The Series 29 “Go Go” jingle package by PAMS, Inc. was issued to many radio station across the country in 1965.
The Series 29 “Go Go” jingle package by PAMS, Inc. was quite popular and influential in the mid-1960s. Here are some key points:
1. The package featured an all-male group with high soprano vocals and fast-paced, energetic backgrounds. The style was very much in line with the “au go go” craze, which was sweeping both Europe and America at the time.
2. The lyrics were designed to be catchy and reflect the vibrant, upbeat nature of the “au go go” movement. They often included phrases like “Go-Go with [Station Name]” and “Radio Au Go-Go”.
3. This package was used by many radio stations to create a lively and modern image. It helped stations connect with the youth culture of the time and was a significant part of radio advertising in the 1960s.
As featured in this presentation, KXOK 630 AM in St. Louis used the Series 29 “Go Go” jingle package, as well. Their version was quite unique because, unlike the standard all-male group vocals, KXOK’s jingles featured a mix of male and female vocals. This gave their jingles a distinctive sound compared to other stations using the same package.
KXOK was a prominent radio station in St. Louis in the early-1960s. KXOK was known for its Top 40 format and was especially popular among teens and young adults. The station featured many well-known radio personalities, including Ray Otis.
Ray Otis, who arrived from WKMH in Dearborn, MI., became the station’s program director in 1962 at just 24. Otis recalls how KXOK came to be a magical place. He joined a station that had been initially launched by manager Bud Connell, and his mission was to guide it through its next phase. “There was magic at KXOK like no other place I’ve seen,” Otis says. “Everything just fell together. The synergy was incredible.” The station’s home was a small grove of trees at 1600 North Kings Highway, which it affectionately named “Radio Park.”
When this aircheck was recorded, Ray Otis was heard weekdays on KXOK in St. Louis from 3 p.m. to 7 p.m.
According to the stlmediahistory.org website, KXOK was owned by Todd Storz, part of his network of AM stations known for their rock and roll formats. Thanks to station veteran Dick Ulett, we list an array of names that defined KXOK:
Mort Crowley, Danny Dark, Ron Riley, Peter Martin, Robert R. Lynn, Bob Shea, David D. Rogers, Dan Allison, Johnny Rabbitt, Don “Stinkey” Shafer, Richard Ward Fatherly, Nick Charles, Bruno J. Grunion, William A. Hopkins, Big Ears Bernard, Steven B. Stevens, Bobby Shannon, Delcia Corlew, Chickenman, News at 55, Radio Park, and the station’s slogan, “The station with the happy difference.”
The station’s building sat across from the old Parkmoor, housed in a converted old house with the studios added on. The house’s front room served as the reception area, and the rest was used for storage. Out front, facing Kingshighway, stood the green 3-foot-tall letters “KXOK,” a remnant from its previous location at the Star-Times Building downtown.
Ray Otis was at KXOK from 1962 to 1970, when he left for New York’s WNEW. Later in 1970, Otis returned back to Detroit for WCAR.
USARM Note: Most of the above information was provided by the St. Louis Media History website.
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NEW! A special THANK YOU to Mark Yurko, of Langhorne, PA., for this KXOK aircheck contribution for our USA Radio Museum repository. Featured here, we’ve archived this 1964 WXOK audio memory into our aircheck collection.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
WKMH 1310 in Dearborn, Michigan, was launched on December 29, 1946, by Fred Knorr, William McCoy, and Harvey Hanson. Initially, it operated during daytime hours with 2,000 watts of power at 1540 kilocycles on the AM radio dial.
In the late 1940s, Robin Seymour joined WKMH and became a significant figure in its programming. By 1955, he was known for his engaging style and for being one of the first DJs to ask listeners for their opinions on new records. And he became one of the first disk jockeys in the Motor City to heavily play rhythm and blues recordings on his show. Seymour’s show, “Bobbin’ with Robin,” quickly gained popularity.
On October 31, 1963, WKMH changed its call letters to WKNR and rebranded as “Keener 13”. This change marked a significant shift in the station’s format and approach, leading to a rapid rise in popularity. WKNR became known for its tight playlist, creative promotions, and energetic announcers, making it one of the most popular stations in Detroit during the 1960s.
PAMS (Production, Advertising, Merchandising Service) in Dallas provided jingles for WKMH during the period of 1960-1961. PAMS was known for creating memorable and catchy jingles for many radio stations across the United States during the 1960s. These jingles played a significant role in establishing the station’s identity and enhancing its appeal to listeners.
