may well have used jingles prior to those listed. The following
is an attempt to document as thoroughly as possible WPOP's
Right away we start with the unknown. In 1964 the station
was using a "leftover" jingle package that featured
various times of the day; the producer is unknown.
Here is another unknown 1964 cut that sings "the Happy
Home of the Swinging Good Guys" without call letters.
Century Corporation - The Encore
package was produced by a New York City syndication company.
The only known example in an aircheck comes at the end of
the Lou Terri
clip in April 1964.
PAMS Series #14 - WPOP
was a dedicated customer of PAMS
of Dallas through most of its music years. This package,
recorded August 17, 1960, was called Dramatic Signatures
and featured cuts ranging from 5 to 33 seconds in length.
Almost a third had instrumental intros leading to the vocal
and reflected the station's on-air imaging, POP Radio.
The master recording was a two-track: the first contained
the instrumental and one vocal layer, the second contained
Futuresonic - The origins
of this package are unclear. It is believed to be produced
by Futuresonic, a well-known early 60s jingle company. Many
of the cuts are lengthy and most contain instrumental beds
for DJ talkovers. The lyrics refer to the Magic 41
sheet, which was what WPOP called its weekly music surveys
in 1962-63. Another cut refers to the Good Guys.
Given the following two dated packages from 1962, and the
fact that no airchecks have been found to indicate these
ever aired, it is likely that the package was recorded as
PAMS Series #16 - Called
Sound of the City, this package employed new
on-air imaging: Wonderful WPOP. Several cuts featured
alternate lyrics recorded on the same music bed. The original
session sheet indicates the cuts were recorded from March
2-5, 1962 on a two-track master. Many stations chose a full-length
song option called My Hometown, but WPOP didn't.
- The theme for this package was New Frontiers
and was recorded March 12-April 10, 1962. Like Series #16,
the lyrics reflected the Wonderful WPOP imaging and
included several lengthy cuts including the first two samples.
Like most jingle packages of the era there were many instrumental
beds interspersed with sung lyrics to allow DJs to talk
over the jingle. The master was a 15 ips two-track.
PAMS Series #25B - Recorded
in September, 1963, the Happy Difference package
featured numerous cuts sung by Carol and Lauri, two young
twin sisters. At this point the station was known as 1410
the NEW WPOP. It included half a dozen instrumentals
and customized jock intros for Lou
Terri, Joel Cash, Bill
Hughes, Jim Simpson,
Doug China and Tom
Allen. It also had a customized jingle for the syndicated
Mad Daddy show. There
was a variation, Series #25D, called Cheerleaders,
featuring high school fight songs but WPOP didn't buy it.
- This 1964 package was identified by good friend Norman
Barrington who provided the MP3 file; the package was
called the Sound of Things To Come. Hear an
example from the Lou Terri
show. Little is known about Purcell and the package apparently
saw limited use.
PAMS Series #18 - The
exact date of WPOP's Sonosational package
is unknown but airchecks suggest it was recorded in late
1964 or early 1965. It was originally recorded in 1961 for
KFWB Los Angeles and introduced an electronic device called
Sonovox. It was held against a singer's vocal chords to
produce an unusual effect. This was a very widely-distributed
package around the country. What is unique is that WPOP
had two versions done featuring different musical logos.
These samples compare several cuts; the first of each sample
is slightly brighter indicating different equalization was
used at the two sessions. There are jock sings for Johnny
Gilbert, Dick Stephens,
Lou Terri, Ken Griffin,
Jonathon Dark, Gary
Girard, Roy Cooper,
Lee Sherwood and Fenway. While there was a well-known Miami
jock named Lee Sherwood, he never worked at POP and
this cut was probably just a station name; Fenway
is a name Tom Shovan used
at WMEX Boston. Several Hartford-area town names were also
sung as well as a Spanish-language cut called Ole.
PAMS Series #28 - Program
director Art Wander supervised the recording of the Happiness
package on July 8, 1965. The vocal sound was very similar
to Series #18 and focused on Good Guys and the More
Music image WPOP was projecting. A unique feature of
the package was a 40-second soul-flavored cut with a male
vocal. No customized jock cuts were done suggesting that
WPOP simultaneously used Series #28 and 18.
PAMS Series #30 - The
exact recording dates are unclear but airchecks suggest
The 'N Set was done for WPOP in late 1965
or early 1966. Heavy on Sonovox, the theme of the package
revolved around What's New Pussycat, a smash hit
by Tom Jones. It also contained a take on another hit song,
The In Crowd, by the Ramsey Lewis Trio. PAMS crafted
The Gold Pussycats, the all-female vocal group who
sang the package. WPOP's version contained two customized
jingles for deejays: Lou Terri,
Brewer, Stan Douglas,
Gary Girard, Lee
Barry (a house name) and Dick
Stephens. Terri also had a pair of mellow cuts reflecting
his midday status as the darling of the housewife set. The
station master tape contained no cuts for Ken
Griffin. But the last cut on the PAMS reference reel
is a custom acapella for Ken. Either he was forgotten the
first time around, or a special session was recorded sometime
after the full package and it was dubbed onto the end of
the reel. Most stations that bought Series #30 got a cut
in Spanish but WPOPalso recorded the lyrics in German and
Polish for the listeners in New Britsky.
PAMS Series #31 - This
series was recorded in mid 1966. Comparing WPOP's version
with the original demo for KLIF Dallas/KONO San Antonio
would convince you they were two different products. The
package was called Music Explosion and the
demo had all-male vocals with lots of acapella cuts which
could be laid over the beginning and end of songs. The samples
here were sung by both male and female singers and had a
logo totally unlike the demo. Only the two orchestrated
cuts (heard first and last) tell you this is Series #31.
