Quite a few...KHJ and WLS. KRBE and KILT. KPAM and WGH. KJRB, KING and KJR. And those are just the ones still in those markets (if not on the exact same frequency). A few are in use in other cities.
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Why are big hits "lost?"
- Thread starter tall_guy1
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There may be nothing more fulfilling for a radio geek / music pro / etc. than to be asked to curate a playlist for an event within one's own family.
Rest assured, they will think and work carefully and tirelessly to put together the perfect mix.
Even cooler as some of the earlier posters have stated - supplying the music for their own weddings!
Rest assured, they will think and work carefully and tirelessly to put together the perfect mix.
Even cooler as some of the earlier posters have stated - supplying the music for their own weddings!
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And adding on to that comment; people around here need to realize that radio stations broadcast to a larger audience verses some mobile DJ. Apples and pine tree comparison.
The larger audience is splintered now. It's not like radio is the only option anymore.
I mentioned it somewhere but I heard the Osmond Brothers recently, probably on one of the online radio stations I tried. This particular station used to play the music I like but has tried to add too many songs that aren't that good, at least not to those who used to listen to the station.
I had not heard the Osmond Brothers since the 1970s. The Jackson 5, on the other hand, get played all the time. People hear one and think it's the other.
I had not heard the Osmond Brothers since the 1970s. The Jackson 5, on the other hand, get played all the time. People hear one and think it's the other.
What?? What people do you hang out with that would be so musically clueless where they couldn't tell a lily-white Mormon group from a black soul/pop act?
Another example why Wikipedia is such a mess.
Echoing Kelly's post, I find it incredibly difficult to believe that anyone would confuse the Osmonds with the Jacksons, even without the visual aid of a photograph. That is like confusing Diana Ross with Barbra Streisand or Elvis with Little Richard.
Agreed. That's like mistaking a Ford Pinto for a Porsche.
The Osmonds attempted to mimic the Jackson 5 sound, but it's inexplicable that anyone could confuse these groups. It would be more likely that someone could confuse The Osmonds and The Partridge Family, but even that is a stretch...
I still like the Cowsills, I have seen them live twice, 1968 and about 6 years ago.
The more recent show was great.
I'd give my left nut for a copy if the Billy Cowsill Benefit Concert.... yes I can listen to it on Amazon music but I like to have the physical recording, liner notes, etc.
The more recent show was great.
I'd give my left nut for a copy if the Billy Cowsill Benefit Concert.... yes I can listen to it on Amazon music but I like to have the physical recording, liner notes, etc.
Good Lord! But hey, at least you don't think the Cowsills sound like the Jackson 5...
In fairness to all, the confusion happened exactly once, when the Osmonds hired producer Rick Hall to get them a hit and he had them cut "One Bad Apple" at his FAME studios in Muscle Shoals, Alabama.
It was written by George Jackson (no relation---he later co-wrote Bob Seger's "Old Time Rock and Roll"), who sent it to the Jackson 5. Motown rejected it and had the J5 cut "ABC", which was written inside Motown.
At a time when there was exactly one group with an 11-year old lead vocalist singing pop songs with an R&B groove, it was easy for some people, hearing it on an AM radio, without visuals to think it was another Jackson Five record.
Once. But never again, and certainly not still.
And the timing was perfect---the Jackson 5 had four hits up to that point, with the most recent a ballad ("I'll Be There").
"One Bad Apple" got on the radio three full weeks ahead of the J5's fifth single, "Mama's Pearl" and not only outperformed it on the Hot 100 (the Osmonds peaked at #1, the Jacksons at #3), it went top ten on the Billboard R&B chart, peaking at #6 .
It was written by George Jackson (no relation---he later co-wrote Bob Seger's "Old Time Rock and Roll"), who sent it to the Jackson 5. Motown rejected it and had the J5 cut "ABC", which was written inside Motown.
At a time when there was exactly one group with an 11-year old lead vocalist singing pop songs with an R&B groove, it was easy for some people, hearing it on an AM radio, without visuals to think it was another Jackson Five record.
Once. But never again, and certainly not still.
And the timing was perfect---the Jackson 5 had four hits up to that point, with the most recent a ballad ("I'll Be There").