The presented 1961 WKMH jingle package is from the PAMS designated Series 18.
In 1961, PAMS also released the “Series 18” custom series, also known as the “Sonosational” package. This was notable for being the first jingle package to utilize the Sonovox, a (voice altering) device that made any sound/voice source seem to be speaking or singing. It was quite innovative for its time and added a unique touch to the jingles.
Tom Maule was a notable personality at 93 KHJ during the late 1960s, known for his distinctive voice and his role as a nighttime DJ in the midst of the station’s dominant “Boss Radio” era.
Arrival at KHJ
Maule joined KHJ in June 1967 and was immediately placed in a prime evening slot, broadcasting from 9:00 PM to midnight. This was a time when the station was at the height of its popularity, and KHJ was known for its energetic Top 40 format. Maule’s arrival at the station was part of the ongoing expansion of KHJ’s on-air talent, which included well-known personalities like Robert W. Morgan, The Real Don Steele, and Charlie Tuna. His show was aimed at the younger audience that KHJ targeted, playing the latest hits and connecting with listeners through his engaging voice and style.
Tom Maule’s Radio Style and Legacy
Maule was known for his lively personality and smooth delivery, which was a great fit for the high-energy Boss Radio format. The fast-paced, tightly formatted broadcasts were designed to keep listeners engaged, and Maule’s evening show was no exception. The show featured not only music but also Maule’s own commentary, humorous observations, and interactions with listeners. His ability to connect with the audience during the night hours made his show popular among young people in Los Angeles.
Though not as famous as some of the bigger KHJ personalities like Robert W. Morgan or The Real Don Steele, Maule still gained a strong following. His voice became familiar to many listeners, and he contributed to the station’s reputation for cutting-edge entertainment and music during the late ’60s. KHJ’s evening slots were crucial in maintaining the station’s dominance, and Tom Maule was an important part of that success.
Later Career
Tom Maule’s time at KHJ didn’t extend far beyond the late 1960s, as the landscape of radio was shifting in the early 1970s. However, his impact on the station was felt during the period he worked there. After leaving KHJ, Maule continued to work in radio, though not to the same level of prominence he had achieved in Los Angeles. Like many radio personalities of that era, his career reflected the changing tastes and shifts in the broadcasting industry.
Later, Tom Maule became a prominent TV weatherman in the Fresno area. Maule passed away in 1993.
Though his time on KHJ was relatively short, Tom Maule is remembered as one of the voices that helped shape the station’s iconic sound during a golden age of Los Angeles radio. His contributions to the station’s late-night programming remain a part of KHJ’s rich history.
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NEW! A special THANK YOU to the 93khjcreator.spring.com for contributing this 1965 KHJ aircheck, which is also now available on their site. We’ve added this aircheck to the USA Radio Museum’s aircheck repository.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
Dave Shafer was a prominent radio personality in the Windsor/Detroit market, best known for his work at CKLW 800, one of the most influential radio stations in North America during the 1960s.
Dave Shafer began his career in radio in the 1950s, working in various markets before joining CKLW in the early 1960s. CKLW, located in Windsor, Ontario, served the Detroit area as well, and by the mid-1960s, it had become a powerhouse in Top 40 radio. The station’s reach and influence across both sides of the U.S.-Canada border made it one of the most important broadcasters in the region.
Having tapped early-on radio aspirations during his high school days, Dave Shafer left Dover, Delaware for Detroit in 1961. He landed his first radio job as music librarian at WJBK. Shafer eventually found his way behind the microphone – in studio – as the new “Jack the Bellboy” by the following year in 1962. And thus began Dave’s storied, three-decade broadcasting career in Detroit radio. Including stops at WCAR, WOMC, WCZY, along with a 11-year run at CKLW radio in Windsor, Ontario, in the 1960s and 1970s.
CKLW Morning Show
In 1963, Dave Shafer, a.k.a. as “Jack the Bellboy’ while at WJBK, made the leap across the Detroit River for RKO General CKLW in Canada. He became a key figure at CKLW, hosting the highly popular morning show. His friendly, energetic delivery and ability to connect with listeners made him a beloved personality in the area. His morning show was known for its lively presentation, including the latest pop music, news, and often humorous commentary. His presence helped set the tone for the station’s success, as CKLW had a major impact on shaping the Top 40 format in the region.
