[JAM / PAMSMember]

Not so bad, if you ask me.

Oh, I don't know… Is this the kind of legacy you want to leave behind?

[coolnt]

That is one tragic story, although the ending did not sound so inspiring. The jingles though remain classic.

[GlennaMember]

What's [probably] so sad is that he probably doesn't care.
He's got his millions.

I do agree the jingles are still classics.
Thank God Janie Fricke got out just in time.

[topcat]

JAM / PAMS wrote:

Not so bad, if you ask me.

Oh, I don't know… Is this the kind of legacy you want to leave behind?

Me personally? No. But $150 Million can make up for a lot of pain and suffering. They tried it at Enron…

[Barras]

JAM / PAMS wrote:
As for the notion that Chris somehow “invented” the early JAM vocal sound, that is an extreme over-simplification.

From an outsiders point of view I got the impression that Chris, as I said earlier “heavily influenced” the sound not invented it.

JAM / PAMS wrote:
I should point out that JAM began in 1974, but Chris did not become a regular member of our vocal group until 1976!…………………………….Of course once he did decide to sing for us, the sound of his voice, his writing, and his skills as a producer did create a trademark vocal sound for JAM for many years, and he obviously did contribute a great deal.

I was aware that Chris didn`t become a regular member of your vocal group untill 1976, however, am I correct in this chronology, in stating that Music K & Sundance were around in early 1974 pre-JAM ?

Barras

[LenGroat]

Jon:

Thanks for the cuttings about Tanner ~ I knew about this but seeing it in hard print is an eye opener indeed.

As well as Chris Kershaw I think we can single out Jackie Dickson as a major influence on the whole Dallas vocal group sound. She of course went from being lead at PAMS to lead at JAM on many important packages, and transcended several eras and styles with her 'classic' Dallas voice.

I always remember how uncertain Jackie was at doing a SOLO on our resing of the PAMS cut 'It's Smooo ooth Sailing, with the …' for GEM in 1988, but she did it PERFECTLY. Her modesty was one of the qualities that made her great.

David:

I fear it will always be a 'mystery' to us non musicians as to why PAMS and JAM (and TM and Tanner and a few others) were able to make so many different great vocal group STYLES, using the very select small bunch of singers in Dallas.

To me Chris Kershaw was someone who was able to take chances, and experiment. His early 1970's PAMS 'Studio C' material was certainly, evolutionary. Then just listen to the variety of vocal mixes and large number of cuts on the original WCOD demo ~ it's an expansive/ all embracing package full of variety.

Vocally, you have everything from Chris's voice alone, to group male-led cuts, to female-led, to male/female blend. This is very different to the more typical 1990s style, when the 'fashion' amongst radio managers was for a 5 part block vocal sound such as on the JAM 'KOOL' packages.

The whims of some conservative radio managers (needlessly changing what was NOT 'broken') dictated more and more that the station name was always in the same position at the end, that they only had one 'strap line' not 10, and that EVERY cut was sung the same way. Out went the solos, the sonovox, and the imaginative lyrics. Much of this happened as at the end of the day jingle companies are the 'servant' of the radio station.

I think one reason we respect JAM's product is that they somehow often managed to give the client MORE than was asked of them, MORE than they expected? Even 3 second jingles could have sonovox, vocals and fx! And when it came to melodic longer jingles, JAM created and maintained that beautiful vocal and instrumental signature sound of KOST Los Angeles ~ glossy jingles that will go round and around for ever….

I better finish here… or this topic will round and around for ever.. but thanks again to Jon for contributing on this and letting us have a litle more insight into 'his world' !

[theniceguy]

More stories on william B Tanner

http://www.bizjournals.com/memphis/stories/2005/01/03/daily40.html

http://query.nytimes.com/gst/fullpage.html?res=9C04EEDD1E38F930A35755C0A964948260

http://74.125.77.132/search?q=cache:utGytuS8FboJ:www.tsc.state.tn.us/OPINIONS/TSC/PDF/052/PeckJWopn.pdf+william+b+tanner&hl=nl&ct=clnk&cd=9&gl=nl

http://www.memphisdailynews.net/editorial/ArticleEmail.aspx?id=28023&print=1

[IainJohnstonMember]

I'll echo Len's sentiments above, and for anyone who hasn't heard the following item
before, its a short sampler that KenR compiled of PAMS Studio C station versions
(purists will note that the KIIS cut is the true air version, not the demo vocal!).

As well as the better known Solid Rock, there's a couple in there from KB'71 (originally
a PAMS/Studio C custom for WKBW Buffalo as “Music People” I believe) which has some
of the gutsiest & funkiest tracks & vocals from that era of PAMS, and I'd say certainly very
“experimental” in comparison with conventional PAMS “Series Number xx” fare at that time.

http://jinglemad.com/e107_files/public/1235218396_75_FT69239_kenr-studiocsingers.mp3 filename:kenr-studiocsingers.mp3

(All material acknowledged Copyright (c) PAMS Inc / JAM Inc Dallas)

[GlennaMember]

Was this Tanner Jr. or his dad Tanner Sr.?

[ratnobMember]

Just back from a week's holiday and wanted to thank everyone who's contributed to such an informative, compelling thread. There's something for everyone here – great audio, history, technical insights … plus intrigue. Great work!

[GlennaMember]

The Simple And Free WCOD kind of sounds like the Something Special WIOD that Tanner came out with what around 1978. The tracks aren't the same but the vacals are close.
Listen to both and compare.
Soloist and all.

[jingle1]

Am I mistaken, or are the WKWX (K93) cuts (above) actually sung by the TM group? The style is quite similar to the stuff that TM did in the mid-to-late 1980s.

Tom

[LenGroat]

Beaver 205 : The Simple And Free WCOD kind of sounds like the Something Special WIOD that Tanner came out with what around 1978. The tracks aren't the same but the vacals are close. Listen to both and compare. Soloist and all.

By coincidence I've just been sent a CD copy of some very old reel to reel material I've not heard for years ~ and I have a selection of cuts for 55 KSD (lyric : 'you Live a Life that's set to music'), which I also once had for Radio Antilles ('we're the Spirit of the Caribbean'). The vocal arrangements, singers on these sound VERY similar to 'Simple & Free'… and I THINK it's the Somethng Special package…

Unfortunately the CD won't copy ( ? ) to my hard drive and so I can't post any audio!

I THINK these are Tanner tracks, but the vocals sound like 'Simple & Free' meets the early 70s TM vocal group !?

[ratnobMember]

Here's the KSD package, Len – very definitely William B. Tanner:
http://web.me.com/geoffbarton/Blog/Jingle_Podcast/Entries/2009/3/1_55_KSD.html

[GlennaMember]

My copy of Something Special is bad.

[pjwest]

Tom:
Good ear. I believe the WKWX Simple & Free was sung in Dallas in 1990 and is probably the only Simple & Free vocal session sung at the TM-Regal Row studios.

Listening to the mp3 above, I distinctly hear Bruce Wermuth as the lead tenor which could only be two possible time frames: 1983 thru mid 1987, or after Dec 1989. Bruce was lead tenor at Media General (formerly Tanner) in Memphis from March ’83 until mid ’87, when he moved to Dallas to be vocal director for TM. Media General didn’t sell their production unit to TM until mid 1989 and the property (tapes) didn’t arrive in Dallas until Dec ’89. Therefore, this vocal recording could not have occurred mid ’87 thru ’89.

The bass singer is definitely Jim Clancy (Dallas). If it were sung at Media General ’83 to ’87, the bass would have been Bill Flores and it’s not Bill on the mp3.

The female solo sounds like Cheryl Clevenger, again TM-Dallas.

Since the vocal mix is in stereo, it was mixed before the TM/Century-21 merge in Nov ’90. So, this was probably recorded at TM Regal Row between Dec 1989 and Nov 1990.

There were only 4 Tanner/Media General packages (I think) that ever saw a vocal session at TM-Regal Row: Simple & Free, Somethin’ Special, The Best and Portraits.

On William B. Tanner: he did 18 months in a federal prison (circa ’86, maybe ’87) for cooking the books when he sold the company to Media General.

Another posting above asked about William Jr. or senior. The articles were on senior. William B. Tanner had two sons named William B. Tanner, Jr., by different wives.

[Barras]

Stranger wrote:
Tom:
Good ear. I believe the WKWX Simple & Free was sung in Dallas in 1990 and is probably the only Simple & Free vocal session sung at the TM-Regal Row studios.

Listening to the mp3 above, I distinctly hear Bruce Wermuth as the lead tenor which could only be two possible time frames: 1983 thru mid 1987, or after Dec 1989. Bruce was lead tenor at Media General (formerly Tanner) in Memphis from March ’83 until mid ’87, when he moved to Dallas to be vocal director for TM. Media General didn’t sell their production unit to TM until mid 1989 and the property (tapes) didn’t arrive in Dallas until Dec ’89. Therefore, this vocal recording could not have occurred mid ’87 thru ’89

The bass singer is definitely Jim Clancy (Dallas). If it were sung at Media General ’83 to ’87, the bass would have been Bill Flores and it’s not Bill on the mp3.

The female solo sounds like Cheryl Clevenger, again TM-Dallas.

Since the vocal mix is in stereo, it was mixed before the TM/Century-21 merge in Nov ’90. So, this was probably recorded at TM Regal Row between Dec 1989 and Nov 1990.

There were only 4 Tanner/Media General packages (I think) that ever saw a vocal session at TM-Regal Row: Simple & Free, Somethin’ Special, The Best and Portraits.

On William B. Tanner: he did 18 months in a federal prison (circa ’86, maybe ’87) for cooking the books when he sold the company to Media General.

Another posting above asked about William Jr. or senior. The articles were on senior. William B. Tanner had two sons named William B. Tanner, Jr., by different wives.

Wow…this is the first post from “stranger” in Dallas, thanks for such a knowledgeable and informative answer…

Barras

[GlennaMember]

What a nice piece of work he was.

[ratnobMember]

Barras wrote:

Tom:
Good ear. I believe the WKWX Simple & Free was sung in Dallas in 1990 and is probably the only Simple & Free vocal session sung at the TM-Regal Row studios.

Listening to the mp3 above, I distinctly hear Bruce Wermuth as the lead tenor which could only be two possible time frames: 1983 thru mid 1987, or after Dec 1989. Bruce was lead tenor at Media General (formerly Tanner) in Memphis from March ’83 until mid ’87, when he moved to Dallas to be vocal director for TM. Media General didn’t sell their production unit to TM until mid 1989 and the property (tapes) didn’t arrive in Dallas until Dec ’89. Therefore, this vocal recording could not have occurred mid ’87 thru ’89

The bass singer is definitely Jim Clancy (Dallas). If it were sung at Media General ’83 to ’87, the bass would have been Bill Flores and it’s not Bill on the mp3.

The female solo sounds like Cheryl Clevenger, again TM-Dallas.

Since the vocal mix is in stereo, it was mixed before the TM/Century-21 merge in Nov ’90. So, this was probably recorded at TM Regal Row between Dec 1989 and Nov 1990.

There were only 4 Tanner/Media General packages (I think) that ever saw a vocal session at TM-Regal Row: Simple & Free, Somethin’ Special, The Best and Portraits.

On William B. Tanner: he did 18 months in a federal prison (circa ’86, maybe ’87) for cooking the books when he sold the company to Media General.

Another posting above asked about William Jr. or senior. The articles were on senior. William B. Tanner had two sons named William B. Tanner, Jr., by different wives.

Wow…this is the first post from “stranger” in Dallas, thanks for such a knowledgeable and informative answer…

Barras

Yes, welcome Stranger. Er … who are you and how do you know all this?!

[IainJohnstonMember]

“Stranger” – Paul West?

Any relation to a “West” that had a lot to do with the PAMS' negotiations with the BBC in 1967?

[pjwest]

Barras: thanks. I’m glad you found it informative.

