"Yellow Submarine" Milton Berle (1970)

Telly - Telly Savalas (MCA Records, 1974)

Kojak Sings For YOU, Baby....

WHER.....1,000 Beautiful Watts

Ladies, if you ever needed something to play on the stock car radio of your brand new 1955 Dodge La Femme, then Memphis was your kind of town.

Because also debuting in 1955 was radio station WHER. At 1430 on the AM dial, WHER was the first radio station completely staffed, programmed and operated entirely by women. The only Y chromosomes at WHER were there to write the checks and fix the transmitter whenever it got wonky. The women controlled everything else.

A terrestrial radio station with a mostly female staff is still a very rare thing. But in the 1950s, it was extremely rare to hear a female DJ with her own program. The 1950s were a pretty sexist time and the ceiling wasn't glass in the radio industry. Most women in air positions at that time were network voice actresses or they were local socialites who read recipes during the midday show. But most women overall however remained behind the scenes, doing office work.

WHER was owned by local record mogul Sam Phillips of Sun Records and Holiday Inn founder Kemmons Wilson. Phillips used the money he got for Elvis Presley's recording contract from RCA Victor records as seed money for WHER.

But surprisingly, WHER played no rock. Probably because of the uncomfortably close link between Sun and WHER (the payola scandals around the country were just beginning to simmer.) The music on WHER was a mix of easy listening, jazz and country swing.

WHER became an instant sensation and inspired many imitators (including KPEG in Spokane, WA.)

An early press release for WHER described the station as this : 

“The studio and offices have been feminized from front door to rear exit. The disc jockeys are called jockettes, the studio is known as the doll’s den, the control rooms are called playrooms, the hallway is mirrored, the equipment room has been decorated with murals depicting the evolution of feminine clothing, the stationary is perfumed, the advertisers are listed in a date book, and the exit to the parking lot is labeled “Bye, Bye ‘Till Next Time”.

You were clearly in their world.

WHER was managed and programmed by Becky Phillips (wife of Sam Phillips) and Dottie Abbott. And from 1955 to 1966, WHER was exclusively operated by women. However after Abbott left, it seemed time to let the guys in. The station changed call letters to WWEE, or "We" radio.

1430 kHz in Memphis today is WOWW, a repeater for country music station "95.3/97.7 The Rebel" WEBL.  

More info on WHER:

WHER Radio Station

The Kitchen Sisters documentary on WHER (Complete with audio!)

"Tiptoe Through The Tulips" New Christy Minstrels (1962)

This um, strange version of this song was recorded six years before Tiny Tim made this version famous. With vocals by Barry "Eve Of Destruction" McGuire. By 1963, The New Christy Minstrels would have their biggest hit "Green, Green".

In the summer of 1964, they hosted a half-hour variety show on NBC that lasted 5 weeks.

However by the mid-1960s, as folk music became electrified with more challenging lyrics, the Christy's brand of squeaky clean, sing-along folk was becoming embarrassingly square and they declined in popularity. However they remain active under their own non-profit, The New Christy Minstrels Foundation.

Other famous members of The New Christy Minstrels at one time or another included Kenny Rogers, Kim Carnes ("Bette Davis Eyes"), actress Karen Black, Gene Clark of The Byrds and Larry Ramos, who would later sing co-lead on "Windy" and "Never My Love" by The Association.
 

Love Will Keep Us Together.......For 39 Years....

 

After 39 years of marriage, the Captain & Tennille are getting a divorce.

 

The duo came on the national music scene in 1975 after releasing their first single, "The Way That I Want To Touch You". Which was played widely on Los Angeles area radio, leading to an album deal with A&M Records.

After signing with A&M Records, they were offered the Neil Sedaka song "Love Will Keep Us Together" The single went gold and from 1975 to 1979, the Captain and Tennille had a variety TV show (1976-77) and a string of chart topping hits including a re-release of "The Way That I Want To Touch You", "Muskrat Love" (famously parodied as "Hamster Love" by Big Daddy on the Dr. Demento radio show), "Shop Around", "Lonely Night (Angel Face)", "You Need A Woman Tonight" and their final hit "Do That To Me One More Time" for Casablanca Records. 

Toni Tennille also went solo as pop standards singer and in 1980, briefly hosted a syndicated daytime TV talk show. They stayed together through the '80s, '90s  and 2000s making occasional TV appearances and performing their old hits on the club circuit.

  

Before They Were Stars: Pat Benatar

Pat Benatar didn't just open the door for women in rock. This little woman with the HUGE voice absolutely KICKED the door in. Right off the hinges. 

But before her mega-platinum career one of as rock's most influential female superstars, she was.....a lounge singer? 

"Coxon's Army Live from Sam Miller's Exchange Cafe" (Trace Records, 1974), was produced as a reportedly unaired local TV special for Richmond, VA public TV station WCVE and is the very first album she appeared on.

This album also features a cover of "Theme From Shaft" but no indicator if she actually sang it (perhaps the female backing part.) This is a $500 record in mint condition. About 1,000 copies were pressed and that's a VERY short run for any record.