Influence and Legacy
Shafer’s work at CKLW made him one of the prominent voices of Detroit and Windsor radio during the 1960s. CKLW was known for its fast-paced “Boss Radio” format, popularized by the likes of Bill Drake and station programmer Paul Drew, and Dave Shafer was one of the voices that kept listeners tuned in every morning. His ability to entertain and inform made him a central figure in the lives of many local listeners. CKLW’s success during this period was largely due to its combination of top-notch personalities, including Shafer and Tom Shannon, and its cutting-edge approach to radio.
Later Career and Impact
Though his career took him to other stations over the years, he is most fondly remembered for his role at CKLW. Even after his departure from the station, Shafer remained a respected figure in the world of broadcasting, contributing to the evolution of radio in the Detroit area.
Having long retired from the broadcasting profession and living in Florida, Dave passed away on May 7, 2006, at the age of 73.
Today, Dave Shafer is remembered as a key part of CKLW’s golden era during the 1960s, an era that shaped the future of Top 40 radio in North America. His influence as a morning personality on CKLW continues to be celebrated by those who remember the station’s heyday.
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NEW! A special THANK YOU to Mark Yurko, of Langhorne, PA., for this CKLW aircheck contribution for our USA Radio Museum repository. Featured here, we’ve archived this 1965 CKLW audio memory into our aircheck collection.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
Robert W. Morgan was a beloved radio personality, known for his work as the morning show host on 93 KHJ in Los Angeles during the 1960s and 1970s. He was one of the key figures in shaping the “Boss Radio” format, a highly influential and dynamic style that became synonymous with the station during its heyday. Morgan was known for his engaging and energetic personality, often incorporating humor and a friendly, approachable style into his broadcasts.
The station’s programming included extensive music playlists, a strong emphasis on top 40 hits, and catchy jingles (the famous “Boss Radio” jingle became iconic). The sound was edgy, fun, and fast-moving, with DJs like Robert W. Morgan, The Real Don Steele, and Charlie Tuna becoming beloved figures on the airwaves.
While station programmer Ron Jacobs was indeed a key figure in radio consulting during this era and went on to become a successful radio executive (founding Jacobs Media, a leading consulting firm), it was Bill Drake who is most closely associated with the creation of the Boss Radio format at KHJ.
Robert W., as he was also known as, it was his voice and presence that made him a favorite among listeners, helping KHJ become a top-rated station. Morgan’s influence extended beyond just his radio career, as he became a key figure in the pop culture of Los Angeles at the time. He worked with the station for many years before eventually moving into a career in music and voice-over work.
Morgan passed away in 1998, but he left behind a lasting legacy in the world of radio, particularly in the history of Los Angeles radio broadcasting.
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NEW! A special THANK YOU to the 93khjcreator.spring.com for contributing this 1965 KHJ aircheck, which is also now available on their site. We’ve added this aircheck to the USA Radio Museum’s aircheck repository.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
Note: A radio re-creation produced by KHJ PD Ron Jacobs, this recording was pressed on vinyl LP and was released by Increase Records in 1970.
Debuted #29 for the week of September 6, 1966, “Respect” peaks at #6 (1 week) on the WKNR Music Guide, September 26, 1966. Having charted 6 weeks overall — on its final week on the Keener charts the Cameo single drops out at #10 for the week of October 10, 1966.
Source: The WKNR Music Guides [1966]
Audio digitally remastered by Motor City Radio Flashbacks
Debuted #29 for the week of August 8, 1966, “96 Tears” peaks at #2 (2 weeks) on the WKNR Music Guide, August 22, 1966. Having charted 6 weeks overall — on its final week on the Keener charts the Cameo Parkway single drops out at #7 for the week of September 12, 1966.
Source: The WKNR Music Guides [1966]
Audio digitally remastered by Motor City Radio Flashbacks
Debuted #27 for the week of March 30, 1966, “Better Man Than I” peaks at #10 (2 weeks) on the WKNR Music Guide, April 20, 1966. Having charted 5 weeks overall — on its final week on the Keener charts the Lucky Eleven single drops out at #13 for the week of April 27, 1966.
Source: The WKNR Music Guides [1966]
Audio digitally remastered by Motor City Radio Flashbacks
Audio digitally remastered by USA Radio Museum
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The Series 29 “Go Go” jingle package by PAMS, Inc. was issued to many radio station across the country in 1965.
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