Custom acapellas were sung for Bill
Bland, George Brewer,
Ken Griffin, Lou
Terri and John Sherman;
the session notes indicate a cut was sung for Jim
Meeker but it is neither on the station copy or the
PAMS reference copy.
Pepper Tanner - By late
1966 stations were abandoning traditional long, orchestrated
jingles in favor of short acapellas. Following the trend
WPOP bought this package (name unknown) from Memphis-based
Pepper Tanner. Many of the cuts keyed on W-(pop)-POP
and featured a radical logo departure from the PAMS packages.
The master tape appears to be lost but those samples which
have survived are truly awful. They were on for only a few
months from late 1966 through the summer of 1967.
Johnny Mann Singers
- WPOP's jingle imaging progressed toward the short, acapella
sound popular in the late 1960s. Hoping for the same success
achieved by the Bill Drake-consulted RKO-General stations
(KHJ Los Angeles, KFRC San Francisco, KYNO Fresno, KGB San
Diego), WPOP opted for the distinctive sound of the Johnny
Mann Singers. Recorded August 10, 1967 at United Recording
Corp. in Hollywood, WPOP's package actually hit the air
before either of RKO-General's WRKO Boston or WOR FM New
York. The package included an unidentified studio voice
doing spoken show intros for Gary
Girard, Woody Roberts,
Bill Bland, Bill
Winters, Danny Clayton,
Dick Heatherton, Terry
McKay, Rusty Potz and
Peter Starr (a station name); there were no sung jock acapellas.
Some additional cuts were sung on October 3, 1968; those
featured here are a composite of the two.
Al Anderson & The Wildweeds
- GO Magazine reported in the March 8, 1968 edition that
WPOP's new instrumental news open had been recorded by the
popular group; read
PAMS Custom Grid - Program
director Danny Clayton
was at the helm when WPOP returned to Dallas in August,
1969 for a PAMS Custom Grid. Retaining the
musical logo from the Johnny Mann package, the grid featured
a male/female vocal blend and was structured so numerous
acapella cuts could be mixed with brassy instrumental beds.
The basic theme of the package was When A Station
Turns You On and there were acapella jock sings
for John Scott, Bobby
Branigan (mistakenly sung as Boom-Boom Branigan), The
Big Kahuna, Woody Robinson (another error...it should
have been Woody Roberts),
Allen King, Mike
Greene, Bill Love, Bill
Winters, Danny Clayton
and Jack Armstrong.
A brass show intro was supplied and an unidentified talent
(possibly Chuck Dunaway) was hired to voice spoken
show intros and special features.
PAMS Custom Grid/moog
- To freshen the 1969 Grid, additional cuts
were recorded in two sessions, one in January and the other
in April of 1970. Few of these cuts aired. They featured
a moog synthesizer and the previous acapella cuts as an
alternative to the normal instrumental beds. Revolutionary
then, the electronics seem trite now. The April session
included sung acapellas for the new morning team of Morton
& Love, Tom
Jones, Bobby Rivers,
Ray Dunaway and Chip
Hobart. These samples are a composite.
TM Phase II/Sound 70 Mix
- On December 11, 1970, another Dallas jingle house recorded
WPOP's version of Phase II/Sound 70. This
was another grid concept with basic instrumentals mixed
with a multitude of vocal cuts (each in three tempos), many
of which were never used on the air. Jock cuts were recorded
for Bill Love, Tom
Jones, St. James,
Bobby Rivers, Judge
Harrigan and Frank Holler.
There were three versions of each mixed with a vocal WPOP
Hartford tag in fast, medium or slow tempo to match
the flow of the next song. The package had a dramatic drum
staging, for show open use, mixed with the three-tempo vocal
TM Jock Sings - In August,
1971 WPOP returned to TM for two sung jock cuts to reflect
the addition of Ric O'Connor
and Bill Coffey to the
TM Phase III - TM Productions
produced a followup to Phase II employing the same vocal
logo and a new grid. Again, WPOP received far more cuts
than were actually aired, all sung in three tempos. The
package was recorded in Dallas in February, 1972. This package
included sung jock shouts over a staging bed for Sunny
Shores, Lance Christian,
Bill Coffey, Judge
Harrigan and Ric O'Connor.
Each deejay also had a customized jingle over a different
musical bed. There was also a sung jingle with a show open
bed for Ed Clancy's Women's
TM Lambert Sings - Sometime
after T.J. Lambert joined
the staff in June, 1972, TM recorded these custom acapellas.
PAMS Philadelphia Story
- Also known as P.S. 73, this package was
extremely popular around the country and debuted on WFIL
Philadelphia. Recorded in August, 1973, WPOP's version reflected
The Music Revolution on-air imaging. Jock shouts
were recorded for Judge
Harrigan, Bill Colman,
Chuck Bennett, T.J.
Lambert, Ric O'Connor,
Brother Jack (Carney),
Chris Kelly, Dale Denver,
Tom Collins, Jerry Stone
and Bobby Brooks;
it is believed Kelly and Stone were station names and no
one using those names ever appeared on the air. Under program
director Dick Springfield the only version of these cuts
that aired near WPOP's musical end were very short cuts
with hard drum stabs.
PAMS jock shouts - These
acapellas were the last WPOP jingles produced before the
station went all-news in June, 1975. They were recorded
February 22, 1974 for Jeff
Henderson, the Greaseman
and Lee Gordon.