Further Fab Four Firsts

(Edited since first posted.)

Back before Christmas, I dispelled the myth that Carroll James of WWDC in Washington played the first Beatles record ever heard on American radio, on December 17, 1963. It is, as I wrote at the time, a widely believed tale, especially since it appears in one of the most acclaimed of all Beatles biographies, Philip Norman’s Shout! The Beatles in Their Generation. But it’s flat wrong. WLS in Chicago was on “Please Please Me” as early as February 1963, and the preponderance of the evidence suggests that Dick Biondi of WLS was probably the first American jock to play it.

If not first to play any Beatles song, Carroll James was likely the first American DJ to play “I Want to Hold Your Hand,” on December 17. The charming story is that he got a copy of the UK single from a 14-year-old Beatles fan. I have also read that James was given a copy to help promote the Beatles’ first American concert, scheduled for DC on February 11, 1964. But according to Wikipedia (so who the hell knows), Capitol Records took legal measures to stop the proliferation of “I Want to Hold Your Hand,” which was scheduled for mid-February release, so maybe not. (The label may have looked into such measures, but they couldn’t have actually done much, given that they eventually set it for release on the 26th, especially since Christmas fell in that nine-day window between the 17th and the 26th.)

There are radio-station music surveys showing WGR and WKBW in Buffalo playing “I Want to Hold Your Hand” by late December, and they would likely have been playing it before they charted it, and within no more than a day or two of December 17. Again according to Wikipedia, the single made its way from James to other DJs in other cities, supposedly prompting Capitol’s legal steps, whatever they were. So perhaps the Buffalo stations got it that way.

Because of their proximity to Canada, WGR and WKBW may deserve credit for some American Beatles firsts, or close-to-firsts. Capitol had steadfastly resisted releasing Beatles product in the States until “I Want to Hold Your Hand,” but had been putting out singles in Canada since the spring of 1963, although their September release of “She Loves You” was the first shipped in significant numbers. Before that, the Beatles singles that got American release on tiny labels like Vee Jay, Tollie, and Swan were imported to Canada by the Polydor label(no they weren’t, as the mighty Yah Shure clarifies below) and it would have been like falling out of bed for some radio guy in Buffalo to cross the border, buy a few, and bring ’em back instead of waiting for Capitol to get off the dime in the States. But the Buffalo stations couldn’t have been playing Canadian copies of “I Want to Hold Your Hand” in late December. It wasn’t released by Capitol of Canada until January 11, 1964.

“She Loves You” was another matter. It wouldn’t get an American release on Capitol until April 1964, but it had come out on Philadelphia-based Swan on September 16, 1963, the same day Capitol released it in Canada. It shows up on a number of Canadian stations at ARSA during the last couple of months of 1963, and on WGR for the week of December 27, although the station had been playing it for at least a week before. So WGR’s copy had to be either on Capitol of Canada or Swan.

But it was not a DJ in Buffalo who got a gold record for “She Loves You.” And it was not Dick Biondi—or Carroll James, for that matter—who was officially honored as the Beatles’ first American DJ/benefactor. That honor went to Dick “the Derby” Smith of WORC in Worcester, Massachusetts, who received a gold record from the Beatles for his efforts in promoting “She Loves You,” which was on WORC as early as November 1963.

That strikes me as a rather important bit of history, one that solidly preempts any claim Carroll James had to being the first American Beatle-jock, and it’s hard for me to believe that Philip Norman never came across it in his research for Shout! But I’ve got to be halfway compassionate, too—I have made similarly egregious mistakes at this low-rent blog many times over the years.

(Tip o’ the baseball cap to Matthew, the high sheriff at Ultimate Classic Rock, for tipping me to Dick Smith’s story, and for being so gracious about my correction to the site’s Carroll James story. Not everybody on the Internet would been civil about it.)

4 responses

  1. “The charming story is that he got a copy of the UK single from a 14-year-old Beatles fan”

    According to Beatles historian Bruce Spizer (‘The Beatles’ Story On Capitol Records, Part One: Beatlemania & The Singles’) Carroll James had a BOAC stewardess deliver a copy of the Parlophone 45 after 15-year old Marsha Albert had sent him the letter asking him to play it.

    “Before that, the Beatles singles that got American release on tiny labels like Vee Jay, Tollie, and Swan were imported to Canada by the Polydor label”

    This is not true. Vee-Jay and Swan already had Canadian licensing affiliations in place through Reo and Quality, respectively (and Vee-Jay’s Tollie subsidiary didn’t exist prior to 1964’s “Twist And Shout” on Tollie 9001.) Not that it would have mattered, since Capitol of Canada already had exclusive Canadian rights to any Beatles product issued by those labels, which it had released all along. Once the tide hit the states, US Capitol instructed Capitol of Canada to mirror any further US Vee-Jay or Swan Beatles singles for the specific purpose of preventing any non-Capitol American product from being imported into the provinces. Hence the “Do You Want To Know A Secret”/”Thank You Girl” and “Sie Liebt Dich”/”I’ll Get You” Capitol of Canada 45s, even though neither pairing ever attracted any Canadian radio or retail interest. None of Capitol of Canada’s first three pre-Invasion Beatles singles sold squat, anyway.

    The Tony Sheridan/Beat Brothers/Beatles Polydor material was issued in Canada through the American label affiliations: Decca (Compo) in 1962, then Atco (London) and MGM (Quality) in 1964.

    I don’t think there’s much doubt that Carroll James was the first US DJ to play “I Want To Hold Your Hand,” but how any Beatles scholar could misconstrue that into being “first to play *a* Beatles record in the US” and not question it is flat out inexcusable.

    It also bears mentioning that the dispute between Vee-Jay and Capitol’s Beechwood Music publishing subsidiary over clearance rights to “Love Me Do” and “P.S. I Love You” (which had forced Vee-Jay to drop both songs from subsequent ‘Introducing The Beatles’ pressings) would briefly benefit Capitol’s northern affiliate. For a time, Capitol of Canada’s “Love Me Do” 45 was being imported into the US in sufficient quantities to earn airplay and chart in Billboard. It wasn’t until Vee-Jay and Capitol finally settled that Vee-Jay was able to issue LMD/PSILY domestically as Tollie single 9008.

    1. Further evidence, as if any were needed, that Yah Shure is The Man. Thank you sir.

  2. […] being noted in some circles. My man Jim Bartlett, for instance, recently did some good work on the earliest American DJs and radio stations to play Beatles […]

  3. […] —We corrected a widely misremembered piece of Beatles trivia, and elaborated on what we found. […]

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: