Radio stations would "go out on a limb and try something different" if the audience supported such actions. They evidently don't. Most classic rock-based stations like the Drive don't play new music, except on very rare occasions. We recently played a track from the upcoming new Pink Floyd album. That was "out there" for us. So getting a leg upon the competition with new releases or British imports is just not in the cards. We do heavy research at least twice a year regarding first and foremost music, programming, jocks, contests etc. And the research always comes back basically the same. They don't want to hear new music, period. Even by classic artists. They only care about the same, basically, 400 songs they have ever cared about. Really in a nut-shell, it's not radio that has stagnated, it's the audience. There is simply not enough passionate music lovers like you and I to support a station that plays thousands of songs. In this day and age of the Personal People Meter that gathers ratings, if a metered individual is listening to the Drive and we're playing some deep Guess Who track, maybe "Sour Suite," and he punches out to the Loop and they're playing "Stairway to Heaven," who wins? And if he decides to stay with the Loop for any amount of time, we've just lost a very important quarter hour listener. It's a bottom line business, Kent, with owners constantly on our backs about ratings and revenue. They make it exceedingly difficult on us to perform. They want their money. I feel we do a credible job in this environment to change it up as much as we can, with features like Ten @ 10, One 45 @ 1:45, Albums Sides, A to Z, etc. In reality, it's probably a tune out to a lot of listeners who just want the hits. That's who's mostly out there, believe it or not. Again, it's just too easy to lose with the competition that's out there. A company wouldn't think twice about changing the format if we're not bringing in the revenue they expect. That's the lay of the land with radio today.
Bob Stroud
Unfortunately, he's probably right ... or at least 99.9% of the people who control what gets played on the radio have been programmed to BELIEVE that he's right ... which is why it is so refreshing and exciting to see a radio station like Me-TV-FM come along and right out of the box step OUTSIDE the box ... and play things that haven't been heard in AGES!!!
They're on to something here ... and it isn't anything that we haven't been preaching for the past fifteen years ... there IS an audience for this music. You've captured our hearts ... and our ears ... now fine-tune it just a little bit and watch this sucker take off! (kk)
Hey, Kent -
Maybe someone can enlighten me on this topic.
This Chicago station broadcasts on 87.7 FM (actually, the old analog Channel 6 on 87.75 kHz). I believe that later this year, the FCC will require the 20 or so stations around the country using this frequency to cease their analog video signals and go digital. Currently, as long as they transmit any sort of video (even a static slide) on Ch. 6, they can use that audio channel to broadcast a radio signal. So, they're taking advantage of a loophole to get around the present regulations and run a radio station. What will this do to Me-TV-FM and these others? Do they become pirate stations? Sounds like an issue for the lawyers!
They're trying in Chicagoland to do something different (always refreshing), but no one is minding the store. Such a shame. Thanks!
- Larry Cave
50yearsagoonthehot100.blogspot.com
There's been quite a bit of talk about these "low-signal" radio stations ceasing to exist in the near future due to this new FCC regulation ... yet meanwhile several new ones have popped up on the dial ... so I honestly don't know what the logic is ... perhaps they're trying to build enough of an audience in the time remaining to launch a full-blown radio station in the future?
I asked our FH Buddy Larz, who runs the Chicagoland Radio and Media Website, if he could enlighten ALL of us on the recent occurrence ... and here is what he told me ...
Once the FCC gets around to making those stations go digital (maybe two years from now), my guess is that Venture Technologies will sell them off cheap, Weigel Broadcasting will buy the Chicago one, boost its signal, and have a new TV station in town. Not sure about the radio station. When the time comes, if it's successful, they will find a new signal to buy / lease. If it's not successful, they'll let it go.
As for the rash of LPFMs and translators that have popped up (and will continue to pop up as the year goes on), there's no stopping those. The LPFMs are not a big threat, since they can really only be heard for a couple of square miles. The translators are causing a lot of trouble for other stations, though. The FCC is slow at fixing the problem (that they caused, of course).
Larz
Kent -
About that Me TV -- radio situation. It comes down to music scheduling rules for whatever program they use. Clearly, someone is not adept at this. It is a simple fix. I am sure they can find a former or present PD or even a music director (if there are any left) that could fix it in an hour.
