Reflections on Radio and Records... from half a century ago

[davideduardo]

Sorry but I argue it was the other way around; that is, those songs became popular because they were used as fillers before newscasts and then people requested them making them hits.

Where did the idea that so many songs were used as pre-news fillers come from?At many if not most Top49 stations, news was local and run at the approximate time scheduled depending when songs ended. However, if a station carried network news, then it had to pick pre-news song based on length. But there were plenty of songs with different lengths so that the only choices for “last song” were not just instrumentals.

Few major market Top 40 stations carried network news unless actually owned by one. Otherwise, PSs hoped for no news at all.

 

[davideduardo]

Still sounds far-fetched to me. David? BigA? Anyone out there who can settle this?

There is some truth in the case of Top 40 stations that were forced to run network news, but otherwise those songs were often big legitimate hits on their own.

 

[TheBigA]

My issue with this is the view that radio airplay makes a song a hit. It's not that simple. It's the same problem I had with what Cornyn was saying, in his criticism of record labels using radio as their sole marketing vehicle. Cornyn himself was an example of someone who used other platforms to market music at Warner Brothers.

By the mid 60s, TV had become a major way to promote music. Artists hosted their own TV shows, from Sinatra and Martin to the Smothers Brothers and Lawrence Welk. Those shows became launching pads for artists who might have been offbeat. Two examples were John Hartford and Mason Williams, who were each featured on the Smothers Brothers show.

Mason Williams was a writer on the show, and he performed his instrumental Classical Gas for the first time on that show. The song was released by Warner Brothers records, the label where Stan Cornyn was marketing director. So here's an example of bypassing radio to premier music on TV, and it becomes a big hit.

BTW the producer of Classical Gas was Mike Post, who went on to write & produce multiple instrumentals that were used as TV theme songs: The Rockford Files, LA Law, and Hill Street Blues.

 

[kevtronics]

BTW the producer of Classical Gas was Mike Post, who went on to write & produce multiple instrumentals that were used as TV theme songs: The Rockford Files, LA Law, and Hill Street Blues.

And all of those became radio hits as well.

Probably the last time we saw that happen was the theme from "Friends". Radio DJs would play it twice in a row, which encouraged the Rembrandts to turn it into a full-length song.

 

[TheBigA]

Probably the last time we saw that happen was the theme from "Friends". Radio DJs would play it twice in a row, which encouraged the Rembrandts to turn it into a full-length song.

Since then, we've seen an explosion in TV talent shows. A lot of the winners have never had a radio hit, but they still have music careers. I just got a press release about new music from Clay Aiken. He will debut it on the American Idol finale next week.

 

[amos1001]

stations that were forced to run network news

having worked at a few stations that ran network news, i can say that we worked to backtime songs into the newscast. yes, many stations did run instrumentals to fill, but they were looked at as less than professional. it doesn't take a rocket scientist to backtime a cold ending song.

 

[kevtronics]

And some stations, even today, don't care and will fade out a song to hit a hard break regardless if it's an instrumental or not.

 

[vchimpanzee]

One of the theories that makes sense to me regarding the decline of instrumental music on the pop charts has to do with how top-40 stations used instrumental music. In the early days (from what I've been told), the clocks weren't always accurate and you couldn't always time your last record to finish at the top of the hour (or whenever your station's news began). So, to fill in the time between the last record on the hour's playlist and when the news (or other special programming) began, deejays would play instrumental music leading up to the newscast or whatever. The most popular of these instrumentals showed up on the Billboard charts.

That was a common practice on America's Best Music.

 

[Larry]

Probably the last time we saw that happen was the theme from "Friends". Radio DJs would play it twice in a row, which encouraged the Rembrandts to turn it into a full-length song.

Considering tv theme songs (along with closing credits) have almost disappeared or been vastly shortened there is no opportunity for them to become hit songs today.

 

[Dick's History]

How did the FCC's 1965 ruling influence the rise of Beautiful Music radio?

"The Federal Communications Commission (FCC)'s 1965 ruling played a pivotal role in the rise of the Beautiful Music radio format in the United States. The key regulation mandated that AM and FM stations under common ownership in the same market could no longer simulcast identical programming; instead, each band had to offer separate content. This move was intended to encourage greater diversity and innovation in broadcasting, particularly as FM—then an under-utilized band—offered technical advantages such as stereo sound and less interference compared to AM.

