CREATIVE RADIO SHOWS
The "Creative Radio Show" Story
By Bill Moran of THE RADIO FORUM
From a 1978 Article Interview
Moran: "When they write the big history book about radio syndication in America, one of the stellar names as pioneer and entrepreneur will be that of Darwin Lamm.
"Interviewed by phone, Lamm tried to downplay his current success and elaborate on the glories of his coming ventures in the country music field. But it's important the birth of radio syndication be told."
"It all started in early 1970's, Radio Syndication was something new, there were no satellites where you could receive a broadcast live in seconds. No, it was carefully put together in a recording studio, then copies were made (usually on tape ), boxed, and sent to each station individually."
Casey Kasem had just launched the "American Top 40" show in several markets in California. Lamm was managing Bill Ballance, the top radio personality in Los Angeles. Ballance was the talk show host on KGBS radio in Los Angeles the show was called "Feminine Forum". Bill would carefully and cleverly talk to ladies on the radio about their secret lovers and sex life. It was called "sex talk radio" and yes, it was the most listened-to program in Los Angeles. I would guess that 90 present of everyone in Southern California "listened to" and raved about it! The other 10 percent called it "disgusting and vulgar"... but, yes, they still listened! The ratings were through the roof. Never before had a radio show dominated the air waves.
Lamm, who was managing the comedy group, Hudson and Landry, who were also on KGBS radio were enjoying great success, thanks to Lamm, who had just completed a record deal with "Dore Records" ( which, by the way, this record company was the one Lamm recorded music records as Darwin in the 60s.) It was this Comedy album that led to several hits such as "Ajax Liquor Store" and "Ajax Airlines." This led to many other engagements in Las Vegas.
Bill Ballance, seeing the success of "Hudson and Landry," kept after Lamm to manage his career. Finally, upon signing their 5-year deal, Lamm went to work trying to renegotiate Ballance's radio contract with KGBS. Although Bill had the number one talk show in the US, he was only making $17,000 a year. This was considered "scale" for a radio personality. It became well-known in the industry that Lamm renegotiated his contract for a hefty $175,000 each year for the next 2 years.
Lamm explains: "As far as I was concerned, the radio station was taking advantage of Bill's incredible success. They kept telling me they would not negotiate with me and only deal with Bill directly. They were only offering Ballance a 10-percent increase.
So, I started discussions with other radio stations to move Bill. Being #1 in a large market like Los Angeles made it easy. Several stations were interested, but Ballance was very insecure and afraid his station would fire him.
So, I actually had to secure a deal for a lot more money with another station, KLAC in Los Angeles. Then I used that as leverage against KGBS and made a sweet deal for Ballance. "
Moran: "Most importantly, while negotiating the deal with KGBS, Lamm asked for the rights to sell the show to other stations. Lamm explained to the owners and general manager of KGBS that his plans were to edit the show from five hours to three hours and then sell the show to other stations across the country. This had never been done before and they never felt it was possible to edit out the best conversations, cut out the commercials, and most importantly, they needed to edit out the bad words, nasty comments, and every name, place etc. After all, the regular show was constantly being " bleeped" if they would mention their husband's names, or a boyfriend, or just something 'nasty' that could not be broadcast on live radio.
We also had to put the conversations into a 12-minute segment, making room for commercial inserts. That had also never been done before. However, editing was something Darwin knew well. He had previously worked at a small recording studio in Hollywood "Fidelity Recording" and along with fellow recording engineers, Randy Hauck and Stu Olson, they all learned how to edit music to the point that they could edit a "word" or "drumbeat" out of a song. So they could easily edit a bad word or sentence. KGBS gave in to Darwin's demands and gave he and Ballance the "rights" to the show.