By the way, thanks so much for publishing the note someone sent you about my weekly feature on the WCBSFM.com website ... but I also do an extensive blog with much more info called Big Jay's Big Week in Pop Music History at www.BigJaySorensen.com... it's on the menu. I put a lot of time into this, and I would love your readers to see it. If they want to find me on Facebook, there is always a link directly to the feature. My Facebook name is Big Jay Sorensen ... Twitter is also Big Jay Sorensen. It is a fan page, but I do respond. Heck, I'm even on Google+ Oh, and I hope you've heard our morning radio star Scott Shannon and his weekly new syndicated show, America's Greatest Hits. Keep on keepin' on with your tireless efforts to keep the music alive. Despite many radio stations moving beyond what we know as oldies, there are more ways to get the music we love today than ever in the history of sound!!
Thanks Kent ... and BE BIG!
Big Jay Sorensen
I'm sure it's a relatively easy fix at Me-TV-FM to solve this programming glitch ... it just goes back to what I've said before about nobody really minding the store. I know they've been listening to our feedback, however, because the other day I heard them play "Get Together" by The Youngbloods skip-free ... so that means they reprogrammed the track! And we have heard from them thanking us for our input.
No matter how negative our feedback may seem at times, it truly is presented and intended as 100% constructive criticism ... NOBODY believes more in this format succeeding than me ... hell, I've been preaching this exact same philosophy for over fifteen years now! It's STILL WITHOUT QUESTION the best programming variety on the dial (even though as I'm typing this they're playing "Strawberry Letter 23" AGAIN for what feels like the 97th time this week. You know that old game, "I can name this tuneis three notes"??? Well, I can turn this one off in TWO!!! And now do.)
I've heard from others FAR more knowledgeable than me about how the rotation software can be programmed to avoid certain pitfalls that this station is clearly going through. Seriously, it would be worth it to bring somebody in on a consultant basis and have them complete the vision of the station's business plan ... because they truly are SO close to getting this right!
What is MOST appealing about all of this is that even as other stations (like WCBS-FM and Scott Shannon's syndicated show) moves further and further into the '80's (and even the '90's!!!), Me-TV-FM is PROVING that there is a VERY receptive audience to the forgotten hits of the '60's and '70's ... and, perhaps most surprising of all, is the fact that I hear them adding more and more songs from the '50's every single day. That's because the feedback from the listeners is telling them that THIS is what we want to hear. Unfortunately virtually every other radio station on the dial has NO respect for what the listener wants ... no concept or interest in pleasing their audience and creating a loyal listenership ... because the CONSULTANTS say they know better and people really DO want to hear "Jack And Diane" and "Don't Stop Believin'" fifteen times a day instead. Man, what a load of bullshit they've sold these programmers!!!
Tune in Me-TV-FM ... or Rewound Radio ... or any of a dozen OTHER Internet stations that are doing it right and you'll be won over for life ... you will never return to terrestrial radio again ... because the variety IS out there ... you've just got to go out and find it! (kk)
re: Brian Wilson:
Hi Kent -
Saw Brian Wilson and his band on Jimmy Kimmel last Thursday night. Some of them were from his Beach Boys 50th Concert.
I cant give a fair critique because Brian Wilson can do no wrong by me!!! I'm just glad he is still around making music!!!!
Was hoping Al Jardine and David Marks would have been included in the band.
Carolyn
LOTS going on in "the real world" for yours truly lately so I just couldn't stay up to watch it ... I figured Brian would probably close the show and there was no way I would make it till 11:30 ... but he SURE is doing a lot of PR for this new CD. My understanding is that former Beach Boys Al Jardine, David Marks and Blondie Chaplain will all be joining him on tour this summer in support of the new release ... and they'll also feature many Beach Boys classics in the set as well. In addition, the new "Love And Mercy" biopic will hit theaters this summer, drawing even MORE attention to the music of Brian Wilson and The Beach Boys. I can't wait ... should be a fun fun fun summer! (kk)
Meanwhile, Endless Summer Quarterly Publisher / Beach Boys Examiner Columnist David Beard shares his review of the brand new Brian Wilson CD here ... can't WAIT to pick this one up! (kk)
re: The Wrecking Crew:
Now THIS would be a cool show to see ... sent in by FH Reader Harvey Kubernik ...
Don Peake has asked me to send out this information and flier for the debut of his Wrecking Crew All Stars. It might be something to advance to your list.