Before the ruling, most FM stations simply duplicated their AM counterpart’s programming, limiting FM's potential. Once required to differentiate, station owners looked for new formats that could benefit from FM’s superior sound quality and appeal to untapped audiences. The Beautiful Music format—featuring lush instrumental arrangements and minimal interruptions—was ideally suited to the high-fidelity capabilities of FM. As a result, many station owners adopted Beautiful Music for their FM signals, finding it attracted adult listeners and provided a serene alternative to the personality-driven, ad-heavy AM band.

This regulatory change sparked rapid growth in both the number and popularity of Beautiful Music stations during the late 1960s and 1970s. FM quickly became the preferred home for this format, solidifying its association with high-quality, relaxing background music and helping to establish FM radio as a vital part of American media culture. The FCC's 1965 ruling, therefore, was a catalyst that not only fostered the proliferation of Beautiful Music, but also transformed FM radio into a platform for creative and specialized programming."

Actually that FCC non-duplication ruling was from 1964. July 1, 1964. AM-FM combos in communities of over 100.000 could not duplicate their AM programming on their FM more than 50% of their broadcast week.

I would not agree with what was above quoted. Most of the stations automated their FMs wo the main consequence was that the ruling gave a lot of business to manufacturers of automation equipment and the few syndicators offering taped programming.

As far as Beautiful Music radio was concerned there were already almost 300 stations doing that format, 200 or more of them FMs by the date of that ruling. The ruling affected 275 FMs, 102 of which were already in compliance with it. Of the 173 which had to change only 50 chose Beautiful Music. Of the affected stations in compliance 62 were among those already broadcasting that format. Though a few of the stations which did decide to change to it as a result of the order ended up doing very well in the 1970s, I do think that many of those would have changed to it anyway as the format became more successful on FM from 1966. But Beautiful Music was already a popular format on AM in many areas and had been since the early 60s and some listeners had been hearing it in a similar form on FMs broadcasting instrumental background music to subscribing clients over their main FM channel since the late 1940s.

As it was many balked at it and asked for extensions or developed ways of getting around it such as shadowcasting the same tapes at a later date etc. FCC continued to move the date back so was 1968 before most of the stations were in compliance.

 

[Dick's History]

But, as BigA mentioned, there were far fewer options available, and they cost more due to the copyright payments

In a sense, Armstrong broadcast whatever suited him in the moment. His objective was the development of the technology and not the operation of a particularly profitable radio station.

And in the period prior to Armstrong‘s death, the light classics and instrumental music format was not yet to be named “beautiful music“.

Well the format was the same, or the precursor, but that particular designation did not begin to catch on until Gordon McLendon used it for his KABL Oakland in 1959. By 1962 it was regularly being used within the industry. WJBR FM and the Storer stations were among those that quickly adopted that designation. Before that it was "wall-to-wall", "pretty music", "light music", "good music", "mood music", "light instrumental" "radio music" and other designations. Though many of the stations doing it, or just doing particular programs of it, did use the phrase "beautiful music" to describe and advertise it going well back into the 40s. Even KIXL A/F Dallas, which in 1948 originated that radio format, used that phrase.

 

[TheBigA]

I do think that many of those would have changed to it anyway as the format became more successful on FM from 1966.

Having music on the radio doesn't matter if people can't hear it due to the lack of FM receivers. That's why the end of the Armstrong patent was so important to the growth of FM.

We can see the end of the patent in FM receiver sales figures from the period. There were 3 million receivers sold in 1964, 6 million receivers sold in 1965, 11 million in 1966, and a whopping 22 million in 1968.

How about FM in cars? The numbers were negligible until we get to 1968, with 1.3 million sold. We also see the effect of imports, with 2.7 million imported FM radios in 1966, then jumping to 14 million in 1968. Those numbers would continue to grow in the 70s. These figures were from the Consumer Electronics Association.

 

[SpartaA20]

Not only the hit instrumentals, but the joy of hearing a familiar title arranged and expressed instrumentally, orchestrally in a distinctive and exciting and satisfying manner drew us to Beautiful Music radio. So that most often our favorite recordings of a particular number were not the hits at all but rather instrumental versions. But seems it became that younger people just seemed no longer able to get into instrumentals. I wonder is that because they lacked the imagination factor? Or just perhaps had no necessity to dream big and let their imaginations run wild the way we did? Or I wonder - maybe for them music had to be about more than just the notes for them, like it had to have a more literal dimension as well? Thus the necessity for words.

