Anyone listening to the yacht rock weekend on klos

[ChannelFlipper]

When I first saw that thread start, for a moment I had the fleeting thought Roger, Pete, John and Keith Moon had reunited for a mixshow. (Of course, that's impossible since Keith Moon departed this planet almost precisely 47 years ago, and John Entwhistle in 2002.) It would be interesting, though, if the remaining members did reunite: Both Daltrey and Townshend are octogenarians.

Oh, they have been touring, but the results have been....mixed, at best.

The Who's Roger Daltrey Calls Zak Starkey Criticism 'Incredibly Upsetting'

The Who's Roger Daltrey criticized ex-drummer Zak Starkey for comments he made after his outer, calling them 'kind of a character assassination.'

www.rollingstone.com

I remember seeing them on their "farewell tour" at the Coliseum in 1989. Much better then.

 

[K.M. Richards]

I remember seeing them on their "farewell tour" at the Coliseum in 1989. Much better then.

I would certainly expect that to have been the case. Even Mick Jagger announced his retirement from performing a couple of years ago, and he is a contemporary of Daltrey and Townshend.

 

[davideduardo]

So how many hours of brokered talk does KLOS air on Sunday morning?

Most of that is not "brokered talk". It is programming intended to fill the station's need for content required to get license renewal.

For over half an hour it's been a show about buying gold and silver. Nothing on their website about it. Public affairs programming is not usual, but brokered talk on a major market music FM is.

It is indeed unusual, but likely they have an open space and decided to sell it rather than put a short block of music in. If it were me, I'd just roll back the end time of the PA shows and get back to the format earlier.

To answer my own question going by the music log 6:30-8am...back on board now with Captain Stu Bing!

Ok now that Kenny Michaels Gold Show is back on. Does KLOS need revenue this bad on a Sunday morning???

Good question. Someone is putting revenue ahead of good programming.

 

[davideduardo]

Since it's LA, and most of these records were recorded in LA, I'd point out the obvious LA connection. But that's just me.

I know you are well informed about how music is recorded, when and where. But do you think that the average LA resident who is not a native Angelino really cares about where songs were recorded or any details about that kind of information?

This is sort of in the category of "how many times does radio have to say This is from the first Fleetwood Mac album that included Stevie and Lindsey?"

 

[TheBigA]

I know you are well informed about how music is recorded, when and where. But do you think that the average LA resident who is not a native Angelino really cares about where songs were recorded or any details about that kind of information?

Most don't. But we're talking about a very unique station in a very unique city. We talk all the time about live and local, making your presentation relevant to the audience, connecting in some way. Just saying very briefly (ten seconds or less) that the music they're hearing was actually made right here might help connect 50 year old songs to an audience who doesn't understand why KLOS is playing yacht rock.

 

[Yabadabado1]

I know you are well informed about how music is recorded, when and where. But do you think that the average LA resident who is not a native Angelino really cares about where songs were recorded or any details about that kind of information?

This is sort of in the category of "how many times does radio have to say This is from the first Fleetwood Mac album that included Stevie and Lindsey?"

So basically you're saying the Casey Kasem version of AT 40 probably wouldn't work today since he gave some "factoids" about the songs he played?

 

[radiofan2023]

So basically you're saying the Casey Kasem version of AT 40 probably wouldn't work today since he gave some "factoids" about the songs he played?

That was a nationally and internationally broadcast syndicated countdown show, completely different from what BigA is talking about.

 

[K.M. Richards]

I know you are well informed about how music is recorded, when and where. But do you think that the average LA resident who is not a native Angelino really cares about where songs were recorded or any details about that kind of information?

This is sort of in the category of "how many times does radio have to say This is from the first Fleetwood Mac album that included Stevie and Lindsey?"

So basically you're saying the Casey Kasem version of AT 40 probably wouldn't work today since he gave some "factoids" about the songs he played?

That was a nationally and internationally broadcast syndicated countdown show, completely different from what BigA is talking about.

I think your point is valid, if you back to what David said. He compared BigA's suggestion about pointing out what he called "the LA connection" to the audience, but I also have my doubts that integrating that into the local KLOS presentation would be as welcomed as he appears to believe.

"Over chatty" DJs are the reason that so many listeners have gone to jockless music streams. Casey was an exception because the audience expected it from him. And let's face it, no one was ever as good at it than him. Part of that was his writing and research staff, but you cannot discount his on-air personality.

 

[KilowattKat]

Most don't. But we're talking about a very unique station in a very unique city. We talk all the time about live and local, making your presentation relevant to the audience, connecting in some way. Just saying very briefly (ten seconds or less) that the music they're hearing was actually made right here might help connect 50 year old songs to an audience who doesn't understand why KLOS is playing yacht rock.

I once heard a produced intro to The Doors LA woman on KLOS that briefly talked about the band's legacy in LA. That was the only one I've ever heard so far. So they have done it during regular format.

 

[ChannelFlipper]

That was a nationally and internationally broadcast syndicated countdown show, completely different from what BigA is talking about.

A great example of how this can be done effectively is Little Steven's Underground Garage on SiriusXM. The DJs give information on just about every song that is played for us music geeks (including original release date and record label) as a back announce, but it is done in a fast, unobtrusive way that is consistent with the format. I don't believe it alienates the regular listeners who are not interested.

It can be done if the programmers are interested an willing to do the work.

 

[TheBigA]

"Over chatty" DJs are the reason that so many listeners have gone to jockless music streams.

Not the ONLY reason. Other good ones are the number of commercials and the ability to make your own playlist.

I'm not advocating "over chatty DJs." In fact I specifically said it could be done in 10 seconds. Once again, this is a unique station in a unique city, They're doing a holiday weekend special. Why not make it more special by connecting the music with the audience? It's not that hard to do. I already gave two examples off the top of my head. Apparently Matt Pinfield feels the same way. It's what I'd expect from Matt.

 

[radiofan2023]

A great example of how this can be done effectively is Little Steven's Underground Garage on SiriusXM.

People pay for SiriusXM, they don’t pay for KLOS.

 

[TheBigA]

When we're talking about yacht rock, it is almost completely an LA thing. LA artists, songwriters, musicians, studios. And a lot of those songs were then played on LA radio, including KLOS. That's what we're talking about here.

Consider the Doobie Brothers. Originally a San Francisco band. They were signed by Warner Brothers, who connected them with Ted Templeman. He moved them to LA, and they recorded almost all of their hits in Burbank. There they were introduced to Michael McDonald at a time when the band's lead singer and principle songwriter Tom Johnston was looking to take a break. Poof, they get reinvented into the classic yacht rock band. And it all happened in LA.

I saw KLOS just played Diamond Girl by Seals & Crofts. Not exactly who you think of as yacht rock. But this particular album was made in Hollywood at the Sound Factory with LA musicians who became part of Toto, a core yacht rock band.

 

[davideduardo]

When we're talking about yacht rock, it is almost completely an LA thing. LA artists, songwriters, musicians, studios. And a lot of those songs were then played on LA radio, including KLOS. That's what we're talking about here.

You know, up until you started mentioning it, I never thought at all about how many songs (particularly the ones called "Yacht Rock") came from LA studios. Where a song was recorded never was a point of interest to me, partly because I never found it to be very important to listeners, either.

Consider the Doobie Brothers. Originally a San Francisco band. They were signed by Warner Brothers, who connected them with Ted Templeman. He moved them to LA, and they recorded almost all of their hits in Burbank. There they were introduced to Michael McDonald at a time when the band's lead singer and principle songwriter Tom Johnston was looking to take a break. Poof, they get reinvented into the classic yacht rock band. And it all happened in LA.

Interesting, sort of. But as a person who actually likes the overall yacht rock sound, I have zero interest in those facts overall

I saw KLOS just played Diamond Girl by Seals & Crofts. Not exactly who you think of as yacht rock. But this particular album was made in Hollywood at the Sound Factory with LA musicians who became part of Toto, a core yacht rock band.

This is sort of like knowing the ingredients in a hot dog.

 

[TheBigA]

Interesting, sort of. But as a person who actually likes the overall yacht rock sound, I have zero interest in those facts overall

I have no interest that you have no interest.