Harvey the K
Don Peake, Michel Rubini, Max Bennett and Hitmaker Richard Niles are appearing at the Catalina Jazz Club in Hollywood on April 21st. Drummer Paul Kreibich will join us. Lamont Dozier, Jr., Chad Watson and Pam Loe will be singing.
David Kessel, a DJ on KMRE-FM, and son of Barney Kessel, will introduce the show. The Tearaways will be the opening act.
We are booked as: Don Peake and Michel Rubini's Wrecking Crew AllStars - An evening of Songs and Stories
$30.00 admission 8:30 show time
Keith Richards: “I have picked up as many hints on guitar playing as I can from Don Peake, who is the Everly Brothers' guitarist. He really is a fantastic guitarist, and the great thing about him is that he is always ready to show me a few tricks.” -- New Musical Express 1963.
Biographies:
Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling", Ike and Tina Turner - " River Deep Mountain High", as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly,Marvin Gaye, and Diana Ross.
In 1964, Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew".
He played lead guitar for Marvin Gaye (Let's Get It On), and on all the Jackson Five's original hits, “ABC”, “I Want You Back", etc. Don was on the Commodores, Smokey Robinson, The Supremes, The Temptations, and many more Motown Artists' records as a Staff Guitarist for Motown Records.
Peake also played on John Lennon's records that Phil Spector produced, and on all of Barry White's hit records, some of which he arranged. On all of the records that Don Peake has made, he has been a major creative contributor.
It was a natural thing for Peake then to move into arranging and composing. His first arrangement was Tim Hardin's " If I Were A Carpenter" for Bobby Darin, which sold over a million records in the first week and a half of its release. Peake has been involved in some of the landmark recordings of the last twenty years. Some of these have been "breakthrough" records, like his arrangements on Gloria Gaynor's Platinum Album "Love Tracks", the first disco record to become a pop crossover.
His arrangement of "DON'T TAKE AWAY THE MUSIC" for Tavares was a runaway disco hit. Peake also has a Gold Album for his arrangements on Jermaine Jackson's "Let's Get Serious" album, and a Platinum Album for his production work with Ray Parker Jr. on " Ghostbusters". Don has arranged for Roy Orbison, Kenny Rankin, The Monkees (Gold Album), Minnie Riperton, The Fifth Dimension, Sonny and Cher, Wayne Newton (Gold Album),Hank Williams Jr. and many more.
Don Peake served on the Board of Directors of the Society of Composers and Lyricists and has judged the "Arranging Category" for the Grammys for the last three years. He is a member of the Music Branch of the Academy of Motion Picture Arts and Sciences, as well as the Television Academy. Earlier this decade he taught two classes on The Wrecking Crew at UCLA Extension.
Keyboardist Michel Rubini: American musician and composer, best known for his work composing motion picture soundtracks. He is a professional classical pianist since early childhood. During the 1960s and 1970s, Rubini worked on tours, with such stars as Ray Charles http://en.wikipedia.org/wiki/Ray_Charles, Frank Zappa <http://en.wikipedia.org/wiki/Frank_Zappa>, Sonny and Cher <http://en.wikipedia.org/wiki/Sonny_and_Cher> and Barbra Streisand <http://en.wikipedia.org/wiki/Barbra_Streisand>. He was also a session player with the Righteous Brothers and Frank Sinatra.
In June of 2008, as a member of the Wrecking Crew, a legendary group of studio musicians responsible for backing most of the hits recorded in Los Angeles during the 60’s, Rubini, Don Peake and others were honored and named on a Plaque with in an event held at the Guitar Center WALK OF FAME in Hollywood.
Bassist Max Bennett: Fans and followers of contemporary jazz need no introduction to Max Bennett. An internationally known bassist and composer, the scope of his experience spans from concert touring, recording and producing to composing music for feature films and television. Max has toured and performed in concert with Ella Fitzgerald, Joni Mitchell, Barbra Streisand, Peggy Lee, Aretha Franklin, along with a list that literally runs from Frank Sinatra to Frank Zappa and includes jazz greats Miles Davis, Charlie Parker, Stan Getz and Dizzy Gillespie.
The list of outstanding artists with whom Max has recorded includes Quincy Jones, The Beach Boys, Elvis, Joni Mitchell, Marvin Gaye, Frank Zappa, Motown Artists, Celine Dion, Nelson Riddle, Henry Mancini, Ray Charles, Michael Franks, Frank Sinatra, Phil Spector, Michel LeGrand, Lalo Schifrin, The Crusaders and countless others.