You could say the same thing for the Smooth Jazz. Although I always much more enjoyed the older harder Jazz. Though the Smooth Jazz was certainly attractive. A lot of it. And I thought it worked as a small part of a Beautiful Music format.

"But seems it became that younger people just seemed no longer able to get into instrumentals."

Young people are still into instrumentals, however its in the form of EDM, techno and trance.

As a side note, according to Wikipedia: Trance music - Wikipedia

Trance music is typically characterized by a tempo between 120 and 150 beats per minute (BPM),[7] repeating melodic phrases[7] and a musical form that distinctly builds tension and elements throughout a track often culminating in 1 to 2 "peaks" or "drops".[7]

This reads like a modern derivative of Muzak's Stimulus Progression formula.

What's changed is the overall construction of music.

Barry Manilow talks about the challenges he faces with writing music for the current time in this recent interview (around the 5 min mark):

This spoof here also makes an interesting point: (Gimme Some of That) Ol' Atonal Music - Merle Hazard feat. Alison Brown

It's poking fun at the avant-garde classical compositions in a world where "Bach and Chopin" are "melodic and passe."

We can make the same criticism of today's pop lacking in melody...

What made the BM format work was the melody in the pop hits which gave material for the arrangers to weave their magic. Without new melodies, there is nothing for the arrangers to work with. Manilow talks about this.

"Modern" is always relative to the past. There's nothing new. The classical composers from the romantic period would feel the same way about the dearth of melody. Musical styles however comes and goes.

 

[SpartaA20]

Actually that FCC non-duplication ruling was from 1964. July 1, 1964. AM-FM combos in communities of over 100.000 could not duplicate their AM programming on their FM more than 50% of their broadcast week.

I would not agree with what was above quoted. Most of the stations automated their FMs wo the main consequence was that the ruling gave a lot of business to manufacturers of automation equipment and the few syndicators offering taped programming.

As far as Beautiful Music radio was concerned there were already almost 300 stations doing that format, 200 or more of them FMs by the date of that ruling. The ruling affected 275 FMs, 102 of which were already in compliance with it. Of the 173 which had to change only 50 chose Beautiful Music. Of the affected stations in compliance 62 were among those already broadcasting that format. Though a few of the stations which did decide to change to it as a result of the order ended up doing very well in the 1970s, I do think that many of those would have changed to it anyway as the format became more successful on FM from 1966. But Beautiful Music was already a popular format on AM in many areas and had been since the early 60s and some listeners had been hearing it in a similar form on FMs broadcasting instrumental background music to subscribing clients over their main FM channel since the late 1940s.

As it was many balked at it and asked for extensions or developed ways of getting around it such as shadowcasting the same tapes at a later date etc. FCC continued to move the date back so was 1968 before most of the stations were in compliance.

Dick, thanks for this. Curious, where did you get the format adoption statistics from?

Joseph Lanza talks about the impact of the FCC non-duplication ruling in his book "Elevator Music" See pg 168:

https://www.worldradiohistory.com/BOOKSHELF-ARH/Radio-Programming/Elevator-Music-Lanza-1994.pdf

 

[Dick's History]

"But seems it became that younger people just seemed no longer able to get into instrumentals."

Young people are still into instrumentals, however its in the form of EDM, techno and trance.

As a side note, according to Wikipedia: Trance music - Wikipedia

Trance music is typically characterized by a tempo between 120 and 150 beats per minute (BPM),[7] repeating melodic phrases[7] and a musical form that distinctly builds tension and elements throughout a track often culminating in 1 to 2 "peaks" or "drops".[7]

This reads like a modern derivative of Muzak's Stimulus Progression formula.

What's changed is the overall construction of music.

Barry Manilow talks about the challenges he faces with writing music for the current time in this recent interview (around the 5 min mark):

This spoof here also makes an interesting point: (Gimme Some of That) Ol' Atonal Music - Merle Hazard feat. Alison Brown

It's poking fun at the avant-garde classical compositions in a world where "Bach and Chopin" are "melodic and passe."

We can make the same criticism of today's pop lacking in melody...

What made the BM format work was the melody in the pop hits which gave material for the arrangers to weave their magic. Without new melodies, there is nothing for the arrangers to work with. Manilow talks about this.

"Modern" is always relative to the past. There's nothing new. The classical composers from the romantic period would feel the same way about the dearth of melody. Musical styles however comes and goes.

