Showing posts with label talent. Show all posts
Showing posts with label talent. Show all posts

13 April 2010

Welcome Facebook Friends

If you have linked over from Facebook (or anywhere), welcome to my blog. This is mainly a career retrospective of my days in Christian radio and church sound. Recently, I have started a commemorative fan page for the Children of Light, a gospel group near and dear to the writer. In the companion Podcast Gospel Rewind the Children of Light have been featured more than once. You're encouraged to explore the shows and posts. In the future, the group will be subject of a more extensive write-up and possibly their own site. For all fans of the group we have big plans for reissuing their albums on CD. We have discovered the original multi-track session tape and would love to share the Presenting Jesus album in 21st century crystal clear digital audio remix. As for the two other superb albums, the location of the master tapes is uncertain. We have access to good clean LP copies of the albums, but working with the original sound source is the preferred method.

Stay tuned
©2010 Gospel Aircheck. All rights reserved.

11 December 2009

Decisions, Decisions, Part One

A question I often pondered is why did I stay in radio so long? The answer is not so easy. The money was not good at all. I started out as a minimum wage button pusher at a 5,000 watt AM daytimer in Savannah, Georgia in 1983. By 1986 I had squeezed another 15 cents an hour out of management. Wow! What a windfall. In 20/20 hindsight, I believed the low wages was ownership’s way of taking advantage of us admittedly unambitious disk jockeys who lived and breathed radio. In other words we were underpaid because we loved the medium too much and were fools enough to take the monetary abuse. The first four years was a love hate relationship. Fact was that I could have been more proactive in sending out airchecks to bigger stations; but I felt at the time a longing to stay in gospel radio. Lack of confidence also played a role.

I was a shy teenager who had friends working at the Piggly Wiggly making upwards of a dollar more an hour. The “prestige” of my job somehow compensated for the gap. Personal appearances at skating parties paid way more than my station in summer of ‘84 but these gigs became non-existent on into 1985, a pivotal year for me.

Realizing that my pleading with a system that was either unwilling or unable to give a substantial raise caused a sense of futility hidden from plain view. Those closest to me knew of my dissatisfaction. For the sake of my craft I was willing to continue honing my DJ persona while I secretly, later openly, pursued a better paying job.

A promising airplane factory job was the first I turned down. A five week training course completed, I flat refused to see myself ever taking any amount of money to do shift work. My dad had pulled some strings with a college buddy’s wife well connected with the plant. The job would have been a sure thing. Somehow radio beckoned and I returned full time despite the better money and benefits. Needless to say greed never played a role. The tug of radio was an irresistible force. It was what I wanted to do for the rest of my life, the greater good, my purpose; a calling. With that rationalization my wander lust subsided, for the moment.

By the end of 1986 I was fed up by the insult of a tiny raise not compensatory with my perceived improvement  that I legitimately worked very hard  obtaining, thank you very much; artistically indignant to coin a phrase. In reality my skill set was only better in delivering time, temperature and record introduction with inflections borrowed from the FM top 40 disk jockeys I attempted to emulate never imagining that personality radio was the wave of the future.

The days of my type of DJ were numbered while the shock jock was on the cusp of forever changing the way radio was done. Not that I wanted risqué talk a part of my repertoire rather the courage of these innovators to break the rules by speaking in their natural voices, expressing the listeners’ mind and bringing a brand of honesty that turned broadcasting on its ear was what I came to admire today.

In my defense, personality radio was not part of my training or nature. Being myself on-air horrified me so  advice to lighten up would have likely fallen on deaf ears. I would have scoffed at the idea seeing it unprofessional. In the final analysis, no one mentored me to excellence. Only the mechanics of running the board were taught, the rest was hit or miss self education.

Radio home number one was never a cohesive unit; a beast lacking focus. It was truly chaotic and not in a good, creative contrasting way. There were other DJ’s who did time, temp and intros “better” than me, for sure, but that method was going the way of the dinosaur. The radio industry evolved as my station spewed an extinct form I would eventually unlearn at my next two stations…

stay tuned

copyright 2009 The Peanut Whistle. All rights reserved.

06 November 2009

I Want to Know

    A new 2 CD 1 DVD release from rock icons Foreigner has kept me entertained for the past few days at home, in the Civic, and my minivan. Their first all new album in a decade and a half, “Can’t Slow Down” is superb. I especially like the title cut and “Too Late” a very catchy radio ready tune I’ve been singing for days. These guys have successfully preserved that Foreigner signature sound while evolving into the present with new lead singer, Kelly Hansen. He has admirably taken over for long time front man Lou Gramm, who at one time I thought irreplaceable.

    What intrigued me into buying the new set was a curious CD of remixes of the hits we all know well. Was this just a new remastering job from previous “master” tapes? Was any new vocals or loops added? I knew that the songs already sounded great but was unprepared for what I would discover. Producer Marti Frederiksen and his recording engineer Anthony Focx have uncovered the original multi-track tapes and exactly matched the original mixes. These new mixes a far clearer than their predecessors with deeper bass and better sounding representation of Lou Gramm’s awesome vocal performances. It was as if I was hearing them for the first time (pun intended). In fact, Feels Like the First Time opens up the disk with the electric guitars cranked to 11. Wow!  I quickly pulled out an original CD. The older mixes sounded muffled by comparison, as if someone had placed a blanket over the loudspeakers. The new mixes truly sound like they were recorded yesterday. The only limit now are the constraints of the 16 bit, 44.1 kHz sampled CD format itself. I hope more hits are forthcoming as remixes. It truly gives new life to the Classic Rock genre.