"One Bad Apple" got on the radio three full weeks ahead of the J5's fifth single, "Mama's Pearl" and not only outperformed it on the Hot 100 (the Osmonds peaked at #1, the Jacksons at #3), it went top ten on the Billboard R&B chart, peaking at #6 .
Hahaha. I just looked in the garage, and the one there definitely does not look like a Pinto!
Many of the groups back then had the same musical flavor, just like the "boy bands" a while back were both unique but of a single flavor at the same time. We get to listening to the differences between the Cowsills and the Jacksons and they become, within a genre, very different.
Yes. All had the characteristic of having one or two really good artists surrounded by several who, well, were not. You could tell the difference in that the best members sometimes recorded more than one part for the final mix.
A batch of posts about senior audiences have been moved to a brand new national board "Radio & The Senior Population". This subject comes up repeatedly on local boards, so Frank and I decided to make this (like the In Memorium notices and general "philosophical" LPFM topics) a national subject as this is not limited or restricted to just one or a couple of markets.
We are not restricting this kind of discussion... just consolidating this subject to a single board so poster and readers in all areas and markets can watch the exchange of opinions.
We are not restricting this kind of discussion... just consolidating this subject to a single board so poster and readers in all areas and markets can watch the exchange of opinions.
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This is correct. "One Bad Apple" was written as possible song for the Jackson 5. I heard Donny Osmond himself explain it on one of his Vegas meet and greets which he does before his show at Harrah's. (Yes, I'm a fan of Donny Osmond. I'm in his age group). At any rate, Donny and Michael were close in age and were friends who used to hang out at each other's houses and kind of jam together about music. The Osmonds really liked the sound of the Jacksons, who as a family musical group, with lead singers close in age, were a big influence on the Osmonds. Same thing with "I'll Be There." I'm talking about the 2 groups back in the 70's. ( Not the later sound of Michael Jackson or the rest of the Jacksons). The Osmonds tried to replicate that sound. They also tried to do some of the dance moves. So for awhile in the early 70's, they did sound alike. JMO -- Daryl
I recall there was a lot of confusion at the time. Remember that the two groups were fronted by a pre-teen singer with a high “kid voice” singing what was pretty much bubblegum pop. Both were new on the music scene.
People tend to forget that, at the time, absolutely no one had any idea of what Michael Jackson and Donny Osmond would become later in their careers, thus no additional reference for comparison. And if you had never heard of either group, and had not seen them on TV or in person, you knew very little about them. You can listen to and watch Michael Jackson as an adult and laugh over any mixup with Donny Osmond, but that was all in the unknown future in 1971.
For all people knew, the Jackson 5ive could have been a flash in the pan, with its members never heard from again…like many other groups in the past.
The Osmond Brothers had been on TV for close to a decade, having been regulars on The Andy Williams Show in the 1960s. They weren't world-famous, but they weren't unknown. They were the rough equivalent in the US to the Bee Gees in Australia -- headed for bigger and better things but just a kid-act at the time.
Good point, but I think the permutation of the group fronted by Donny in the early 70s was new to a lot of people. After all, Andy Williams was a show your mother watched, and those moms listened to MOR or Beautiful Music on the radio, not Top 40.
The Osmond Brothers, of course had a career going back to the early 1960s, singing barbershop and MOR tunes including on the Andy Williams Show. It was actually Merrill that sang lead on most of their early 70s hits with Donny as a co-lead on the choruses. Then we have Donny's solo efforts.
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As I recall, there were many music and Teen magazines back then. David Cassidy was a Pop Idol. People could SEE what the Jacksons and Osmonds looked like. Radio DJs would announce the records they played. Hard to confuse those two groups unless people really weren't paying attention at all (which is possible)...
By the dawn of the 70's, Top 40 stations had taken very seriously the examples of the leading programmers and consultants who believed in only giving artist and, maybe, the title of the newest songs. That meant that very often the powers and those that had started to decline in the current categories were not identified and recurrents and gold essentially never.
Further, by then buying patterns had changed at the agency level and Top 40 stations were paying most of their attention to young adults, not teens. Young adults don't buy what you call "Teen magazines".
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