Thirty years ago today, I became a real Top 40 radio guy for the first time. Ten years ago, I blogged about it. Here’s a portion of that post, lightly edited.
By 1984, The Mrs. and I had moved on to Macomb, Illinois, where I had joined WKAI-AM and FM. I’d come in with the station’s new owner that spring. Because Macomb is the home of Western Illinois University, it seemed obvious to us that a Top 40 format on our FM would be a sure winner. So throughout the summer of ’84, we planned the switch. I was going to be the station’s program director. . . .
I sometimes think that the changes at the station were terribly hard for the operations manager, who had been with the company over 20 years at the time. We shared an office, which must have been hard too, given that he was organized and fastidious while my idea of filing was piling. But he was a soft-spoken and gentle man, impossible to dislike, and as utterly devoted to his stations and his town as anyone I ever knew in the broadcasting industry. Because he had originally put the FM on the air in 1966, I think he felt like the Top 40 changeover was vandalism—and that I was the kid with the spray paint.
For example: In those days, stations like ours, which were run entirely by computer, often used a recording that would periodically announce the correct time. One day he asked me if I was going to use the time-announce on the new format. I told him I wasn’t, because I thought it cluttered the station’s sound and was unnecessary anyhow. He looked at me for a second and said, “What about blind people?”
We never really understood one another. . . .
Stations like ours purchased a music service from a syndicator. We didn’t shop around—we already had a contract with an outfit called Century 21, so we stuck with them. We opted for a version of their Top 40 format that allowed us to heavily daypart our music—lighter during the day, on the assumption that we’d be more appealing to in-office and in-store listeners, but harder at night when the kids would be our primary audience. (It was standard Top 40-era thinking, although in later years I sometimes wished we had ignored it.) And in the early hours of format-change day—September 1, 1984—after the station signed off at midnight, some of the staffers assembled for a dry run, just to see if the computer sequence we’d mapped out for the format would work, and to hear how the thing sounded. The Mrs. and I were there, along with the general manager, the sales manager, a couple of the sales reps, and the poor old operations manager, who doubled as the station’s computer wiz. We polished off a case of beer watching the reels of tape turn and eagerly anticipating the format change, which would officially happen at noon. . . .
Just before noon, we played the last song on the old format: “Candida” by Tony Orlando and Dawn. I had found a recording of a synthesized voice counting backwards from 10, so we rolled that out of “Candida.” I did a station ID in my best Top 40-voice (terribly high and nasal, it sounds to me now), and then kicked into “The Heart of Rock and Roll” by Huey Lewis and the News. I will never forget the electric thrill of hearing the studio monitors actually rockin’. While “The Heart of Rock and Roll” was playing, I noticed, completely by accident, that “Rock and Roll Fantasy” by Bad Company and “I Love Rock and Roll” by Joan Jett were cued up and ready to play, so I jumped the computer sequence to program them in. Thus, we played three songs in a row on the new format before stopping so I could do the weather forecast. (It was going to be 100 degrees that day.) We followed that with “10-9-8″ by Face to Face—not exactly one of the strong current hits I’d been plugging in promos for the new format—and another Huey Lewis tune, “If This Is It.” Then we stopped for our regular noon-hour newscast, which contained a full commercial load and stopped the music for six momentum-killing minutes. (Today, when stations change format, they sometimes play hundreds or even thousands of songs in a row before the first interruption. This didn’t occur to us then.) After that it was “Sexy Girl” by Glenn Frey, Elton John’s “Someone Saved My Life Tonight,” and Stephen Stills’ “Love the One You’re With,” and another commercial break, in which the local Chrysler dealer advertised a clearance on brand-new 1984s, with “low 12.9 percent financing available.” Then it was “When Doves Cry,” and that’s where my tape of the changeover ends.
I am unable to get my brain around the idea that these events are now 30 years in the past. It really does feel like it was just yesterday.