Showing posts with label San Francisco. Show all posts
Showing posts with label San Francisco. Show all posts

Sunday, August 21, 2016

PEOPLE THAT MADE RADIO GREAT




I'll admit that I'm a day late on this, but August 20 is National Radio Day. Since I'm in the radio industry, I felt I should acknowledge that day. I've been planing this post for awhile. I like to talk about what makes radio great. Sadly, it has gotten me into trouble in the radio industry and at my job.

I used to get into discussions on statewide radio industry message board. Once there was a discussion on some of the greatest radio personalities and radio stations ever. I posted my thoughts on the subject. A person, who hosted a show on the radio station I worked for (he paid to be on the air), got upset because I didn't mention him or the radio station. He complained to my boss about my opinions and how he was slighted. The good news is this person is no longer in radio. The bad news is you don't want to know what this person is doing now.

This is a list of some of my favorite things about radio. This will be chronological to keep down arguments. I'm also keeping this national rather than local. I would love to do a post about local radio's influences on my career, but it wouldn't be of interest to very many people outside of Missouri. I'm sure the person mentioned above will be upset that his favorites are not going to be mentioned.



JACK BENNY - Benny was probably radio's first major personality and his show was a pop culture phenomenon. The catchphrases were everywhere, especially in the Warner Brothers cartoons. Benny created a persona for his radio show that was different from his real life self. Benny was a humble, very generous man, who was also a very competent violinist, but on radio, Benny played a conceded, tightwad, who was a horrible violin player. His show also created a strange fictional world that could have only exist on radio. He kept his money in an underground vault with multiple chains, steal doors, loud alarms, lions, gorillas, dragons and, most famously, a guard who had been on duty forever. He didn't know what a car, radio or movie was. Also Jack had his sarcastic African-American valet Rochester drive him around in worn out Maxwell car. The sound of the car was provided by Mel Blanc (he recycled the same voice for the 70s cartoon character Speed Buggy).


FRAN STRIKER - He was writer working at WXYZ in Detroit. He created The Lone Ranger and The Green Hornet.


In a 1970s poll, more people could recite the opening to The Lone Ranger than they could the Pledge of Allegiance.


ARCH OBOLER - Producer and creative mind behind the horror show Lights Out. Oboler used some graphic sound effects for people being electrocuted, monsters crushing their victims to death and chicken heart that grew to engulf a whole city.


ORSON WELLES - He made his first mark on radio as the voice of The Shadow and his playboy alter-ego, Lamont Cranston. He later created The Mercury Radio Theater of the Air, which produced a great version of Dracula. He produced and performed in a version of Heart of Darkness that Francis Ford Coppala says influenced Apocalypse Now. That would be enough, but his crowning achievement was his version of War of the Worlds, that mimicked radio news reports, blurred the line between drama and reality so well that it caused panic along the East Coast.


TODD STORZ - He watched a waitress use her tips to play the most popular hits on a juke box and thought "What if radio played only the top hits over and over?" He then created the Top 40 format at the exact birth of rock and roll in the mid 50s.



WOLFMAN JACK - Like Benny before him, Wolfman Jack created a persona. One of the longest lasting of the 50s era DJs with a werewolf howl, a raspy voice and hipster lingo. Really a quite guy named Bob Smith, who like to freak out radio station clients and young fans, by slipping into the Wolfman voice suddenly. George Lucas used this along with the real Wolfman Jack in American Graffiti. He then hosted the TV show The Midnight Special on NBC in the 70s.


GARY OWENS - A smooth talking, wise cracking DJ, who became famous outside radio and the announcer on TVs Laugh-In and the voice of cartoon superheroes Space Ghost and Blue Falcon.


BILL DRAKE - He took what Todd Storz created in the 50s and modernized it in the 60s. Consulting other radio stations on how to do it. He update the jingles from 40s sounding pop to a dynamic rock instrumental with vocals by the Johnny Mann Singers. He had radio stations remove the sales department from any decisions about programing, including getting rid of long form live ads. An tightened up the presentation to an art form. "AND THE HITS JUST KEEP A COMIN!"



THE REAL DON STEELE - Drake's big star at KHJ in Los Angeles. The epitome of loud, fast-talking radio DJs. Later appeared in the films Death Race 2000, Eating Raole, and Rock & Roll High School.


BIG DADDY TOM DONAHUE - The opposite of The Real Don Steele and Wolfman Jack, but belongs along side Storz and Drake. Began as a jazz DJ in San Fransisco, a general manager forced Drake to fire him because he couldn't talk fast enough. Donahue looked at the growing counter culture scene of San Fransisco Haight-Ashbury and created underground radio. Slower, quieter DJs playing long LP cuts. In the 70s, it morphed into AOR radio and influenced college/alternative radio of the 80s. His DJs included Sly Stone, Ben Fong -Torres and Howard Hessman from WKRP and Head of the Class.


BYRON MACGREGOR - Worked as a news director for the Drake consulted CKLW in Windsor, Ontario, a rimshot of Detroit, in the early 70s. Windsor had very little news, Detroit was coming unglued with so many murders that the morgue ran out of room. MacGregor's booming voice and envelope pushing "if-it-bleeds-it-leads" news writing became legendary. No truth to the rumor MacGregor lead a newscast with "A 5 year old boy was strained like spaghetti through the grill of a Buick today," but he did record a patriotic, spoken word record called "The Americans," that became popular again after 9-11-2001.


CASEY KASEM - Once referred to as "the man who taught America how to count backwards." The L.A DJ and cartoon voice over actor, created the syndicated radio show, The American Top 40 Countdown, where he played the hits, gave positive, uplifting stories about the artist, Billboard chart trivia, sappy, tearjerker dedications, and turned rock and roll into a kind of cross between sports coverage and a soap opera. He always closed with "Keep your feet on the ground and keep reaching for the stars."


DR. DEMENTO - A musicologist and music historian, who introduced audiences to some of the strangest novelty and comedy records ever made on his syndicated radio show of the 70s and 80s. He also is credited with playing homemade tapes by a listener named Weird Al Yankovic.   

And those are the people who not only made radio great, but inspired my career in radio.  

Saturday, January 19, 2013

REEVALUATING THE BOSSTOWN SOUND


The first time I knew of "the Bosstown Sound" was through a collection of old Scholastic Co-Ed magazines that my sister had bought when she was in junior high in the late 60s. I liked to look at these because they contained the things I were interested in the most when I was in junior: photos of girls and information on music of the 60s (then it was the current music scene).

I remember this article saying that the coolest music was coming no longer coming from San Francisco or London, but Boston. The article told about these band, but even with my limited knowledge of the music of that era at the time (I was only beginning my exhaustive studies) I knew I had never heard of any of these bands. Although one band name stuck with me because I thought it was so cool: The Ultimate Spinach (pictured above).

Skip forward to my college years when I would do a monthly segment during my KSMU airshift a called the Psychedelic Limits. I found a copy of Ultimate Spinach's second LP, Behold and See. I began using a song from the LP called "Mind Flowers" on the Psychedelic Limits.

Recently, I found an abundance of psychedelic music on iTunes and Amazon and began downloading it like crazy. I found that many of the songs that I were not familiar with were by bands from "the Bosstown sound." In recent years I had read that "the Bosstown Sound" was a huge flop in the music industry. it is even mentioned in Dave Marsh's Book of Rock List. Why did it flop?

Part of the problem was the fact that most of the bands were all on MGM Records. This was almost an "all-your-eggs-in-one-basket" situation as much as Columbia Records went overboard with jazz horn rock bands about the same time, with the main difference being that the jazz horn rock bands at Columbia were huge sales success with wide spread airplay (many of those songs are still radio staples), where as the Bosstown Sound didn't make enough money in sales to cover the amount of promotion and very little airplay.

Another problem was the hype surrounding the Bosstown Sound. Co-Ed was not the only magazine promoting the Bosstown Sound as the next big thing. 16 and Seventeen did too. The Wall Street Journal, Newsweek, Time, Life and even Playboy ran positive articles about it. On the other hand, a relatively new magazine called Rolling Stone trashed the Bosstown Sound an article. It took MGM and the mainstream media to task for trying to steal the thunder of the San Francisco music scene. Of course, Rolling Stone was based in San Francisco.

