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Dedicated in memory
McBlade WPGC Jingle Montage, 1959 - 1980
14:00 medley of various cuts used on the station through the years.
- Series 6 - Color Radio
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. WPGC had adopted the TV-like phrase soon afterwards and used
this package to reinforce the slogan of the station in 1958.
Series 9 - Highlander
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 use it however, was WPGC.
was formed when three employees at PAMS
left to form their own company. Their first package in 1958, 'Pacemaker',
was in use on WPGC in 1959. 18 cuts were produced for the demo which
was distributed on 12" vinyl insted of tape.
those also using the package were WCAO in Baltimore, CHUM in Toronto
and WGH in Norfolk. The latter is of interest because future WPGC
Director, Dean Griffith #1
(Dean Anthony) had been playing jingles from Futursonic for
some time at WGH before his arrival in Washington, perhaps explaining
his ordering of the packages below.
offered the package via barter to stations in exchange for airplay
of commercials. PAMS
had initiated the barter process earlier and sued Futursonic for
one million dollars claiming barter of airtime for jingles was proprietary.
A judge in Dallas however ruled against PAMS,
citing herself as an example - she had bartered airtime in her re-election
campaign that year!
to contributor Lee Whitney for the above
two compilations, who writes:
"Please What Time Is It" donut is probably Futursonic,
but I have no idea what package. I've never heard it elsewhere. Too
bad I cut out the open middle because the jock talked over it.
pretty sure all the minute cuts are Futursonic
"Time Chex" done in 1960. They were the lower
priced competition for CRC's "The Singing
Clock." These were professionally done, but were generic
with no call letters and cuts only for every five minutes. CRC
had undertaken the ludicrous task of customizing 720 jingles per station--one
per minute for 12 hours (AM and PM shared the same cut).
appeared on WPGC in 1960 - first the generic version then the "Big
PG" version. "Here Comes the Weatherman" was
old when Jerry G started using it
- probably from 1958 or 59 when the station was the 'New WPGC'.
They often in-cued it to "From the 1580 Weather Tower."
Weatherman, What's The Weather Gonna Be?" is from PAMS
Series 9. "Mr. Weatherman What's The Score"
appeared about 1961. "Come In Mr. Weatherman" is older
but I don't know how old. "Will it be warmer" was also
heard on other stations, maybe WKBW / Buffalo. I would guess that all
the jingles except the known PAMS cuts
are Futursonic, but I don't know for sure.
to Good Guy, Harv Moore for
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.
'Washington, My Home' song
(a.k.a., 'Ballad of Washington, D.C.')
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
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!
1963, simple electronic effects were being used in jingle packages.
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.
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.
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!
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!
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?!
the middle of this montage taped off the air on WPGC, listen for
#1 (Rolle Ferreira) talk over a jingle donut. He would leave
for WWDC the following year.
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.
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.
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 trigger pads'.
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. The
primary difference is the way in which the 'P-G-C' was sung.
Wolfert of JAM writes:
the first cut they're singing the notes, F-D-G. The re-sing
was sung to the notes, G-A-C and was an improvement. For
one thing, the revised logo ended on the same note as the
logo which the tracks were originally written for. That
first PGC logo ended much lower, so it didn't have the same
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 PAMS
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
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' ('AIR') division.
package was later re-cut with new vocals in 1973 at PAMS
of Dallas with local singers but retained the original Motown
backing instrumentation. Program
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
dominated the radio landscape. WPGC did not purchase the
remixes and as such, they never aired. Listen to the cut
by cut listing below.
to Tracy Carman of the Media
Preservation Foundation for the above!
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 in Arizona.
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
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 at PAMS,
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.
was ordered by Program Director,
Steve Kingston in July of 1981
and was used through the Summer of 1982. It was re-done less than a
month later with a minor change in the cadence of the call letters from
the original three beat 'P-G-C' to a two beat 'PG-C'. The package was
used again briefly in 1983 after 'Double Plus' but before '95
PGC' below was ordered in 1984. Visit
the TM / Century site.
Thanks to Tracy
Carman & the Media
Preservation Society for the above.
& Theismann Shouts' debuted
in early 1982 when Elliott &
Woodside bolted for Q107.
Plus', originally created for WYNY in New York
premiered on WPGC in the fall of 1982 and coincided with the
change in format. Sadly, it was to be the last complete package
ever ordered from JAM.
'Walker & Howe Shout'
replaced the 'Foxx & Theismann
Shouts' late in 1982 when
Dude Walker & J.
Robert Howe succeeded Dave Foxx
& Joe Theismann in mornings.
Jingle Machine - 95
1984, Program Director,
Al Casey wanted to get some new jingles.
With the station in the ratings toilet and revenues to match, there
was very little funding available for a package from any of the major
jingle production companies.
opted instead to have a series cut locally at a recording studio in
Rockville on Kenilworth Avenue where commercials were often created,
but jingles for radio stations were not. The resulting package from
'The Jingle Machine' called '95 PGC' was okay for a home
grown affair but hardly the same quality of the illustrious packages
from Dallas that had graced the station's airwaves for decades before.
the gamut over the years from various packages, here are DJ Shouts,
Sonovox & sung cuts alphabetically.
That Jingle Package!
often difficult to determine which jingle package was in use from
any given aircheck because of isolated cuts from previous packages
still being in use at the time. Below
is a rough approximation of the most likely scenarios for the time
Jingle Montage (1:25)
of these jingles used early in 1965 are most likely from
PAMS Series 27 'The Jet Set'
from 1964, although numerous cuts from earlier packages were still
in use. For example, those featuring two young girls singing alone
are from © PAMS Series 25 - 'The Happy Difference' - (See above).
Jingle Montage (:33)
was typical in the heavily jingle driven Top 40 era, numerous cuts
from previous packages were still heard when a new package arrived
at the station. Cuts at the end of this montage are from
Now Sound' in 1968 (See above).
Jingle Montage (:22)
in point, the first few cuts here in use from 1971 were actually from
the package above from three years earlier. The ID cuts at the end
were not however.
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