took over the nation's airwaves early in 1964 and reached epic proportions
with their first concert in America at the DC Coliseum. Hysteria
was equally as great in New York for their Ed Sullivan Show
was quick to assemble a package of Beatles
sound-alike jingles, so much so, they appeared as an addendum to
Series 26 'Let's Go America'
rather than a package unto itself.
audio heard here is a crude recording off the air made with a microphone
placed in front of a radio speaker from 09/08/64. On it, 'Marvelous
Marv' Brooks can be heard playing a cut that sound suspiciously
like it may have been a home grown affair with someone at the station
having sung the WPGC call letters over another station's at the
as 1964 marked a distinct change in direction musically with the
arrival of The Beatles,
so too was the case with PAMS
jingles. Work on Series #27 'The Jet Set'
began in November, 1963. Recording sessions for the pilot
package for WABC
were underway the day of the tragic JFK assassination.
fresh new sound featured sound effects of among other things, a
sports car, a motorboat and of course, a jet plane! It quickly became
successful offering up to then. Demand was great; countless stations
in cities all over America used these jingles including WPGC in
1964 which Program Director,
Dean Griffith #1 (Dean Anthony)
ordered before his departure in November of that year for WMCA in
- Series #5
was one of the smaller jingle production companies that specialized
in lower cost projects than a big-name outfit like PAMS.
Series #5 was created for KSEL in Lubbock in 1965 and was similar
in style to PAMS
Series #27, 'The Jet Set' and
Series #29, 'Go-Go' featuring
brass arrangements with high notes sung by a female singer.
is believed WPGC may have used this package in 1965 and were ordered
by General Manager,
Bob Howard. Cost may have been
a factor in the selection of these over the current offerings from
it may have been made out of necessity as WEAM
was using PAMS
Series #29 at the time.
Warren Duffy ordered these jingles upon his arrival in
in the Fall
This stripped down package simply didn't compare to other more polished
offerings out at the same time from other competitors. Their use
on the air was mercifully brief!
1966, the enormous Bat-craze was sweeping the nation. SPOT Productions'
thinly disguised rip off , 'Thatman' was based on the theme
from the show and featured the names of the DJs on the station.
Warren Duffy also ordered the the
Bat - package.
In April of 1966, SPOT Productions created, 'Fun-tastic'.
Intended to capitalize on the notion of Summer fun for teens out
of school, additional cuts to the lengthy package were added soon
afterwards. Fun-lovin' 'Cousin'
Duffy put these on the air that year too.
to contributor Lee Whitney for the
above three packages.
arrival of a new Program
Director invariably meant new jingles on WPGC. Such was
the case with Charlie Shoe
who ordered the high powered (& loud!) 'The
Now Sound' from Pepper-Tanner. The arrangements
on these cuts were distinctly different from the typical big band
PAMS cuts from
earlier in the decade and featured a noticeably more youthful singing
fun from Pepper-Tanner with the aptly titled, 'Fun
One' heard on WPGC in 1969. It was essentially a continuation
of the previous package from the year before. Truly, in-your-face
and in-your-ears jingles at their best!
in 1968, PAMS
introduced what was considered at the time a revolutionary concept
- a means by which basic jingle beds could be created for use by
any station, yet still customized for each one individually by the
incorporation of that station's musical logo at the front or end.
was accomplished with an early multi-track reel to reel tape machine.
Unique musical station logos were added on separate tracks apart
from the basic jingle beds. PAMS
called the concept 'Grid'. WPGC
was one of many stations to use the package in 1969.
the '70's were about to dawn, new sounds were being heard in station
Series #38, 'New Generation'
was notable for the inclusion of a Moog synthesizer. A new, younger
group of singers was also used to make this set stand apart from
the competition as well as previous PAMS
packages. WPGC Program
Director, Charlie Shoe
ordered both of these packages in 1969.
the years, PAMS
created more custom jingle packages for WABC
than any other station. These in turn were soon syndicated to stations
around the country. Late in 1971, PAMS
started work on Series #42a 'The Ignitors'
which WPGC put on the air in 1972. Rather than a collection
of unrelated cuts, the package was an early attempt at accentuating
the flow between the songs by use of 'subliminal logo triggers'.
The latest in electronic gimmicktry such as phasing and flanging
effects highlighted the series. Included in the sales pitch to stations
was the claim, 'Ignite your listeners' consciousness with exciting
first cut above is a series of five demonstation jingles of what
it would sound like if WPGC ordered them. These cuts used a variety
of station logos on them (WABC
and KLIF / Dallas to name a couple). When WPGC did order them, it's
own logo was used instead.
Director, Harv Moore selected
the package but was dismayed if not 'ignited' with the result, leading
to the jingles being re-sung in Dallas soon after their creation.
Both the originals and re-sings are included here for comparison.
Harv himself attended the do-over session. A rare, behind-the-scenes
glimpse at the creative process of making jingles from inside the
studio is also provided with a minute or so of the rehearsal just
prior the re-sings. Listen towards the end when one of the female
singers can be heard speaking with Harv.
can't remember what station I heard that had the "full harmony"
sound on the call letters, but I loved it. I'm a "song"
guy. When Bob Howard gave the
OK for new jingles, I knew exactly what I wanted. We ordered the
package, and I sent a sample of the way I wanted it. They didn't
do it. They suggested I come to Dallas to supervise the re-sings.
Double A Image Pack (originals)
- Drake Double A Image Pack (re-sings)
the difference between the originals and the re-sings.
1971, legendary programmer Bill Drake commissioned a new set of
jingles utilizing the Johnny Mann singers. Instrumental backing
tracks were done in Detroit using the Motown session musicians who
had appeared on countless hits. The set was marketed by Drake-Chenault's,
'American Independent Radio'
package was re-cut with new vocals in 1973 at PAMS
of Dallas but retained the original backing instrumentation. Program
Director, Harv Moore was
never fully satisfied with the results of Series
#42a and ordered this package in 1974. It was
the last one he bought before leaving for WYSL in Buffalo early
marked by several 'tide-us-over-till-we-get-a-new-package' jingles.
in 1975, a collection of new jingles appeared on WPGC to replace
the Drake cuts above.
Jim Collins (for whom this
site is dedicated) bought these cuts from PAMS
which originated in a custom package created for WLS
in Chicago, appropriately named, 'LS Auditions'.
The jingles on it were short, quick and to the point. Streamlined
by design to get back into music quickly.
#42a? - Additional Cuts
the original and alternate-version 'Musicradio' musical
afterwards, several similar sounding shotgun jingles were also purchased.
Ostensibly, they were additional cuts from PAMS Series
#42a from three years earlier. The nine cuts on it featured
the station's 'Musicradio' slogan but clearly sounded completely
different than anything contained on Series
#42a. It seems unlikely they were actually from that package.
first four of these used the familiar 'Musicradio' musical
logo. But the latter five are of particular interest because they
feature a different arrangement on that same phrase and evidently
were never used on the air.
cuts from a package originally created for WGAR in Cleveland were
the last to be ordered by WPGC from PAMS,
which by the mid '70's faced economic hardships that ultimately
led to its demise in 1977 (though in later years, re-sings of many
of the classic PAMS
packages would be heard on numerous Oldies stations around the country,
most notably at 66
WNBC in New York during its re-creation of WABC's
'60's sound as the 'Time Machine' in the mid-80's, when ironically,
Jim Collins worked on the air
/ Priority One'
in April, 1976 was a compilation and the first JAM
package used on WPGC. It was ordered by Program
Director, Jim Collins.
'Priority One' was originally
produced in 1975 for WDIA in Memphis while 'Logoset'
was the first JAM
custom package cut that same year for WABC.
a while, JAM
utilized an actual WPGC
aircheck of Jim
Collins to demonstrate to other stations how
they sounded in use on the air.
was a custom package for WABC
in 1977 and went on to become one of the most widely syndicated
packages in JAM's
Director, Dan Mason
ordered it for WPGC in early 1978.
- Positron - Additional DJ cuts
McNeil joined the station in the Spring of 1978 these
DJ cuts were added.
Pack' was another JAM
collection from 1978, obstensibly for WQXI in Atlanta. The
demo heard here also included cuts for WPGC, possibly in
the hope the station might order the complete package. It
didn't, perhaps because 'Positron'
was so new on the station at the time.
Cuts' from August, 1979 were actually from 'Express
Pack' (cut 11A for those keeping track at home)
intended for specific usage such as morning show features
like 'Day Off With Pay' and 'Boss Of The Day'
and were ordered by Program
Director, Scott Shannon.
included on this brief package was the widespread Hallelujah
Choir's treatment of Elliott
including deliberate outtakes on the latter's name.
Kit' from December,
1979 was actually cut for WABC
in December, 1977 and was JAM's
first holiday package. The cuts were ordered by 'Santa
Shannon' and were used extensively during WPGC's annual
'24 Hours of Christmas' special each year.
- Congressman Cottonpicker for Pres.!
(if not 'capitolizing') on an election year, listen for an encore
of the the Hallelujah Choir's treatment of 'Congressman
Cottonpicker for President' that were cut in January, 1980.
- Congressman Cottonpicker (re-sings)
re-sings in February, 1980 merely placed the accent on a different
syllable of the good Congressman's cottonpickin' name.
the more-music battle with Q107
heated up, 'Whisper Chants' from
June of 1980 debuted on WPGC and were used as quick drop-ins between
songs to identify the station without interrupting the flow of
Disco gasped it's last dying breath in 1980, 'The
Music Sounds Best' was ordered
by Program Director,
Scott Shannon. As a stand
alone cut, it may very well have been part of another JAM
package out at the same time.
- Free Money Hi-Lo Chant
image-building contesting with the station promotion, 'Free
Money Hi-Lo' in the Fall of 1980 warranted a group chant
from JAM in October of that year.
- Continuous Music Chants
the race with Q107
to see who could play the most music, these cuts from February,
1981 could be laid over the intros of songs without stopping the
music and included a chant used in the middle of '30 Minute Music
Sweeps'. Hence the name, 'Continuous
- Elliott & Woodside Starts DC's AM
cut replaced the nearly identical 'Jim Elliott Starts Washington's
Morning' cut originally in 'Positron'
to reflect the equal billing of the morning team. Within a year,
Elliott & Woodside
would depart for big bucks & big disappointment at Q107.