Oldies But Goodies and Boogie Biggies - KPOI (1972-1975)

Interview with Glen Martin conducted March, 2009

In 1968, Glen Martin got his first break in radio, at powerhouse KHJ in Los Angeles. “I was an off-the-air, part-time employee in the promotion department, hired by Don Berrigan. As a junior in college, I worked three days a week and nights when needed.” But while the experience working with legends like Charlie Tuna and Don Steele was a dream come true for a college kid, the $2.00 an hour gig hauling stage equipment and screening Battle of the Band entries was not what he had in mind for a long-term career. A friend suggested he move to Hawaii, where he got his first full-time job, engineering the board for the morning show, and then working his own nine-noon show at KORL, in Honolulu.

“My first impression was that radio there was lagging several months behind the mainland and couldn’t hold a candle to what I grew up listening to in Los Angeles. But the stations sounded pretty good and grew on you once you got used to the place. KGMB dominated the ratings, and the morning star was the late AKU. One of the Top 40 stations was the legendary KPOI where the Mighty Leader, Mike Hamlin held down mornings and was terrific in the production studio too with some incredible rock concert spots. The other Top 40 was KKUA. Both were good and very competitive with one another, but it was KPOI where I wanted to work. After a few months at cross-town KORL, I got my chance.”



Martin started out as a newscaster and board operator at KPOI. “I ran the board and played the public affairs tapes including the old Powerline show,” he said. Just two months into the job he was offered his own on-air time slot. “I took over 9AM-Noon from mid-1972 into early 1974; did PM drive the rest of 1974 and early 1975, and then AM drive my final three months there.”

Using vinyl as a promotional tool was nothing new for KPOI. In the 1960s the station put out “Twist to Radio” and “Oldies But Goodies.” In the 70s the station decided to revisit the concept.

View song listing and back of album HERE

“The “Oldies But Goodies” series was a twelve volume set and we cooked up a deal to give away individual albums and full sets with the Original Sounds records people. We slapped our own promo piece on the back of each of the albums that featured the air staff at that time.

View song listing and inside of album HERE

“Boogie Biggies” was a similar album promotion done a couple of years later. It was a double LP and we were allowed to use the full inside fold out to promote the station and did so with a photo collage of all the air staff and some of the listeners.”


The station also offered listeners singles, with “Convention Confusion,” playing up on the “break-in” record craze of the era.

“I think General Manager and Program Director Tom Moffatt came up with the idea,” Martin said. “The record was done in the election year of 1972 and was modeled off of a concept that Dickie Goodman had tried with novelty records nationally – and not with much success either until “Mr. Jaws” in 1975. “Convention Confusion” did well on the air in 1972 and we did a similar record in late ’73 early ‘74 called “Gas Lines.” It was centered on the gas shortages and alternate-day rationing that was taking place then. When “Gas Lines” too was well-received, both novelty creations were pressed onto a collector edition single and given away in station promotions.”

The records were produced and recorded at KPOI, with Martin taking over mixing and editing duties on the discs. “The writing was a collaborative effort among Tom Moffatt and a few of the air staff including myself and KC Dennis.” Members of the air staff were featured under pseudonym reporter names on the “Convention Confusion” record, and the “Gas Lines” reporter questions were all voiced by News Director, Don Smith. The records were used as on-air giveaways.

By 1975, KPOI’s management and format changes (going from Top 40 to what Martin called “Chicken Rock”—“A watered-down version of Top 40 but without the edgier rock, and more oldies”) were reasons enough for Martin to leave the islands after five years and head back to the mainland—and KFMB-FM in San Diego. It wouldn’t be the only career change he would make.

“There was already a “Martin” on the air at B-100. Billy Martin was there first and was a good guy. I thought it would be better and respectful to use something different. I had only a few hours to come up with something before my first air shift. (Paul) McCartney was hot then and the name was more showbiz than Martin so I went with it (Glen McCartney). I wound up staying with that as an on-air name for most of the balance of my radio career.”

Martin would stay in San Diego for almost ten years, before heading to Chicago (WFYR and WCLR), and later Seattle (KLTX and KJR). He left radio in 1993 to become a financial planner and investment advisor.

“I think it wasn’t the same passion for me any more. My competitive urge had been greater than other management’s at the last two stations I was at. Programming was also a job only really well done if you committed to staying on it at some level of supervision 168 hours a week. I didn’t have that left in the tank anymore, didn’t want to miss my kids growing up and didn’t really relish leaving Seattle for the next big paycheck. I’m in financial services; connected to the same company I joined in 1993, but essentially working for myself consulting primarily smaller, closely-held businesses on financial, succession and estate planning.”

Homebrew - WMYK K-94 (1980)

Interview with Wynn Evers conducted January, 2009

"WMYK 94, Love Broadcasting, from 1000 feet above Earth,
out in the woods, from the 100K watt Dismal Swamp tower."

In 1974 WMYK, or K-94 as it was known, signed on. The station broadcast rock across the Hampton Roads – the Virginia Beach-Norfolk-Newport News area of Virginia and North Carolina.

On any given day the station’s jocks made themselves visible, taking part in any number of remotes, events and contests. The promotions were wildly popular, if not notorious in the community.

“In 1980, or ’81, we gave away $25,000 to the 25th caller who called in when they heard “Another One Bites the Dust,” said Wynn Evers, the station’s 6-midnight jock. “However, when we actually aired the song, we actually locked up the phones surrounding Hampton, Virginia Beach area, knocking out phone service for the mid Atlantic Eastern seaboard.”

The telephone company wasn’t pleased.

“I believe people, as far away as Baltimore, had their phones knocked out – there were no dial tones,” he said. “They [the phone company] kindly informed us that if we pulled that stunt again, that they may pull our telephone service. So when we did the contest again, we had to notify the phone company, telling them when we were going to give away the money, in confidentiality, so they would have personnel on hand, to cover the switchboard.

In another promotion, the station produced its own “homegrown” album, Homebrew, featuring local bands, including Bull, Homegrown Vigilante Band, Bubit, Boothill Express, Streettalk, X-Raves, Sutters Gold Streak Band, Snuff, Virginia Fire Band, and Super Grit Cowboy Band

“The cover was taken at an outdoor concert that benefited MS research,” Evers said. “The photo of the air staff lineup was taken at one of those memory lane photo shops. We thought the photo would keep the theme of the southern rock outlaw sound of the album.”

DJs pictured: Randy Berner, Jim Stanley, Stella Jones, John Rodman
John Heimerl, Wynn Evers, and Mac McClellan

But while the station’s shtick was to make themselves visible to their audience, some personalities managed to maintain an illusion of character—namely the wildly popular, Zonar.

“Jim Stanley was our morning man for years,” Evers said. “He came up with a character for the morning show called Zonar.” Based on some of the fans often seen at the station’s outdoor concerts, Zonar was an outrageous, spaced-out, Tommy Chong-styled personality, who instantly took off with listeners.

“The listeners thought Zonar was real,” said Evers.

In reality, the character of Zonar was produced each day prior to the Stanley’s next show. “Jim would pre-record all Zonar drops onto a cart and then he would just interact with Zonar, who was on tape.”

To seal the deal with the listener, Jim Stanley dressed up as Zonar, complete with wig and beard, and appeared at one of the station’s Portsmouth concerts. “We brought Zonar out to emcee. Once people saw him at the concert [about 25,000 people], he was real to the listeners.”

In 1983, WMYK’s run would end, when WNOR and shock jock Henry "The Bull" Del Toro would dominate the market. Sensing a need to reinvent itself, WMYK changed its format to new wave-modern rock, a format that had taken off on the West Coast. “That was not the case in Virginia,” Evers said. “Basically it was the death of that station. East coast wasn’t ready for it.”

After less than a year playing Talking Heads and New Order, the station changed its format again—to urban contemporary, and was known as "K-94 The Rhythm of the City.” After several additional format and call letter changes, the station is now known as WPYA, and is now a “we play anything” Bob format station.

Evers left the station in 1986 for a production director gig at WNOR. He left radio in 1992 and is currently a successful commercial voice talent.

“It was a great place to work. When I went to a couple of other stations, before I got out of radio, it wasn’t the same. Those days of radio are gone.”

The WFUN Good Guys - 22 Original Winners (1964)

Interview with Bill Deane (James Madison Bey) conducted January-February, 2009

DJs pictured: Dick Starr (diving mask), Al Dunaway (with red ball), Jim Howell (on pink raft), James Madison Bey (almost submerged), Bill Holley (on blue raft), and Greg Warren (in the middle).

In 1963 Bill Deane was working a jock shift at WFUN, the number one station in Miami, when all hell was about to break loose. “Station owner Robert Rousaville let the great creator Bud Connell go because Gary Stevens and Frank Ward were making such a political mess to gain control of the station,” Deane said.