His many years of working in the studios resulted playing on 17 Grammy winning albums and have given him the opportunity to exercise his affinity for jazz, blues, rock and latin music and to combine those elements into his music.
He created a new concept of jazz in the world-renowned L.A. Express which included Joe Sample, Larry Carlton and John Guerin, under the leadership of Tom Scott. Max then formed his own group "Freeway" and currently heads his most recent band "Private Reserve".
Paul Kreibich was born May 24, 1955, in Los Angeles, moving to Costa Mesa, CA, when he was an infant. From an early age he showed an interest in drumming. In 1979, at the age of 23, he got his first major jazz gig with the great singer Carmen McRae. They toured the United States and Japan including a concert at Carnegie Hall.
Los Angeles remained his home base and he became first call drummer for many touring artists such as Mose Allison, Red Rodney, The Woody Herman Band, Anita O'Day, Scott Hamilton, Joe Pass, Charles Brown, Rosemary Clooney, Lee Konitz, and others. Paul's recording credits are now well over 60 titles including CD's with, Bill Perkins, Dianne Reeves, Bob Cooper, Conte Candoli, Charlie Shoemake, Herb Geller, Cedar Walton, John Hendricks, James Moody, Kenny Burrell, Ray Charles, Gerald Wiggins, Andy Simpkins, Terry Gibbs, Hod O'Brien, Claude Williamson, and Frank Strazerri.
Dr. RICHARD NILES is a prolific composer, producer, songwriter, arranger, conductor and musical director whose career spans pop, R&B, rock and jazz.Records featuring his work have sold over 250 million copies worldwide.
Richard Niles has produced, arranged and composed music for some of the world’s most acclaimed artists including Paul McCartney, Ray Charles, Cher, James Brown, Kylie Minogue, Tina Turner, Mariah Carey, Joe Cocker, Lulu, The Troggs, Deniece Williams, Michael McDonald, Dusty Springfield,
Pet Shop Boys, Cat Stevens, Grace Jones, Tears For Fears, Swing Out Sister, Boyzone, Westlife, Michael Ball and Take That.
He has maintained a parallel career in jazz having worked with Pat Metheny, Martin Taylor, Bob James, Michel Legrand, Ray Charles, Jane Monheit, Guy Barker, Bob Mintzer, The Yellowjackets, Silje Nergaard, John Patitucci, Jim Mullen, Janek Gwizdala, Nelson Rangell, Gwylim Simcock and Gary Husband. He has also arranged and conducted for classical artists Kiri Te Kanawa, Placido Domingo and Montserrat Caballe. Dr. Niles has lectured internationally.
Lamont Dozier, Jr. Vocals: is a singer / songwriter whose musical influences range from gospel to soul and jazz roots. He hails from Detroit, Michigan, where he began his musical career, honing his talent for song, first in church, then branching out to local productions of television, radio, musicals, and then live entertainment venues and nightclubs. He has shared many a stage with many music industry notables, such as The Temptations, The Four Tops, Aretha Franklin, Ollie Woodson, Rick Braun and Gregg Karukas, Michael Lington, to name a few. He has also worked on show productions featuring Jennifer Hudson, and Jay Leno. Lamont also shares strong roots to the legacy of Motown, as his father, Lamont Dozier, Sr. is one third of the world renowned songwriting team, Holland-Dozier-Holland, who wrote many hit songs for the label. Through his own unique musical talent and expression, Lamont seeks to continue the great musical heritage that was forged by those who preceded him, and, at the same, help usher in a new age of soul singers and entertainers, who blaze their trails as live performers, rooted in the great tradition of R&B and Soul and Jazz .
Chad Watson: Vocals: Chad has been teaching music for over 30 years. He teaches electric and upright Bass, Guitar, Ukulele and Mandolin. He teaches all styles and is great with students of all ages and all skill levels. Chad is a professional musician and music producer. He can be heard on many well-known studio albums and live recordings. He has toured with many famous artists including Ronnie Milsap, Charlie Rich, Janis Ian and Delaney Bramlett.