Beaver205: if you’re referring to Tanner as a nice piece of work, you’re much too kind. Though William B was a one of a kind king-pin of a back-stabbing political empire, most working there were very good, talented people. The working conditions were beyond atrocious. (that’s another thread)
Also, you’re quite right in thinking that Simple & Free and Somethin’ Special are similar. Since Tanner covered more of the small to mid-sized markets and almost zero in the large markets, a popular package would easily saturate. Somethin’ Special was written to overlap in markets already taken by Simple & Free, which continued to sell into the ‘80s. Somethin’ Special was written by Mark Blumberg and (I think) Roger Hopps, and vocal leader was Marv Shaw, formerly with Pams, I believe.

Ratnob: I know all this because I lived it. I worked for Tanner/Media General as one of six recording engineers from ’79 to ’89. When TM acquired the Media General production unit, Tom Merriman and Don Turner moved me from Memphis to Dallas. Though I don’t actually remember the call letters, I vaguely remember recording the WKWX Simple & Free discussed above, that is, that’s definitely my vocal recording style on the mp3 and it’s definitely a Dallas vocal group. I do remember preparing the tracks, transferring from DBX noise reduction that was used in Memphis to Dolby-A in Dallas for 4 packages that needed re-singing (customizing) during my first few months with TM in 1990. After the Century/21 merge in ’90, I stayed with TM in the library division working out of the old TM studio C on Regal Row ‘til ’94. Since then a lot of freelancing, including some with Jon at Jam, 5 years with Larry Thompson, and the last 6 with Stephen Arnold Music (television & news).

Wixy1360: no relation, though negotiating with the BBC sounds exciting. Was that Jim West you’re referring to? (sub tropical Scotland?) (one of my best holidays was in Scotland….. sigh!)

[goonerguy]

Hi Stranger

Fascinating to hear how these jingles came about. Sounds like a mad time !
Do you remember doing work and resings for BBC Radio York and does anyone have the stereo copy of that first amazing package? To my ears probably the greatest non-Jam work ever made for the BBC.

[topcat]

I have the TM reference for WKWX somewhere in the tapes here. Unfortunately, I just consolidated and moved about 40 boxes of tapes in December and I'm sure it is in them. When I get to it, I will dig out the tape and post the production date.

I had asked Tony Griffin about the package, since I remember it was clearly his voice slating the cuts. He remembered it immediately and gave me the back story, which is pretty much what Paul has said above.

What remains of the Pepper-Tanner reels that were at TM (from Media General) are up here in Massachusetts. The later reels are encoded in DBX (and I do own DBX units) and have crappy paper splices that fall apart. Other than a couple of packages from that later era that I have transferred for singing through the iJingles program, most of that stuff sits waiting for the labor intensive task of redoing the splices so they can be transferred.

It was Jim West who was at PAMS (see here for photos of Jim). Jim went to TM after Bill Meeks fired him while he was traveling for PAMS in Australia. Jim ended up at TM, selling jingles to WNBC, KCBQ (we chatting about the origins of the TM Shotgun) and many others.

After TM, Jim established FairWest and KershawWest in addition to being the syndicator for Al Hamm's “Music Of Your Life” format. I spent several hours in 2000 and 2001 with Jim, who unfortunately suffers from Parkinson's Disease. I was looking forward to seeing him the Tom Merriman's tribute, but he was too ill to attend. The FairWest/KershawWest archives also reside here in Massachusetts.

[IainJohnstonMember]

With the high calibre of “inside knowledge” contributions from TC, JMW and now Paul West, JingleMad really does need to find a way of getting a book of the history of all this jointly authored & published!