“Frank's aim to take over the Connell post had failed though he remained as PD before Bill Holley. I was the last of the seven originals to leave. Art Sully, who had never run a top 40 operation, came in from Atlanta and immediately lost the number one rating to WQAM.”

Deane then got a gig in Ft. Lauderdale radio, and on Channel 10 in Miami – when he got a call to come back to WFUN.

“Sully rehired me on the condition I change my name. He said, ‘We don't want anyone to think we are trying to return to the original (Connell) WFUN programming’.” I was beginning to get into news in a big way and chose my father's name, Russ Deane, which was OK'd by Sully, when I did the news. I then came up with Jay Madison Bey when I DJ.'ed. I thought it would be memorable when the survey people called.”

In an effort to regain the ratings it once had, WFUN jocks took part in numerous promotional events – including appearing on the album cover, WFUN Good Guys 22 Original Winners (Roulette 25273).

“We did lots of promotions, and this was just another. We did the watermelon seed spitting contest at a super market, the miniature golf appearances, DJ’ed stock car races, and this album was just another of the many, many appearances,” Deane said.

Shot in a backyard pool, in a residential area, near the station, the idea for the cover shoot possibly came from PD Holley or Dick Starr. “Holley came from KBOX, in Dallas, but seems like this is the perfect Miami idea and not something he would have carried from Texas,” Deane said.

Absent from the photo shoot was morning jock, Jack Perrington. “I think he was still at the station – could it be that Holley and Starr wanted him out of the picture as he was much older than the rest of us?”

Deane left WFUN in 1965, when he took a job at WBBF, in Rochester, New York. “I was hired by one of the most dedicated broadcasters ever, Bob Kieve, to head his nine-person news staff. In Miami, I never attended a city council or school board meeting. I didn’t have to as there was some crazy story by-the-hour. When I went to Rochester I knew if I wanted to cover local news I’d have to go and get it. I did with Kieve's support and thanks to his instruction and backing.” Kieve is now running all-news KLIV, in San Jose.

After working in Rochester, Deane went on to KBTR, Denver, and KYW, Philadelphia, before working as an editor at ABC News and an assignment editor at CBS News.

“I retired a couple of years back and busier than ever,” he said. Among the project he’s working on is a book on the CIA. “It's been a tough but good and rewarding life.”

The voice of My Home Town - Terry Jenkins

For as long as Marie Therese Leahy could remember, she was always performing.

“I first sang at the Capitol Theatre, in Austin, on the kiddie show,” she said. “If you were asked to perform, you got in free to the movie that day, and got two passes for later in the week. America was in the middle of a depression so I went to the kiddie show every Saturday and got on, and got my tickets.”

By 1941, she would find herself entertaining on another stage – in front of the troops, at one of the several bases around Austin. “Mr. John Peninger, who was a friend of my dad’s, was head of the USO in Austin and asked if I could be on the USO shows - I was only 14 at the time,” she said. Terry, as she was starting to be called at the time, would find herself singing before thousands of soldiers at Camp Swift in Bastrop, or at Bergstrom Air Force Base in Austin. “I would perform on a flat bed truck, driven out into a field, and there would be five thousand young men waiting to be entertained.” She would later be crowned Queen of Melody of Camp Swift. “What a treat that was, but I well chaperoned as my dad was quite strict.”

After she graduated high school, in 1945, she continued to perform with the 8th Service Command Band, while continuing her education at SMU, in Dallas. “I was a student at SMU, and a producer heard me sing, and that’s how I got on the radio, on WFAA,” she said. The program, called Dream Nocturne, was a popular nighttime feature, showcasing local vocalists. Within two months, she was promoted to the morning show at the station, The Early Birds. “It was much like the Breakfast Club in Chicago,” she said. “All of Texas and the surrounding states listened. Dale Evans go her start there, and the Cass County Boys. We had a full orchestra, and depending on how many sponsors, sometimes we had a really big orchestra.”

Going from a late night to an early morning show wouldn’t be the only change she would experience during that time. “The announcers couldn’t pronounce my last name, Leahy, even though there was a famous coach at Notre Dame [Frank Leahy] and a former admiral in the Navy [William Leahy].” So they gave her a new name—Terry Lea.

Photo from the WFAA Early Birds 25th anniversary program.
Courtesy of Terry Jenkins.

After her stint with WFAA, she would lend her voice on commercial jingles, working with Tom Merriman and the Liberty Broadcasting Network, and later James Earl “Pop” Sellers (who founded the first independent recording studio in the Southwest) before “settling down, getting married, and having children,” but she would soon return to radio—singing a different tune.

In the mid 1950s her old friend, Bill Meeks, contacted her. The two had known each other when Meeks played in the Early Bird Orchestra during their time together on WFAA. He was starting up a new company, the PAMS Advertising Agency, and was looking for singers to perform spots for advertisers.


“I kept very busy doing commercials,” she said. “I have no idea how many I did, probably 12,000. One day I cut 54 jingles in one day. I would cut the jingles and go home and take care of my family.” She is featured, most prominently on PAMS jingles packages Series 8 (1958) and 10 (1959).

While the concept of using catchy tunes to promote a product was nothing new, the idea of using a full length song to promote a radio station was. In 1960, Meeks came up with the idea of creating a standard 1:30 music bed, entitled “My Home Town” (in the "Sound of the City" - Series 16 jingle package). The song bed, written by Euel Box, was pitched to radio stations from Abilene to Winston-Salem. Localized lyrics would be penned by the jocks, or other staffers, which would then be performed by Jenkins, for the custom jingle. However, more often than not, the amateur songwriters would cram as many words as they could into the canned music bed. To make the recording session more interesting, due to the two-track recording system, Jenkins would have to sing not only the lead straight through, but also the harmony, in one take. “I couldn't make any mistakes," she said. "But when you have a natural gift, given by God, you just do it,” she said.

It's estimated that there are over 100 different versions of "My Home Town."

Listen to a sample of this record here .

“That was the genius of Bill Meeks – he was a very talented young man,” she said. “He was always looking for new ideas.”

On at least one “My Home Town” recording (WTAW in College Station), PAMS singer Claire Stewart is credited as the singer. “I knew Claire from WFAA,” Jenkins said. “She was this darling blonde, very saucy singer. I was more Dinah Shore, while she was more Peggy Lee.” However, a comparison of the vocals reveals that Jenkins is actually the singer.

Listen to a sample of this record here .

While Terry was consistently the main singer on these records, her name credit on the singles is anything but. Variations on her name have included “Terry Lea," "Terry Lee,” “Terry Lea Jenkins," and "Terry Lee Jenkins."

“I’m not sure how that happened,” she admitted. “I think someone might have just made a typo from the Lea to Lee. I never asked for my married name to be on them.”

Terry Jenkins would stay with PAMS for several years, “I just got older and my children got older,” she said. “I just quit and PAMS was going down at the time, and it was just time to leave.” PAMS would to cease operations in 1978. Meeks would pass away in 1999, at the age of 78.

Now 80, Jenkins has stayed in Dallas where she and her (now late) husband Jim raised four children. She is active in her church, but refrains from the hymns. “Old singers never die they just fade away.”

Photo of Terry Jenkins and the author taken
January 19, 2009, in Austin.

Memories of KFJZ (1974)

It's amazing what you find when you clean out boxes you haven't gone through in decades. While not vinyl related, allow me the first post of the new year to share a fond personal radio memory of my past.


In 1974 I was 13-years old, living in Fort Worth, dreaming of marrying Rod Stewart. Every night I would go to bed with a transistor radio under my pillow, listening to John Records Landecker's "Boogie Check" on a weak signal all the way from WLS-AM in Chicago—what seemed like a world away.

While my William Monnig Middle School friends wanted to become teachers or actresses, I wanted to be in radio.

My favorite local radio station was KFJZ-AM. My best friend Tracey and I were dedicated listeners. We knew every song on the weekly hit list, and probably attempted to win every single call-in contest they ran. On one particular afternoon, after hearing the seemingly constant sound of a busy signal, I was "lucky caller number five," and picked up The Sweet’s Desolation Boulevard album. I’ll never forget it when Christopher Haze, the 3-6:00 p.m. jock, told me to stand by, because he was actually putting me on the radio. I nearly froze when he asked me what my favorite station was – but there I said it, in my best Metroplex twang, for all of Dallas/Fort Worth to hear – “K-F-J-Z!”


Everyone at Monnig religiously listened to Mark Stevens. He had the coveted 6-10 p.m., shift, and was considered Fort Worth radio royalty. His daughter, Kimmie, was in my class, and by default, was easily the coolest girl in school, due to the parental celebrity factor.