Pam Loe; Vocals: As Country music emerged across America and beyond so did Pam’s performing opportunities. As well as the prominent Country clubs in Southern California, Pam’s performing experience includes concerts and events that featured The Judds, Dolly Parton, Merle Haggard, Garth Brooks, Michael Martin Murphey, Greg Evegan (B.J. and The Bear), John Schneider, John Anderson, and Patty Loveless. Also, Pam was a lead singer in The New Seeker’s Jamaican Tour (Hey There Georgy Girl and The Coca Cola Song) and traveled to the island of Sardinia, Italy, as the lead singer, along with Steve Travado on guitar, with the first Country Band from the United States to perform there!
1986 is when Pam first met Chad Watson while he was a member of the famous Doo-Wah Riders. Seizing the chance to play with this incredible talent, Pam invited Chad to play with the Pam Loe and Hipshot band at the first opportunity. The attraction, both musically and personally, was very apparent from the start. There was a joy on stage that was obvious to their audiences. With their harmonies and statuesque appearance, Loe, Loe, Watson was a success and the group enjoyed the next five years of recording and performing together. In 1992 Chad and Pam became a duo, both musically and personally. (See Pam and Chad) They married in 2003 and the music continues.
Pam seriously studied both singing (see Valley Vocal Coach for more info) and acting. Pam studied in Hollywood, California, for four years at the Randy Kirby School for Commercial Acting and the Van Mar Acting Academy. Pam joined SAG and AFTRA and was involved in a volume of work that included film and television as a featured back ground artist in Baby Boom, Deep Impact and The Ellen Show, Independence Day and a small handful of supporting roles including Unsolved Mysteries and Unconditional Love. Though singing was her calling, the training through acting was invaluable to Pam as a human being, a performer, and a vocal coach.
The Tearaways: The Tearaways combine the influence of the British invasion with the California Surf Sound to create a driving brand of power pop that appeals to all ages. With fans from Tom Hanks, to Tom Green to Jeffrey Foskett (guitarist for the Beach Boys) to music lovers from Southern California to Liverpool and beyond, the re-energized band has a full slate for 2015, including live performances, two new albums, “The Earl Mankey Sessions Volume III” and “The Earl Mankey Sessions Volume VI” on Robo Records / Universal Music, (following the release of two other collaborations with Mankey), the theme song for the newly rebooted series, “Name That Tune,” and four songs in the highly-anticipated independent film, “Flytrap,” Since their formation over 30 years ago, the Tearaways are poised to have their biggest year yet.
The Tearaways started in the early ‘80s in Santa Barbara, when bass player and vocalist John Finseth formed a band with some friends to reflect their shared influences: the Beatles, Rolling Stones, Creedence Clearwater Revival, Eagles, Jefferson Airplane, The Who, The Kinks, The Hollies, Squeeze, Tom Petty and Bob Dylan. Finseth recruited Greg Brallier (vocals / guitar), Dave Hekhouse (guitar), Jesse (drums and percussion) and Perry (pianos / keyboards) Benenati and later, John Ferriter (guitar / bass / vocals) and the band’s career began in earnest. In 1983, Ferriter left to join the Stingrays, where he was the lead singer / guitarist and songwriter for 13 years before moving to the other side of the entertainment business ... he went to work at William Morris in 1991, and subsequently became the worldwide head of Nonscripted Television launching the careers of some of the biggest personalities in Television (Ryan Seacrest, Carson Daly, Jimmy Kimmel, Piers Morgan, Chelsea Handler and others), before launching the entertainment division of Octagon and later the new Alternative Co.
Sounds to me like the legacy of this music has been placed in some very capable hands! If any of our West Coast Readers are able to check this show out on the 21st, please report back to us as we'd love to hear from you. Thanks, Harvey! (kk)
re: Pittsburgh Rock:
FH Reader Tom Cuddy sent us this review of a Rockin' Reunion Concert held in Pittsburgh last week featuring some of their biggest shining stars, including Lou Christie, The Vogues, Donnie Iris, Jimmy Beaumont and the Skyliners, The Marcels and more ...
Meanwhile, here's a reminder that FH Reader Ed Salamon has written the book on Pittsburgh Rock And Rollers ... available now through Amazon.com ...
Hi Kent,
I thought that you might be interested in hearing about my latest book. Pittsburgh’s Golden Age of Rock ‘n’ Roll.Lou Christie wrote the foreword and it contains more than 325 photos memorializing nearly a thousand Pittsburghers who made rock 'n' roll music in the area in the 50s, 60s and 70s.