Upon negotiating the deal, Lamm called Dick Clark who certainly had the name recognition in Radio and TV production to make it happen. Syndication, at that time, was so new and the only similarity was Casey Kasem who had the "American Top 40" on several stations in California. Dick turned to Casey to find out just what the possibilities were. Lamm was quick to thank Casey Kasem for his early advice. The Bill Ballance show was launched under the title "The Bill Ballance Feminine Forum", becoming the most successful talk show ever. In hind site we see that it sparked the likes of Howard Stern, Tom Leykis, Rush Limbaugh, and countless others along the way.
However, the radio show had a rather tumultuous birth, almost in chaos. Lamm and Dick Clark were enjoying great success, syndicating the show throughout the US, Canada, and Australia, when the Federal Communications Commission stepped in.
Yet fate had something else in mind. Out of nowhere the Federal Communications Commission had complaints from a local Chicago station that it was a bit too graphic when talking to the ladies about sex. They knew they had to step in and put a stop to what they called sex talk radio and threatened all radio stations with heavy fines. With our show being so successful and heard on stations across the country. Lamm explains, "It was devastating! Not only was the radio show receiving incredible success, but Dick Clark and I had just produced a TV show pilot for ABC Network.
The deal was signed, the TV pilot was completed and we were set to replace the Dick Cavett show with our TV show called "Female Affair." We were riding high and excited that the TV show would be equally successful as the radio show. However, it received all the write-ups and bad press in the papers and ABC television quickly dropped our TV Show. This was a major blow!"
Dick came to me and made it clear he could not continue with the radio production but if I wanted too, he would turn over to me the rights to the show, the recording studio and equipment, so I could continue the radio broadcast of the Bill Ballance show. It was that gesture of generosity from Dick Clark that created an opportunity for me. I started a radio syndication company called "Creative Radio Shows."
THE BIRTH OF RADIO SYNDICATION
Moran: "It's important to note that, it was common for local radio stations to have recording artists come to their local stations, interview them, and play their new record release on the radio. However, it was Lamm who was the first in the Radio Industry to interview the artist, write the story line, add their music, and have his trusted engineers edit it all together. Then have salesmen call radio stations and ask them to pay money for the completed show."
Lamm explains: "I was approached by Roger Christian, who was a disc jockey who had written a few hits for the Beach boys, and wanted to put together a music show for the local station in Los Angeles.
THE BEACH BOYS
"Roger had previously interviewed The Beach boys and had the rights to use those interviews and asked me if he could narrate the show. I told Roger I would help write, edit, and produce the show, but I wanted the rights to sell to other stations across the country. Although it had never been done before, I felt that if we could do that with the Bill Ballance show, why not the Beach Boys Show?"
Moran: "Well, that was the launch of the first music special ever to be heard on several hundred radio stations and the birth of radio syndication across the country. Lamm set his sights on the next radio special... but who? He needed the interview of a major artist to start with.
THE BEATLES
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In 1976, Darwin followed up with a second four-hour radio special titled 'The Beatles.' This show featured individual interviews with each of the group's members and a six-minute music intro - a montage of every Beatles single from "She Loves You" to 'Long and Winding Road.' It took 43 hours of studio time to prepare. Even today, Lamm says this show remains one of the most requested syndication features. Lamm also produced country, pop, Sinatra, and Elvis radio shows.
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ELVIS REMEMBERED RADIO TRIBUTE: AUGUST 1977
Darwin had built a network of several hundred radio stations by the time Elvis died in August of 1977, and the station managers were clamoring for a radio special to commemorate the King, so they sought out Lamm to produce it. The overwhelming response Lamm received from "Elvis Remembered" made him realize the impact Elvis had on so many people around the world. He followed up with "Elvis: The Country Side" in 1980, then a 6-hour show, "The 10th Anniversary Radio Tribute" in 1987. In 1988 he produced a highly successful weekly program, "The Elvis Hour" which had 180 affiliates and 20 of the top 50 markets. He then created a three-hour 'Memories of Elvis' show which garnered 380 affiliates. Then they offered a six-hour show called 'The Elvis 10th Anniversary Radio Tribute.' It was co-produced with RCA Records which provided CD versions of Presley recordings and rare interviews with the star. Radio DJ's and industry people also contributed to the show's intimacy.