The Mark Stevens show featured sidekick favorite, Biff Burns. In between Chicago, Paul McCartney and Grand Funk, the two would banter back and forth - Mark playing the straight man, to Biff’s bumbling goof, with the perfect punch line at the end of every bit.

(Recording made by holding my Sears portable recorder
condenser mic, up to my transistor radio)

After Mark Stevens wrapped up, L. (Larry) Shannon would take over the airwaves. Call it junior high naiveté, but it never dawned on me, until probably 20 years later, that Biff Burns was actually Shannon. I guess that was the wonderful thing about radio back then.

One night I called Larry Shannon to request a song (probably “Life is a Rock”). He said he would play it, and then, instead of hanging up, he asked what my name was and where I went to school. I told him, and then he literally opened the door – he asked what I wanted to be when I got out of school. You know that scene in “A Christmas Story” when Ralphie’s mom asks him what he wants for Christmas? Yeah, it was like that – a golden opportunity. I told him I wanted to be in radio.

“Hang on a second, let me get into this next record,” he said.

For the next 30 minutes, through segued songs, weather forecasts, and commercial breaks, we talked about radio. The conversation, in between the “stay in school” message, hit the highs and the lows of life as a disc jockey. “You’re going to have to work a lot of overnight shifts in this business, but it’s worth it to get your foot in the door,” he said. I absorbed every sentence. I would call him again, a couple of months later, to tell him that I was moving to Oklahoma, and that I wouldn’t forget him taking the time to talk to me that night.

Five years later I got my first gig – changing out reel-to-reel tapes at a “beautiful music” station, in Pueblo, Colorado. Yes, it was the overnight shift – but I had my foot in the door.

Sun Country Harvest – KBIM (1989)

Interview with Bob Miner conducted December, 2008.


Side One:
Hagerman My Island - Sam Dunnahoo
Fill My Soul with your Magic - Annie Johnson
You Made Me Love You - Paul H. Byron
Southwest Friends Old and New - Robert Miner
Roswell Incident Rap - Russ Burch

Side Two:
I’ve Got New Mexico on My Mind - Jere Lowe
Llano Estacado - Kim Blakely and Timberline
Willie Lee - Frances Davis, Gary Beevers and Tom Cox
Pickin’ (On New Mexico) - Charles Davis
Juanita from Bonita - Nowlin Tubbs
Southwestern Light - Maureen T. McGinn

(AUTHOR'S NOTE: OK, let’s get this out of the way - technically this is a television station release. I tend to have blinders on when it comes to these albums. If it has “K” or “W” call letters on them, I buy them. Also, yes this is my second blog entry, about a New Mexico album, in three months. I send out dozens of e-mails, to the jocks and artists who appear on these comps, and then I wait…and wait. Thankfully I received a reply from a jazz musician out of Albuquerque, who appears on one of my newest acquisitions, KBIM - Sun Country Harvest.)

In the late 1980s, saxophonist Bob Miner was playing in the local Roswell-Carlsbad area band, Cielo. He was finding steady work playing weddings and special events at churches and at Lucy’s in Carlsbad, and out in Artesia. “When in Rome, play Roman polkas and cumbias,” he admitted. “I had a delightful time, made some life-long friendships and expanded my musical background.”

However, Miner loved playing jazz. Unfortunately the chances of being “the next Charlie Parker of Roswell," a town built around little green men and space ships, were slim. “We don't live in an artisan's society in this day and age, so making a living as a musician is more-often-than-not a losing proposition,” he said. “I was one of two jazz guys there.”

It just so happened that local television station KBIM was looking for hometown bands and performers to appear on an album compilation. Miner saw an opportunity—both personally and professionally. "The proceeds were donated to the Cancer Foundation and at the time my Mom had cancer, and subsequently passed away from it. So it was kind of a way to channel my enjoyment of playing toward a good cause—with a personal twist.”

He decided to enter “Southwest Friends Old and New.”

“It was just a recent composition. I thought it came out pretty good, so I entered it."



Southwest Friends, Old and New - Robert Miner and Charles Davis

While the entry stood out as the only jazz performance on the record, the album did not receive any support from local radio. “I did get a spot or two on TV commercials promoting the sale of the album for charity,” he admitted. “I got my 15 minutes of fame on the local TV channel, and I have the album framed on my wall as its my first published work.”

Miner would soon leave southern New Mexico for El Paso, and then, in 1993, find a more appropriate place for his craft, the big city of Albuquerque. “There is much more opportunity here for jazz,” he said. “I did a solo gig for a few years while weaving my way into the fabric of the local music scene.” It was at one of his shows that he would meet guitarist, Ben Martinez. The two were sidemen on a gig, when Martinez approached Miner to join a band he was putting together, the Ben Martinez Project.