I am not familiar with that "Trance Music" but it sounds along the lines of what I was writing for orchestra in the 80s. Highly rhythmic and based on repeating soul or disco-style riffs. For strings and horns. This Trance Music is for orchestral instruments and not electronic?

At that time we also had New Age and Smooth Jazz and Space Music which, used judiciously, could fit into the then Beautiful Music format.

Very interesting.

 

[Dick's History]

Dick, thanks for this. Curious, where did you get the format adoption statistics from?

Joseph Lanza talks about the impact of the FCC non-duplication ruling in his book "Elevator Music" See pg 168:

https://www.worldradiohistory.com/BOOKSHELF-ARH/Radio-Programming/Elevator-Music-Lanza-1994.pdf

Oh I examined each AM-FM in cities of over 100,000 population. Differs from what the FCC published back then. The only think I was not entirely sure of was whether they were going by the actual population figures at the time or just those in the 1960 census. But at that time all kinds of FMs were separating programming whether of not the FCC required them to.

I wish I were able to write as entertainingly as Joseph Lanza does. But many of us felt he quite missed the point. Especially conflating Beautiful Music with Muzak. They were different animals, though both were instrumental and, arguably, beautiful. Muzak, as environmental music, helped pave the way for the acceptance of the radio format.. But Muzak, as we came to know it, was never planned as listening music. Though much of it was quite listenable even when presented in the sonically flattened manner they used. Or so I thought.

I criticized Lanza's book when it came out. Which is perhaps why I am acknowledged in his first edition but not in the later one.

 

[Dick's History]

That was a common practice on America's Best Music.

Well that was done long before Top 40, and was common on Beautiful Music outlets too. Fill cuts. I have noticed that DJs going back through the 1930s were cutting off instrumentals and even talking over them. Except when they had station-scheduled (rather than DJ-scheduled) periods of uninterrupted recordings, often of Light Classical selections with a few concert presentations of pop music on records or ETs. Which were the recorded forerunners of the Beautiful Music programs of the 40s and beyond. Which developed into the radio format beginning in the late 1940s.

 

[SpartaA20]

I am not familiar with that "Trance Music" but it sounds along the lines of what I was writing for orchestra in the 80s. Highly rhythmic and based on repeating soul or disco-style riffs. For strings and horns. This Trance Music is for orchestral instruments and not electronic?

At that time we also had New Age and Smooth Jazz and Space Music which, used judiciously, could fit into the then Beautiful Music format.

Very interesting.

"This Trance Music is for orchestral instruments and not electronic?"

It's electronic plus sampled music. I just went on Youtube to find an example:

"but it sounds along the lines of what I was writing for orchestra in the 80s."

What kind of music were you writing for orchestra? Were your recordings heard on BM radio?

 

[SpartaA20]

Oh I examined each AM-FM in cities of over 100,000 population. Differs from what the FCC published back then. The only think I was not entirely sure of was whether they were going by the actual population figures at the time or just those in the 1960 census. But at that time all kinds of FMs were separating programming whether of not the FCC required them to.

I wish I were able to write as entertainingly as Joseph Lanza does. But many of us felt he quite missed the point. Especially conflating Beautiful Music with Muzak. They were different animals, though both were instrumental and, arguably, beautiful. Muzak, as environmental music, helped pave the way for the acceptance of the radio format.. But Muzak, as we came to know it, was never planned as listening music. Though much of it was quite listenable even when presented in the sonically flattened manner they used. Or so I thought.

I criticized Lanza's book when it came out. Which is perhaps why I am acknowledged in his first edition but not in the later one.

"But Muzak, as we came to know it, was never planned as listening music. Though much of it was quite listenable even when presented in the sonically flattened manner they used. Or so I thought."

Early Muzak were original compositions arranged to fit the Stimulus Progression architecture.

Later, the sound/library was revamped to present pop cover of hits by Jack Kent Cooke who owned the company at the time making it more "listenable." This began the era where supermarket cashiers could tell you how many versions of the song "XXX" they had heard being played.

I found an interesting blog about it here: Muzak Refresh

 

[Dick's History]

"This Trance Music is for orchestral instruments and not electronic?"

It's electronic plus sampled music. I just went on Youtube to find an example:

"but it sounds along the lines of what I was writing for orchestra in the 80s."

What kind of music were you writing for orchestra? Were your recordings heard on BM radio?

Did some arranging for music services, so background music. Was inspired by many of the Beautiful Music arrangers but was never in their class.