    I first notice Foreigner in the early 1980’s when I borrow the foreigner 4 album from a friend. The opening bass line of Jukebox Hero hooks me and the rest is history. Forward to 1986, I Want to Know What Love Is is a huge hit on radio and Mtv. I am especially intrigued by the heavy gospel influence and wish to share the song on my radio show on Gospel 90 AM. I am not allowed to play the “secular” version, but the station is given the gospel version of the song by the New Jersey Mass Choir who backs Foreigner on the original.

  I can name numerous mainstream hits adapted for the gospel market. Accusations of hypocrisy notwithstanding I have never seen anything wrong with presenting a “secular” artists’ songs in a “religious” setting providing that the lyrics are compatible. The movie An Officer and a Gentleman produced Up Where We Belong sung by Jennifer Warnes and Joe Cocker made better by The PTL Singers & Orchestra (a BeBe and CeCe Winans duet) and a marvelous cover version on Christian radio arguably the biggest hit on my first radio home. The gospel version was only slightly modified by singing Lord lift us up where we belong instead of love lift us up. How is that any different than Love Lifted Me? God is love, right?

  Before I close; ever consider Eric Clapton’s Tears in Heaven for gospel radio airplay? That song holds up well despite being secular. Unmodified it would make a great candidate for what I call a reverse crossover. Yesterday I heard Kirk Franklin do an old Kenny Loggins number, This is It, made a great gospel song. Bravo.

  Anyway I am pondering similar ideas for my new Internet radio station that will feature a good mix of secular and sacred both old and new. It will be a whacky format for sure. It will be positive music in the purest form. The best of both worlds without rules of outdated traditions aimed at the seekers of this world not unlike myself.

Stay tuned

17 September 2009

The Truth with My Hand Up

My hand to God this is the truth. If it had not happened in church to someone I know and trust. Yada, yada… In my last post I spoke of some gospel lyrics near and dear to my heart; this next song is especially touching to a car guy such as myself (the actual words from my cousin Ray):

Actually it’s...Jesus, he will be my snow tires, in the winter he’s my anti-freeze, when I need him, he is my oil filter, and he's my windshield when there is a breeze!!! C'mon, sing it this time if ‘ya know it!!.. (true song....written by a well-intentioned, but hardly mentally gifted girl from my childhood)

At least it rhymes. Thanks Ray! She took a metaphor and ran with it. Now on to something completely different.

I first met gospel comedian Wendy Bagwell in 1983 at a big gospel music show in Savannah, Georgia. He was over six feet tall with curly dark hair. The only man I have ever met named Wendy. Like Johnny Cash and his Boy Named Sue I believe Bagwell would have had a great story to tell with the origin of his name. This was about the time he first told his Three German Police Dogs story about the disruption that ensues when a yellow cat is introduced to three seeing eye dogs belonging to a group of famous blind singers at the Ebenezer Freewill Baptist Church all day singing and dinner on the ground homecoming. “Those blind folks didn’t know what was going on,” he said, “They just thought they done took that job too cheap.” His theory was that the blind group, unaware of the ruckus, assumed the crowd had broke out in an old fashioned shouting revival.

It turns out that Mr. Bagwell was quite the shrewd businessman as well. He owned Bagwell Sales in metro Atlanta, Georgia. My parents, who were both blind, did business with his furniture store several times over the years. My mom, who is not the least bit shy, confronted Wendy about his comments in the famous bit. “I’m blind, but I know what’s going on,” she commented to him. “I know you do,” Wendy replied with a broad smile and a wink in his voice. “This is the truth what I’m telling you with my hand up,” he would often say before one of his stories which were probably slightly exaggerated. Stretchers, if you will, were his calling card. He was a master showman of the Gospel world. Wendell “Wendy”Lee Bagwell died in 1996 and now has a stretch of US 278 in Georgia, our home state, named after him. Rest in peace.

Stay tuned.

nealrhoden@thepeanutwhistle.com

04 June 2009

What's a peanut whistle?

I'm glad you asked. A peanut whistle is a radio station with limited power or listenership or both. It might have the best staff or talent but simply lacks enough umph to reach a broader audience. These media outlets are usually located out in the sticks. These are the places I've hung my hat as a DJ and programmer most often. I've led some very talented people. Some great and near great talents. 

These places are usually programmed for a rural audience. So, I'm not sure if they exist at all any more due to the consolidation of ownership permitted by the Telecommunications Act of 1996. The FCC decided to allow ownership of several radio or TV stations in one market. Large corporations have gulped up these peanut whistles at an alarming rate. It wasn't video that killed the radio star, it was corporate greed. More to come. Stay tuned...