Click to enlarge

"Respect" (1974)

"If He Walked Into My Life" (1974)

"Can't Help Lovin' Dat Man" (1974)

"Day Gig" Pat Benatar (1974) This is the first headlining single she ever recorded.

Also see Before The Were Stars: The Cars

"Unknown Girl (Of My Dreams)" Clint Eastwood (1961)

B/W "For All We Know"

Yvonne DeCarlo Sings (Masterseal, 1957)

Between her early acting/dancing roles and before she made TV history as Lily Munster, Yvonne DeCarlo was an aspiring singer.

(If you'll look closer at the record cover and that on the video, you'll see a discrepancy in the conductor name. "John Towner" is actually John Williams. The same guy who brought us the legendary Star Wars soundtracks and future conductor of the Boston Pops....)

Drug Store Christmas Records For Kids

Never heard of The Caroleers? You're not alone. Their name isn't even mentioned on some of their own records! 

But if you were a kid of the '50s to '70s, you may have had a few of their records.

And they may have sold as many Christmas records between 1950-1975 as Bing Crosby, Nat King Cole and Burl Ives. 

Admittedly, there are no actual sales numbers of these records because the only places you could find them were in racks at drug stores or supermarkets. And the RIAA never calculated music sales outside mainstream retail record stores in those days. But from the sheer numbers of these records I encounter in thrift stores and on eBay, it was likely a few million. 

The Caroleers recorded childrens records for Peter Pan Records in the early '50s as The Peter Pan Caroleers. Peter Pan Records was a division of Synthetic Plastics Corporation (SPC). SPC was based in Newark, NJ and started out in the late '20s making other plastic products (buttons, board game and toy pieces, hair combs and whatever other minute miscellanea you could make out of PVC.)

SPC started Peter Pan Records in 1949. They initially made plastic 78 RPM records for children. They knew as the 33 1/3 RPM long playing and 45 RPM record was taking the nation by storm, there would be BIG business in children's records due to the sudden rise in hand-me-down 78 RPM phonographs from their parents who quickly adopted the slower speeds and multiple speed functions of the automatic record changers that were coming into vogue.

By the late '50s, they were making the then standard 45s. You may better remember the Peter Pan childrens 45s from your '60s/'70s childhood. They were the second biggest (behind Disney) producer of children's records in America.

 

Playhour Records (late '60s): Contrary to popular collector belief, it wasn't SPC, but Pickwick that made Playhour Records, following the SPC/Peter Pan formula perfectly. Playhour records were packaged in tote pack sets of 12 45s and sold for $3.  

SPC expanded in the adult market with their budget record labels. They often mixed in their Caroleers recordings for Peter Pan on their Christmas albums marketed for adults. (Under the Yuletide, Spin-O-Rama, Diplomat and Tinkerbell labels.) These albums are regular thrift store/eBay finds.

Where we have this nearly flawless Perry Como impersonator.....

 

...or this Tom T. Hall imitator....

At least, "The Caroleers" was their pseudonym. No one truly knows who they were, where they came from. Who was their leader, etc. Nothing. Session information and artistic liner notes do not exist. As with everything SPC ever produced..

The cold hard truth is "The Caroleers" were just a blanket name for a group of unknown session singers and musicians at SPC who were paid a flat fee for their services and recieved no royalties from their recordings. And this was perhaps the best selling group on a budget label ever.

And guess how much songwriters Jack Rollins and Steve Nelson got in royalties from The Caroleers' recording of their "Frosty The Snowman"? Just guess.....

In an apparent Gene Autry knockoff.....

Most of The Caroleers recordings were made in the 1950s and '60s at a time when music publishing was fraught with copyright loopholes galore, allowing for dozens of knockoff and "tribute" records (much like we see today.) SPC and other budget record labels got away with this by claiming their music was intended for children and thus for play inside homes, not over the radio or publicly. SPC did not service radio stations and most radio stations did not play their product. (Most.) So they actually claimed that they didn't have to owe songwriters royalties in spite of making millions in profit from their songs.

Today, the artists and songwriters are usually in on it too, as these knockoffs are actually a revenue stream, no matter how disingenuous.

     

However in the early '70s, songwriters were sick of all these cheap record labels whoring their music and collectively put an end to this racket and most budget labels ceased operation or went into other lines.

About this time however, SPC stopped pressing the old Caroleers records and hacked up something even more nefarious for Christmas in the '70s.

"The Peppermint Kandy Kids" anyone?....This record was narrated with Peter Fernandez doing utterly the very worst Jackie Vernon impersonation you will ever hear.

However even in the disco era, old habits died hard with SPC (by then known as Peter Pan Industries.) They even cashed in on the Disco Duck craze with "Irwin The Disco Duck"   

SPC went back to exclusively childrens records as Peter Pan and later, Power Records which incorporated an action comic book style format targeted to boys.