Advance praise for Pittsburgh’s Golden Age of Rock ‘n’ Roll is good:
“The DEFINITIVE 'feel good' history of Pittsburgh rock ‘n’ roll “– Mike Frazer, 94.5 3WS radio
“A must have for any Pittsburgh music fan. I loved it!’ – Joe Grushecky
“Well, my friend, you have outdone yourself’ – Lou Christie
“So fascinating for Pittsburgh music lovers like me” – Sean McDowell, 102.5 WDVE radio Pittsburgh’s Golden Age of Rock ‘n’ Roll can be ordered from any bookstore and is available from amazon.com
Ed Salamon
And, speaking of great shows ...
re: This Week At The Arcada Theatre:
Heard we missed one hell of a show Saturday Night when Echoes Of Pompeii took the stage at The Arcada Theatre. They are one of the premier Pink Floyd tribute bands ... and were making their FIFTH appearance at The Arcada. Had hoped to catch this show but at the last minute opted to watch The Final Four NCAA Showdown ... and I've gotta tell you, it was a pretty exciting night of basketball, too.
This week at The Arcada, you can catch The Charlie Daniels Band on Friday Night (April 10th) and pop songstress Taylor Dayne on Saturday. Schedule permitting we may venture out Friday Night to catch The CDB ... have never seen them in concert but understand they put on an incredible show. (However, as mentioned above, LOTS going on in my world lately ... so like most things lately, this will probably be a last minute decision.)
But there's no reason why YOU guys can't attend ... would love to get a full review from somebody if you're able ... just in case we can't make it. Drop us a line if you're heading out to either show. Thanks! (kk)
re: The Monday Morning 50 Year Flashback Surveys:
Kent,
The sources for the Beatles songs "Kansas City" and "Words of Love" that were "on cartridge" are the British LP "Beatles For Sale" released in UK in December, 1964, that showed up in US finally on "Beatles VI" in June, 1965. Thus, KRLA was WAY ahead with these. "Soldier of Love" was from a BBC radio show, but "Shout!" would likely be from the TV show "Around the Beatles" ... however, that show was not even recorded for two weeks after this chart! How did ... ????
Clark Besch
Certainly KRLA was one of "the bigs" and had hosted The Beatles on their earlier trips to LA ... we heard the "Beatles For Sale" tracks here in Chicago, too, WAY before you could buy them thanks to MAJOR fans (and influential deejays) like Ron Britain. I'm surprised ANYBODY was airing "Soldier Of Love" because the BBC tracks didn't show up (even in bootleg form) until many years later. I wonder how they got access to them. According to TV.com, "Around The Beatles" was videotaped on April 28th, 1964, and first aired a week later (in the UK) on May 6th. It was finally here in America on November 15, 1964. I think what's confusing you is the 50-Year-Old Chart we ran on Monday is from 1965 ... NOT 1964 ... so ALL of this material was readily (steadily ... go) available at the time ... through a variety of sources ... but kudos to KRLA for digging deep enough to go out and find it all ... and then air it on their station! (You'll see that they're also charting The Beatles' next single, "Ticket To Ride" / "Yes It Is", touted as a former KRLA Worldwide Exclusive! It wouldn't premier on the Billboard Chart for nearly another month! So CLEARLY these guys had the inside track when it came to Beatles music ... still scoring high 14 months after Beatlemania initially hit.) kk
Kent,
FYI, here in OKC, Them's GLORIA made its weekly survey debut for the week of July 15, 1965 and later would peak at #5 during the week of August 19.
You mentioned the song CHIM CHIM CHEREE by the NEW CHRISTY MINSTRELS ... I'll never forget the flip, GOTTA QUIT KICKIN' MY DOG AROUND, which was particularly liked by a D.J. who worked week nights from 7 pm - midnight. He always played that tune since he liked it immensely. All the other D.J.'s played, of course, the "A" side of the record.
One final thing and I am just now noticing this for the first time. On the survey of KRLA in the extreme right hand column, it lists the length of the song. Don't really remember offhand ever seeing the length of a song on a weekly survey before.
Larry Neal
Remember that exciting time in radio when the deejays could exercise their own taste and judgement and play a few tracks that they liked or wanted their audience to hear? Your guy playing the non-hit, uncharted B-Side of a New Christy Minstrels record ... KRLA gathering up a batch of Beatles tracks not normally accessible here in The States ... today jocks (when you can find a live one!) are lucky to squeeze in six sentences an hour ... and most of those are giving out the time, temp and station call letters. Yep, those were the days, my friend ... (kk)
