers knew this television thing could be huge if it catches on. And how could it not. People could actually see people, different people, from different regions, males and females, the audience could not only hear the news but actually see footage.

A huge cultural shift is about to happen in America and the world. And that’s part of my story. How my generation benefitted from the vaudevillians, the club circuit, the radio, and ultimately the television to get our entertainment and the news.

See you next time… Chapter 8:BEFORE THE BEATLES . Comments? jazzbus@gmail.com