Music K Productions - Introduction demo by Chris Kershaw
All materials protected under copyright by their respective  producers.
All Rights Reserved... Unauthorized duplication or usage prohibited

Vocals by:  Jackie Dickson, Judy Parma, Libba Weeks, Chris Kershaw, Brian Beck, Clark Womack and Dan Alexander

Music K Productions, Inc. (Chris Kershaw) - Intro Demo

WHYN-FM Springfield, MA USA - 23-AUG-1994
JAM Productions, Inc. - Q Composite
© 1994, 2017 JAM Creative Productions, Inc. - Dallas TX USA
All Rights Reserved - Unauthorized Duplication or Usage Prohibited

WHYN-FM - JAM "Q - Composite"  23-AUG-1994

WROR Boston, MA - Composite (Cuts from TM, Drake and PAMS)
All materials protected under copyright from their respective producers
All right reserved.  Unauthorized usage or duplication prohibited.

WROR Boston MA - Composite (TM, Drake, PAMS)

WKCI Hamden, CT - JAM Express Pack
(c) 2017 JAM Creative Productions - Dallas TX USA
All Rights Reserved - Unauthorized Duplication Prohibited

WKCI "KC-101" - JAM Express Pack (Stereo)

The "Fusion" jingle package demo, TM Productions, 1977.  I produced it, and thought you might like some insights into the building of the demo.

We had two smaller packages, both created and recorded by Dick Hamilton in L.A., that we wanted to combine. Hence, "Fusion." The tempo'd cuts were from one; the non-tempo'd from the other.
 
One of the most critical elements of our demos back then were "record matches," the attempt to find that ONE record intro that would mesh perfectly with the jingle. I'm especially proud of some of the matches in Fusion.

Our demos then were produced in mono on a 16-track 2" MCI. We would use HALF the tracks (eight), then when the tape was full, flip it upside down and use the "bottom eight." It was extremely rare that we couldn't make eight be enough for a mono demo, and we got twice the mileage from one expensive reel of 2" tape. The multitrack had Dolby A, though there was no noise reduction on the mixdown 1/4" master (we were running ten high-speed open-reel duplicators in the back then, and it couldn't have been decoded).

The "Fusion/Flow/Fusion/Flow" was an attempt to fill the song intro. I had just run out of narration to put in there and settled on the repetition as a sort-of copout. The demo copy, by the way, was written by TM's Operations Manager Ken Justiss.

The song that comes in after the Pepsi spot is one of my favorite "record matches" of all time...the rhythm matched, the key matched, and you don't realize the guitar is actually part of the song until it's all played!
Norman Rose bobbled the word "exists," which they didn't catch during the voice tracking in NYC, so I was stuck with it. 

Where I could, I tried to find commercials that would be "inside" comments on what was just said. The "and I like that" was a prime example.

Announcer Stan Wessel takes over. It's another one of those "weak points" I never liked. Norman was originally cut for a series of teasers between other demos on the "B" side of what I think was Tomorrow Radio. In order to flesh out the demo for its own release, we had to add a second voice. When he was recorded, we neglected to A/B the mic sound to add bottom to his voice. We regretted it later.

The Queen concert spot came from a local Dallas station. I wanted to use an example of "particularly negative commercials", but couldn't bring myself to put in a TRULY bad one, so I went with this. 

Jet Airliner: the metronome/click sound is actually me playing Ken’s Mini-Moog. It was taking too long to get those two songs to hold steady for an electronic metronome, so I built the segue and then overdubbed the "clicks". Since I had absolutely no talent as an on-the-beat percussionist, I think it took me well over a dozen tries to make it sound totally rhythmic!

Repeating the segue with the jingle added always bothered me as not giving the listener anything new to discover.

The Dial spot is in there because I always liked it!

The "Good 4 You" spot (TV Channel 4, I think) was another case of the lyric being a propos, "We're good for each other and we're certainly good 4 you!" It was meant to be a subliminal encouragement to buy the package!

Norman Rose returns, and is dropped in over the ("Can't Stop Dancin'"?) intro, but didn't fill it up, so it sounds a little awkwardly spaced out.

I've always liked the following segue into the Coppertone spot. 

Damned if I could make the "Hotel California" intro match the key of ANY of the jingles, so I ran it through our newly-arrived Harmonizer to pitch-change it. 

For some reason, I had to shorten the England Dan/John Ford Coley intro AFTER having built the demo, so I made a yucky edit on the master and dropped the phased Norman "Fusion" over it.
 
Norman's "Fusion" again covered the "Turn the Beat Around" horrid splice. 

The "Catfish" jingle played after it then segues into the actual music track, mainly cause I needed the time AND it was always fun to play a track!

Just some memories from 40+ years ago!

Fusion Demo

This is from the final week of 104.3 K-Hits. In just under 5 years, I had moved from evenings to middays to afternoon drive, achieving #1 ratings on several occasions!

http://www.robertfeder.com/2015/08/03/k-hits-finally-strikes-ratings-gold/

Just days after this was recorded, the station flipped formats to throwback hip-hop and R&B as "1043 JAMS." The entire staff was released.

104.3 K-Hits - WJMK/Chicago, IL (11/13/2017)

These are most of the JAM jingles produced for 104.3 K-Hits in Chicago between 2011 and 2014. I didn't have access to the masters, but these were all available in AudioVault.

104.3 K-Hits Chicago JAM Jingle Montage (2011-2014)

WLS Chicago, IL - PAMS WIndy '76 Custom - Selected cuts in Mono
Composite dubbed from R283-005

WYCD 070815

Jack Shell

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