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Dedicated in memory
of Jim
Collins
All
jingles below are copyrighted by PAMS
of Dallas, and
are used by permission. Special thanks to Jonathon Wolfert as
well as contributors Lee Whitney and Norman
Barrington.
Year |
Package
Name |
Length |
1958 |
Series
6 - Color Radio |
? |
PAMS
Series #6 'Color Radio' had
been created in 1957 for KJOE in Shreveport and WKDA in Nashville,
though the term itself had been made popular by Chuck Blore at
KFWB in LA earlier. WPGC had adopted the TV-like phrase soon afterwards
and used this package to reinforce the slogan of the station in
1958.
Year |
Package
Name |
Length |
1959 |
Series
9 - Highlander |
? |
1959
saw PAMS
release its Series #9, 'Highlander' package
which featured long cuts. Though a number of stations around the
country including the Bartel stations used the package, it was
not a big seller for PAMS.
One that did however, was WPGC.
Special
thanks to Good Guy, Harv
Moore for the above.
In
the early '60's, PAMS
had included cuts on it's Series #16 'Sound of the
City' & Series #17 'New Frontier' packages
that spotlighted mini-songs localized to each market,
sung by a female soloist. The concept was refined further
in 1963 when the full length, 'My Home Town' song
was created as a stand alone cut with multiple singers.
Custom lyrics for each city created the illusion a unique
song had been written for the town listeners lived in.
The
'Washington, My Home'
song was commissioned by WPGC that year. Copies were pressed
onto vinyl and given to staff members and possibly to
listeners as well. Listen for the mention of WPGC towards
the end of the four minute song. Special thanks to contributor,
Lee Whitney who received the original PAMS
tape in 1972 from JAM
President, Jonathon Wolfert who worked at PAMS
at the time and who rescued the only copy of it in existence
from the trash can!
By
1963, simple electronic effects were being used in jingle
packages. PAMS
created a stir using the Sonovox technique, a means of
deliberately distorting the human voice electronically
to great effect. So much so, that an entire package was
built around it. Such was Series #22 'Sono-Magic'
which Program
Director, Dean
Griffith #1 (Dean Anthony) ordered that year.
Also
included in the collection were the instrumental tracks
used in the creation of the final product. Those music-only
cuts are also featured here and illustrate just how attention
getting the Sonovox effect was, at least by 1963 standards.
PAMS
released so many packages in such quick sequence it's
hard to keep track of all of them even today, much less
at the time. Policing which station had actually bought
which package was a difficult proposition at best, particularly
since many stations opted to legitimately purchase some
packages but 'borrow' other cuts from other packages that
they hadn't. The telltale clue - no call letters!
Listen
to these cuts from Series #24 'His
& Her Radio' that contain no mention of
WPGC but plenty of references to 'Good Guys Radio'.
Their origin was another station somewhere which also
used the 'Good Guys' slogan. A sharp razor blade
in the production room worked wonders - instant jingles
without the bother of actually having to order them!
The
practice was widespread in the industry. Even if caught
in the act, it's questionable whether PAMS
would have enforced prohibiting their use, fearing a station
might not order future packages from them. Case in point,
in 1963-64 alone, WPGC bought the 'Washington,
My Home' song as well as Series #22,
#25, and
#27. What's
a little stealing amongst friends?!
In
the middle of this montage taped off the air on WPGC,
listen for Bob
Raleigh #1 (Rolle Ferreira) talk over a jingle donut.
He would leave for WWDC the following year.
Year |
Package
Name |
Length |
1963 |
PAMS
- Series 25 - The
Happy Difference |
? |
PAMS
output was in high gear in 1963. By the end of the year, a
memorable package featuring twin 8 year old girls was offered.
The girls were relatives of one of the actual jingle singers
at PAMS.
While the novelty of children singing station jingles wore
off quickly, there was no denying how cuts in Series #25 'The
Happy Difference' commanded attention.
1964
Beatlemania
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 appearances. PAMS
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.
The
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 end!
Just
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.
It's
fresh new sound veered away from the Big Band arrangements
of previous packages and quickly became PAMS
most 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 New York.
Year |
Package
Name |
Length |
1969 |
PAMS
- Grid |
8:26 |
Late
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.
This
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.
As
the '70's were about to dawn, new sounds were being heard in station
jingles. PAMS
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.
1972
Over
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.
Program
Director, Harv Moore selected
the package but was dismayed with the result, leading to the jingles
being re-sung in Dallas soon after their creation. Both the original
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.
When
it came time for a new package in 1975, Program
Director, Jim Collins
(for whom this site is dedicated) looked no further than WLS
in Chicago for a custom package known simply as 'LS
Auditions'. The cuts on it were short, quick and to
the point. Streamlined by design to get back into music quickly.
Year |
Package
Name |
Length |
1976 |
PAMS
- Series 47 |
? |
The
package was the last to be ordered 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 there).
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