 

[davideduardo]

I have no interest that you have no interest.

My point is that most listeners share my opinion. I've seen that fact in perceptuals for everything from CHR to Alternative Rock.

 

[TheBigA]

My point is that most listeners share my opinion. I've seen that fact in perceptuals for everything from CHR to Alternative Rock.

It depends on the format. If this was a soft AC station that always plays yacht rock, I'd say you're right.

But this is KLOS. Your boy Pio Ferro isn't creating a station built around a music jukebox. He's building a station built around passion and fun. He said so in this interview I've posted several times in this thread.

The last element Ferro and I discussed was a willingness to color outside the lines if it added to the fun vibe of the radio station. On April Fool’s Day, the station went all Yacht Rock, including a midday host who called himself Captain Stu Bing, which will only mean something to those people old enough to remember The Love Boat. They are also working on the return of the 5 O’clock Funnies, a long-standing KLOS tradition that Ferro is excited to revive. And that overall focus on having fun is likely the part of the transition Ferro is most proud of, “It’s just much friendlier. It’s like, hey, come in. We’re having a great time.”

Radio is not one thing. Programmers don't approach every format the same way. Pio is taking a classic rock station, playing active rock, and occasionally throwing in a curve ball with yacht rock, which in some ways is the antithesis of what a classic rock station would do. But that's not what Pio Ferro is doing, and he's having success.

Read the rest of this interview, because it made me a fan of Pio.

How 95.5 KLOS Achieved Its Best Ratings in Over 30 Years

Little of what we discussed isn’t available to most stations in markets of any size. The success isn’t a Los Angeles thing; it’s a radio thing.

barrettmedia.com

 

[davideduardo]

It depends on the format. If this was a soft AC station that always plays yacht rock, I'd say you're right.

But this is KLOS. Your boy Pio Ferro isn't creating a station built around a music jukebox. He's building a station built around passion and fun. He said so in this interview I've posted several times in this thread.

But my point is that the passionate fan is likely to have close to zero interest in local recording, studios, recording sessions, record labels, and the like. They may have some interest in the artist themselves, but radio has a real issue of not duplicating “old news“ that is already readily accessible online. And it is rather tiring when repeated on the radio.

Radio is not one thing. Programmers don't approach every format the same way. Pio is taking a classic rock station, playing active rock, and occasionally throwing in a curve ball with yacht rock, which in some ways is the antithesis of what a classic rock station would do. But that's not what Pio Ferro is doing, and he's having success.

And Pio, who is the product of an immigrant family in a mostly immigrant community is going to realize that today’s Los Angeles audience is, similarly, mostly from somewhere else. They just do not have any interest in Los Angeles minutia.

Back in his KLVE days Pio was daring enough to put an all south dance show on Saturday evenings on a soft ballad, romantic station. He has always been very conscious of different needs at different hours and different moments. Obviously he finds holiday weekends to be a “different moment “and worthy of doing something that stands out even if it is not the same songs that they play 360 days of the rest of the year.

 

[TheBigA]

But my point is that the passionate fan is likely to have close to zero interest in local recording, studios, recording sessions, record labels, and the like

Yet passionate fans take studio tours, visit the Grammy museum, and love the facts and details about the music they love. They do it every day in LA.

I'm not saying they should do this all the time. Just do what Matt Pinfield did today, and connect the dots. It what DJs have done from the beginning. Otherwise, they can save a lot of money by not hiring any talent, and just play the music with no commentary. Like they do on several other LA stations. That's not what Pio is doing. He's built a station around heritage local talent who know the market, the music, and the culture.

Pio, who is the product of an immigrant family in a mostly immigrant community is going to realize that today’s Los Angeles audience is, similarly, mostly from somewhere else. They just do not have any interest in Los Angeles minutia.

That's not who he's programming to at KLOS. He knows that. He's aiming at a very narrow target. Apparently he knows what he's doing.

 

[K.M. Richards]

When we're talking about yacht rock, it is almost completely an LA thing.

Tell that to Buddy Shula, who runs that format 24/7 on one of his stations in Florida.