BMP, with its traditional jazz, funk, modern jazz, Latin, rumba, urban and polyrhythmic jazz sound, would go on to win four New Mexico Music Award honors, and just returned from playing the Texas Jazz Festival—the band’s thirteenth appearance at the annual event. Miner still performs in the band, and is currently working on his first solo release.

KXXK "The Groovy One" (1968-1971)

Interview with Dick Roth conducted November, 2008


One of things I've enjoyed about this blog (and my accompanying Web site, radiouseonly.com), is meeting so many people who used to work in radio, and were a part of these recordings. What's been equally exciting is meeting so many people who have helped me locate some wonderful hidden gems.

Case in point: Last month the local Austin paper did a nice feature on my Web site. As a result I received a wonderful e-mail from a gentleman who asked if I would be willing to give a good home to some radio records he had.

He's a local salon owner, who had a long time client named Don Selden. Don was a professional percussionist by trade who, along with performing with the Dallas Symphony and local jazz bands, would often work on radio station jingle recordings in Dallas. What this wonderful, generous gentleman had to give me were three 10" records, containing over 40 different jingles for Dalllas radio station KXXK - featuring his friend Don Selden.



Sample of KXXK jingle (circa 1968-1971)

According to Mike Shannon's wonderful tribute site to Dallas/Fort Worth Radio:

KXXK, Dallas. Call letters established 5/25/1968. Format: Adult Contemporary (fashioned after WPIX-FM in New York, according to Jack Darden; a "watered-down KIXL, with light pop hits," according to Art Riley.) Owner: Dawson Communications Inc. (purchased 4/4/1968.) Notables: Roy (Royce) Applegate aka Jimmy Kemper (later a character actor,) Joe McChesney (PD; known better as "J. Morgan Van Buren" on KBOX in the mid-1960s,) Jack Darden (5/1968-11/1969,) Marshall Martin, Lee Bales , Charlie Whitaker (OM,) Dick Roth aka Dick Marshall, David Hultsman, Art Riley, Irene Runnels , Lynn Christian (SM.) Remained located at Suite 257B in Exchange Park, and upgraded power to 60,300 watts "circular polarization," as the station called it. Transmitter was in the basement with the studios, and the tower was mounted to the building's roof...despite being dangerously close to Love Field flight patterns!


"The KXXK disk you are referring to is very clear in my mind as I had a slight hand in it at the time," said former station disc jockey Dick Roth (aka Dick Marshall). "In late 1968, Gordon McLendon of McLendon Broadcasting had brought me back to Dallas from KABL AM/FM in San Francisco, CA where I had been working weekends as a newsman, DJ, and automation/control room engineer. I had just gotten out of the service and worked at KLIF/KNUS through the summer of 1969 when McLendon wanted me to go down to KTSA/KTFM in San Antonio to help set up their Shaffer Automation system. I was to work on the air, and be the assistant Chief Engineer for Coleman Barber who was the current CE. The problem was that the job didn't start until January of 1970. So Lenny Henderson (cousin Lenny), who was working the night shift at KXXK and I literally swaped shifts at the end of the summer. He came to KLIF, and I went to KXXK."

At that time, KXXK was owned by Dawson Communication and was being managed by Moe Gardner, engineered by Lee Bales (a McLendon alum), and programmed by Joe McChesney (from WRR and another McLendon alum). "Because I sang for one of the PAMS of Dallas 'Jingle Groups' once or twice a month, and Joe valued my opinion, on my second day of work, Joe, Lee and David Beckham, (one of the stations 'board ops'), called me into the production room to listen to those jingles, and let me hear the new campaign and direction the station was going to take. We listened to the entire package and collectively decided which jingles to recomend to Moe Gardner as the start-up rotation."

Janie Fricke and I both sang for PAMS and TM, together and at different times during the sixties and seventies, however I didn't have anything to do with the production of these jingles. The lead female voice on these jingles sounds like Peggy Lauren who was one of the other people that sang in our circle. There were several, (interchangable) groups singing in those days and you couldn't always get them all together at one time so there were often 'subs' in each group at any given session."

Roth left the station in early January, 1970. In 1971, KXXK became KOAX - a beautiful music station. The successful format would last until 1985. The station then went through numerous format changes, and is known today as KLLI "Live 105.3."