Christmas Greetings Vol. 3 (Columbia Special Products for A&P, 1972)

This would be yet another by now fairly typical Columbia Special Products '70s Christmas compilation album were it not for two tracks on it whose artist names literally jumped off the back cover when I found my copy in a Goodwill a few years ago.

 "The Christmas Song" Carol Burnett...


...and "Here's To You" Cary Grant, which was also released as a B-side 45 RPM single in 1967.

 This 45 is extremely hard to find in merely acceptable condition. The single's equally classy A-side "Christmas Lullaby" can also be found on the 1971 A Very Merry Christmas Volume 3 CSP compilation for the now defunct East Coast department store chain, Grant's.

That Christmas Feeling (Columbia Special Products for JCPenney, 1973)

I swear between Columbia and RCA, these two former rivals (ironically, they're now both subsidiaries of Sony Music) were in a race to tie in as many custom Christmas compilation albums for retail businesses as possible in the '70s.

Columbia released albums for Goodyear, JCPenney, A&P, Safeway, Firestone and several others. RCA had Firestone, True Value Hardware, Radio Shack, Piggly Wiggly and others.

Most of these compilations contained music heard on older compilations, but with different track listings.

"L.A. Is My Lady" Frank Sinatra (1984)

The year was 1984 and Frank Sinatra had just released a long awaited new album.

This was a pretty big thing. Whenever Sinatra put out a new album, the world of music paid attention.

This album however would be Sinatra's last album of new material. 

This video has a ton of cameo appearances, including Van Halen, Donna Summer, Missing Persons, Michael McDonald, Cheryl Tiegs, Dean Martin, LaToya Jackson and of course, Michael Jackson.) When you get a call from Quincy Jones asking you to appear in Frank Sinatra's video, who is going to turn him down?   

Lena Zavaroni

I'm no fan of child recording stars in any way. I just can't handle the high, shrill frequencies that leave me screaming for a Fiona Apple tune. But this record bears a special horror to me, as my mom once owned a copy of this album.

If you're not familiar with the name Lena Zavaroni, you probably weren't around in 1974. Because for most of that year, this Scottish girl was "The Next Big Thing", appearing on American variety shows and telethons and scoring a debut album at the tender age of 10 with Ma! He's Making Eyes At Me.

But beyond who this girl who seemed to come out of nowhere was, it was the impact it had on an American R&B institution.

This album was most shockingly released in America in 1974 on Stax Records, the once mighty home of powerhouse soul like Otis Redding, Booker T. & The MGs, Wilson Pickett, Sam & Dave, Rufus Thomas, Issac Hayes, etc, etc, etc.

But by this time, all of Stax's biggest artists from the '60s had been stolen by Stax's former distributor, Atlantic Records by 1968 and Stax was left with only a handful of lesser soul acts on the label. Even the original master tapes of Stax's most successful '60s hits were taken. The label virtually had to start all over again from the beginning.


How do you recreate such a massive institution Stax was?

After 1968, Stax had floundered so badly in a lopsided distribution agreement with CBS Records that in a Faustian deal (it's the only way I can describe it) Stax quickly signed this girl for American distribution (I'm not sure whether it was Stax themselves that signed her as a last ditch attempt to bring their sorry financial house back in order or CBS that forced them into it in the hopes of killing off a potential rival to CBS's own home roster of R&B acts - the story varies.) But thanks to the crappy CBS distribution deal, the only way they could promote this album was through a massive TV campaign of commercials for the album (which my mom succumbed to), and other TV appearances because most record stores had trouble even getting Stax's regular R&B output.

Stax was also considered the bratty stepchild within the CBS household and with the exception of a few token spins of her only charting single (the album's title track) American radio simply would not play her songs. (10 year olds singing songs that only grandmothers liked has a way of doing that.)

And even more embarrassing for Stax, which was once one of the biggest and most respected R&B record labels in America were some of the blackface Al Jolson songs this little 10 year old white girl sang on this album, including "Mammy" and "Rock-A-Bye Your Baby (With A Dixie Melody)"

The gambit failed - HORRIBLY. Stax suffered a massive backlash from it's loyal base of hardcore R&B fans over this album and Stax went bankrupt in 1975. It's name and remaining assets were picked up by Fantasy Records and aside a few releases every so often, was mostly dormant until the 2000s.

But she disappeared as quickly as she came in America.

She maintained a small cult following in Europe (where she became more or less the Connie Francis of the '80s, still singing pop standards at a time when most young women her age were singing far more edgier rock material.) While considered a throwback in the '80s, she would probably seem very mainstream today.

She had a variety show in the UK (where the variety TV show format survived well into the '80s.)

However, she suffered from anorexia. Her weight dropped to a deadly 70 lbs. On top of struggling to maintain a fading career. At the end of her life, she was living on UK government benefits. She also suffered from chronic depression, at one point begging for doctors to operate on her brain so she wouldn't have to suffer anymore (This was before the days of newer medications and treatment programs.) 

The eternal tragedy of the former child star. Perhaps the most Faustian deal there is.

She died in October 1999 at 35.