[pjwest]

Goonerguy: I vividly remember tracking vocals for a day plus for BBC Radio Yorkshire in the mid ‘80s, maybe ’84 or ’85, if that’s what you’re referring to. I don’t remember which packages, but had to have been several to keep the vocal studio tied up for more than a day. I know there were no custom tracks. That was a very painful day for me anecdotally and a story for another day, but I remember being pleased with the outcome of the session. Now that I think about it, one of the packages may have been the New Generation package, which was an overkill package with 43 sung themes. Don’t quote me, but for Yorkshire there also may have been a thematic package like The Spirit Of, or Simple & Free, and maybe a few cuts from a shotgun package like Double Shot. That was some time ago.
I don’t have a copy of the Yorkshire jingles. If the stereo masters exist, they’re in Massachusetts scattered across several reels. We stored the stereo masters chronologically by the package name, not by the client name, so probably not easy to locate without knowing the package names. Do you have the package names? When we shut down in Memphis, there were two, 25ft construction dumpsters full of tapes bound for the landfill. We kept all the masters for original and custom product (IDs, commercials, libraries) and I think the last 5 years of syndicated IDs, so the Yorkshire tapes may still exist. When TM/Century moved to Academy Lane in ’92, I think a portion of the stock was thrown out.

Topcat: I’m curious as to what Tony Griffin was slating? Do you have Simple & Free WKWX with Tony slating? I’d love to hear it. (Tony’s a very close friend, so a bit of humor at his expense . . . I’ll pay for it later.) Tony is famous for slating. It is possible that TG may have mixed the WKWX. He was freelancing at TM during that time. One of the reasons Tom Merriman brought me to Dallas was for such sessions. For that first year, anything Tanner/Media that came up would have my initials assigned as engineer. Though some at TM didn’t want anything to do with the Tanner/Media consolidation, it was the graciousness of Dave Giangiulio and Tony Griffin (and Tom Merriman) that gave me the latitude to stay on.
Incidentally, in Memphis, we never slated anything. One reason, 2 of the 4 multi track studios had consoles with no slate ability. At TM, even slates were slated. Damn, I hate hearing my voice.
I hear ya on the paper leader. The chief engineer at Tanner believed mylar/polyester leader caused static build-up on the play heads, which it once did (in the dark ages), until Scotch and Ampex developed an antistatic coating. But, we had to continue using paper. Many 4-letter words were invented just for paper leader.
The last time I saw Jim West (again, no relation, though my father is also named James West) was in ’01 or ’02 at Crystal Clear studios in Dallas. Brian Piper was producing his album. Though I only met him a couple of times, it was always a pleasure to sit and talk with Jim. I, too, missed seeing him at the Merriman tribute, but at least he sent his recorded message.

Wixy1360: A Book? Go for it. It sounds like fun. We always threatened to write a book on the Tanner empire as a comedy/tragedy, but was afraid the truth might make it more like Julius Caesar meets Deliverance. For the movie, we could cast Darth Vader to be at the Tan/MedGen helm, but he’s too cheerful, brightly colored and tall.

All kidding aside: there’s been a wonderful romance (and rightfully so) with the jingle industry in Dallas, London, Amsterdam, etc., but there seems to be a lot of what went on in Memphis that most of this industry has been isolated from – not that it was all that important. The upper half of the Tanner/Media company had no clue to anything musical, nada, zilch, zippo, and they were calling the shots. I once saw v.p. Herb Tanner (William B’s brother, who could stick both feet in his mouth and still walk) put his hand in front of a JBL speaker and said, “No wonder it’s hot in here – your air conditioner is not working”. He was dead serious. The lower half of the company was comprised with very talented people, but pigeon-holed by the inmates running the asylum. There was also a standing order from William B to the sales department – do not allow the production department to receive any written compliments from clients – it only encourages them to ask for a raise. Despite physical and moral conditions many would find deplorable, some of us stuck to it because we had a passion for what we do, not because we liked the company. Many from this company went on to other things great and small. Quite a few went on to other musical ventures in Nashville and the like and got out of the corporate jingle scene, but still practiced their passion. I was blessed with the opportunity to move to Dallas and to work with the likes of Merriman, Wolfert, Thompson, Hooper, Griffin and Arnold (Stephen), not to mention the countless musicians/singers/producers that keep my jaw on the floor. I’ve died and gone to heaven.
It pains me to run across a web site or forum that would flip an idle comment that “all that Tanner/Media General stuff was crap”. In many ways they’re absolutely correct, but if they had seen what colors went into the play-dough fun-factory before it got squeezed out some bizarre orifices’ they might have a different opinion.

I still have that passion for what I do.

PW

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