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
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!
February, 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. Program
Warren Duffy also ordered the the
Bat - package.
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)
Double A Image Pack (remixes)
the difference between the originals and the re-sings of the
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 later re-cut with new vocals in 1973 at PAMS
of Dallas with local singers but retained the original Motown backing
Director, Harv Moore ordered
this package in July, 1974.
had been the case with the previous PAMS
package, Harv had these jingles re-cut, with the only difference
being how the 'W' was sung. In the initial attempt, three identical
notes were sung to 'Dub-Bull-Yew'. The subsequent sing used three
ascending notes instead. It was
the last package Harv ordered before leaving for WYSL in Buffalo
early in 1975.
1979, the package was remixed yet again in the hope of putting it
back into radio syndication. The original (three identical note
'W') cuts were used in the creation of the remixes. But by then,
time had marched on and other producers, particularly JAM
dominated the radio landscape. WPGC did not purchase the remixes
and as such, they never aired. Listen to the cut by cut listing
Remix - Instrumental
Remix - Instrumental
Remix - Instrumental
thanks to Tracy Carmen of the Media
Preservation Foundation for providing these extremely rare cuts!
remixes were done by Tommy Loy. Tommy was a long time Dallas engineer
who worked for TM,
and everyone else. The original Drake multi-tracks and reduction
reels made their way to Dallas sometime after the original company
folded up operations in Los Angeles and was sold to Wagon Wheel
was doing resings over the original tracks and based on listening
through the whole reel, I'd guess these resings (including those
for WPGC) were being done on a 1/2" 4-track or 1" 8-track
reduction reel. The original Motown track master is a 2" reel
that now lives in my basement.
on the vocal group sound, I'd guess these were sung at PAMS,
who had done resings over these tracks for KPOI / Honolulu and other
stations in the 1973-to-1975 period. I'm guessing the vocals were
just sitting on the reels since then.
Drake tracks are the bastards of the industry. After being sung
they were later sung at Otis Conner and TM
Productions. Fortunately, I rescued the original multitracks
before they got dumpstered. I don't HAVE the original reel they
were mixed from nor do I have these as a full 44.1/16-bit file...
just the .mp3 I found of Tony Griffin's from when he worked for
Otis. At least these survived...!!!
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.