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OTHER ELVIS RADIO TRIBUTES
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Throughout the 70's, 80's, and 90's, the Creative Radio Network- founded by Darwin Lamm- was known as the largest radio syndication company of 'music specials' based on top Rock and Country artists. Weekly radio programs like the "Gary Owen's Supertracks" and "The Elvis Hour," received high acclaim for their longevity and production quality. Since Elvis's death in 1977, Darwin had produced and distributed Elvis Radio Specials heard around the world.
Some of the Elvis Radio Programs produced by the Creative Radio Network:
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ELVIS REMEMBERED - Broadcast August 1977. This was the very first radio tribute to his life and music following his passing. (3 hours)
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THE ELVIS HOUR
Each show was one hour and filled with great hits, memories, and personal portraits as conveyed by his friends and fellow performers. Each program also had a special live performance by Elvis. The 'Elvis Hour' was broadcast on more than 600 stations world-wide and was considered by radio stations as the most profitable weekly program of its kind. (Sixty-five one hour programs.)
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ELVIS: THE COUNTRY SIDE - Produced and broadcast in '79 and '80. Special cuts from the early Sun Records era, taking a close look at the 'country' side of Elvis. Special stories from Johnny Cash, Carl Perkins, Herry Lee Lewis and more. (2 hours)
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CHRISTMAS WITH ELVIS - A joyous collection of all-time favorite Christmas songs and carols first broadcast in 1988. (1 hour)
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MEMORIES OF ELVIS - Includes his early years at Sun Records with rare recordings of the "Million Dollar Quartet" movie years, along with the live recordings from the '60's and '70s concert years. (3 hours)
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ELVIS' 50th ANNIVERSARY - This was the exciting radio show that aired in 1985 in celebration of what would have been Elvis' 50th Birthday. Music, memories, and interviews with Elvis' friends. (6 hours)
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ELVIS BIRTHDAY TRIBUTE - This program celebrated the King of Rock-n-Roll on his birthday. It features the top 10 songs and highlights of his incredible career. Aired on more than 320 radio stations on January 8, 1993. (1 hour)
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15th ANNIVERSARY RADIO TRIBUTE - This is the most definitive six-hour radio program paying tribute to Elvis that has ever been produced to date. This program aired on August 16th, 1992 and has been recognized as the most complete Elvis Presley story on interviews found throughout the years furnished courtesy of RCA and many of Elvis' closest friends. It was hosted by Lance LaGault who worked closely with Elvis as a double, actor, musician, and choreographer. Lance was also a close Elvis friend and brings that perspective to hosting this program. Joe Esposito was Elvis' close friend and right-hand man, and the special guest commentator throughout the six hours. Joe shines a light on so much of the sides of Elvis we just never knew. It also included priceless clips of Elvis himself telling his own story. (6 hours)
Radio stations consistently expressed that these specials were not only the most professionally produced, but showed the warm and human side of the most magical and exciting performer ever.
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Creative Radio Network was the top producer and distributor of music specials, whether you listened to a pop station, country, or oldies...you could find a radio special produced by Darwin Lamm and his CRN. From Tony Bennett to Willie Nelson, to the Beatles. It wasn't until the late 70's that the major networks saw the success Lamm was having on their radio stations that made them realize they needed to start producing their own radio specials.
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Lamm explains, "I was lucky. I had very little competition and music artists wanted the opportunity or the chance to be heard on radio stations around the world. I felt I needed to go into a new direction with country music, which was becoming so popular in the early 80's. The record labels would call and say Lamm had the hottest country group Alabama coming to LA to perform and would I like to interview them. It was a no-brainer for him. They would set up a time and a place and at no charge to Darwin, he would interview the hottest acts in country music. Then we would put together a radio special with the interview, their music, and a top radio dj to narrate the show. Country was an easy sale to radio stations and once again, I was the only syndication company in town...at least for several years." Lamm went on to produce more than 200 specials on country artists.