While we are on the subject of the Rolling Stone article, I should mention the other problem with the Bosstown Sound was lack of support at the top of the records company. Shortly after the marketing started for the Bosstown Sound, MGM Records appointed Mike Curb as president. Curb was quoted in the Rolling Stone article as saying "Boston shucks" and calling the music "a bunch of junk." Curb later used his controversial "Dump the Dopers" campaign as a way to get rid of the Bosstown Sound bands. He claimed the Orpheus love ballad "I've Never Seen a Love Like This" was "a drug song." It should also be noted that Curb had MGM drop Frank Zappa, but kept Judy Garland and Hank Williams Junior (Mike Curb's sunshine pop choir, the Mike Curb Congregation backed Hank Junior on some of his MGM hits). It was later found that most of the acts dropped were groups whose contracts were ending. To add insult to injury, Bosstown Sound producer and creator Alan Lorber says Mike Curb asked him why the Bosstown groups hadn't provided any new material. This was after Curb had bragged to the press about dropping these "junk" groups. I should note that not all of the Bosstown bands were at MGM, some were on a smaller label called Mainstreet.

As I said earlier, I've been downloading music by these bands various Bosstown bands and I have noticed that there is another reason these groups seem forgotten. Unlike many of the San Francisco groups and the British bands of the late 60s, the Bosstown groups sound dated, like a stereotype of 60s music. To me that is not a bad thing, but consider the mundane nature of classic rock radio. The songs that have become staples on classic rock radio by Jefferson Airplane, the Grateful Dead, Santana, the Rolling Stones, the Who and Led Zeppelin, sound as if they could be recorded by any current band or even in the 70s or 80s.

The Bosstown groups have an overly psychedelic sound to them. All the psychedelic bells and whistles show up on these groups LPs. There is an abundance of slowed down voices, vibes, chimes, backwards taped instrumentation, and lyrics about "sounds," "bright colors," "pretty flowers" and "beautiful girls with hypnotic eyes." However, before we say that Mike Curb was right about these groups, it should be pointed out that one thing that hurt them among the underground press was that many songs have a negative view of the drug culture, such as Beacon Street Union's "Speed Kills."

On a whole, the Bosstown groups were more mellow. They were sort of a mix of "sunshine pop" and smooth jazz rather than bluesy like the British and West Coast acts. Not real heavy, but kind of light.

So what happened to the people of the Bosstown Sound. Many of the musicians continued performing various other acts. Of the acts from the Bosstown boom years, there are three names you would recognize. Ultimate Spinach produced future Steely Dan and Doobie Brothers guitarist Jeff "Skunk" Baxter. A group called The Chain Reaction only recorded one single, but that group featured future Aerosmith lead singer/ American Idol judge Steven Tyler. The most surprising future star in a Bosstown band was the drummer of Chamelon Church. He would leave music for comedy and make people laugh on TV's Saturday Night Live's Weekend Update anchor and on the big screen as hapless father figure Clark Griswold. Yes, the drummer of Chameleon Church was Chevy Chase.

Here is a short list of Bosstown Sound tacks:
  • "The Clown Died In Marvin Gardens" Beacon Street Union
  • "Mind Flowers" Ultimate Spinach
  • "Seven Starry Skies (Mystic Magic Oceans)" The Lost
  • "When I Needed You" The Chain Reaction
  • "Images" The Freeborne
  • "I've Never Seen Love Like This" Orpheus
  • "The Red Sox Are Winning" The Earth Opera
  • "My Island" The Fabulous Farquar
  • "Another Day" Phluph (I'm sure that is pronounced Fluff)
  • "Can't You See" The Tangerine Zoo
  • "Goodbye Girl" Eden's Children
  • "Silver Children" Front Page Review
  • "Camillia Is Changing" Chameleon Church
While the Bosstown Sound may be considered a failure, it did paved the way for successful acts from Boston in the 70s such as Aerosmith, Johnathan Richman and Modern Lovers, The Cars, J. Gelies Band and, of course, Boston.  

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