Restoring Soul Music Radio WAOK 1971 – A Day In The Life

Back in August 1971, CIB contacted several commercial radio stations in the US and other countries in order to better formulate its proposals to the UK government for the introduction of commercial radio on the UK mainland. CIB received several positive replies, including airchecks from WBZ in Boston Mass., WFIL in Philadelphia, WBAP in Dallas/Fort Worth, Radio Tarawa in the Gilbert & Ellice Islands and 2UE in Sydney Australia, to name a few.

CIB also received an aircheck tape from Ken Goldblatt, the Station Manager at WAOK in Atlanta GA – one of the very first U.S. radio stations to adopt an all R&B/Soul music format in 1956, thanks to DJ and part-owner, Zenus “Daddy” Sears.

This WAOK aircheck tape was a bit special for several reasons…

Zenas "Daddy" Sears

Zenas “Daddy” Sears

Zenas Sears (1914-1988) began his career as a disc jockey following his exposure to black music serving in the US Armed Forces Radio during World War II. When war ended in 1945, he worked at Atlanta GA radio WATL, pioneering African-American popular music broadcasting and in 1948 moved to radio WGST, where his show “The Blues Caravan” aired nightly.

In 1956 he became joint owner of radio WATL, changing the call-letters to WAOK and successfully pioneering the format to African-American popular music – Blues, Rhythm & Blues and Soul music. Zenas Sears also promoted and arranged live performances, featuring artists like Tommy Brown, Billy Wright, Chuck Willis and Little Richard.  Zenas Sears and WAOK were also responsible for the 1959 live recording of the best-selling album “Ray Charles in Person“. Last but not least, Sears was also an important supporter of the American civil rights movement.

In 1985 WAOK radio was sold and today it’s a News & Talk station.

So what about this 8 hour WAOK tape recording? …

Well, compared with other radio stations that sent us studio quality tapes recorded at 15 or 7-1/2 inches per second (ips), the tape from WAOK was recorded at only 1-7/8 ips – a low speed usually used only for speech recordings – on 4 tracks, so the sound quality is very poor … judge for yourself with this short extract

But if this WAOK tape lacks quality, it easily wins out on q-u-a-n-t-i-t-y, because the tape contains 8 complete, unedited hours of programming … all made on just one day …

So this memorable tape is like a day in the life of radio 1380 WAOK Atlanta … all recorded on Wednesday, 28th July 1971 and stretching into the early morning hours of the next day … here is the detailed program list as supplied by WAOK’s Ken Goldblatt.

Remastering & Digitizing …

Not having the know-how myself about how to rescue the recording quality, I asked my sound engineer and DJ friend in England, John Ker, for help. John, better known to many as John Harding from offshore pirate Radio Atlantis, achieved an excellent result – Thanks John :-) … and returned the tape to me, complete with 8 CD discs.
John says: “The tape quality is low, not Scotch brand although it is on a Scotch spool … the recording is at a low level on the tape causing the signal-to-noise ratio to be very low. The noise made the audio sound blurred. Initially I edited out clicks which were at a very high level compared to the programme material. Using Sound Forge I then sampled a fingerprint of what needed to be removed (in this case background hiss) taken from a short (less than a second) gap between commercials. Once the hiss was removed, a boost to the treble and then as they say in France “Voila”.”

I’m now in the process of uploading the contents of all 8 CDs so everyone can enjoy and re-live again the sound of Soul Music 1380 WAOK as it was back in July 1971.

Here are the details of these 8 CDs with links so you can listen online now …

Wednesday, 28th July 1971 …
Disc #1 07.00-08.00 hrs. “Wake Up Atlanta” with Burke Johnson standing in for Bob McKee.
Disc #2   11.00-12.00 hrs. The Jerry Thompson Show.
Disc #3   15.00-16.00 hrs. The Larry Tinsley Show.
Disc #4   16.00-17.00 hrs. The Duane Jones Show.
Disc #5   19.00-20.00 hrs. The Duane Jones Show.
Disc #6   20.00-21.00 hrs. The Doug Steele Show.
Disc #7   21.00-22.00 hrs. The Doug Steele Show.
Thursday, 29th July 1971 …
Disc #8   01.00-02.00 hrs. The Dream Girl (Zilla Mays).

And here is a copy of WAOK’s full programme schedule as it was in July 1971:

And finally, here’s the answer to the question:
How did Zenas Sears gain the “Daddy” nickname?
Well, the story goes that one evening, Sears was on the air at WGST, when a local hospital called to inform him that his wife had gone into labor.
Sears rushed off to the hospital with a disc still playing on the turntable. After it finished, all the listeners heard was the repetitive sound of a needle in an empty record groove for the rest of the night.
When word got around that Zenas Sears had abandoned his show to witness the birth of his twin baby boys, his Atlanta audience began calling him “Big Daddy” – later shortened to just “Daddy”.

Rare Pirate Radio Anthem Discs Discovered

rni-1
Do you remember a song called: Who Do You Think You Are Kidding Mr Wilson?

How good is your memory?

Well, here’s a hint… we need to go back more than 40 years…

Back in 1970 there was no Internet, no music streaming, no music downloads and if you were living in Britain and wanted music on the radio there was only 1 station: BBC Radio One. And because of union restrictions known as “needle time” even monopoly Radio One didn’t play music all the time. OK, there was also evenings-only 208 Radio Luxembourg if you were happy to put up with music fading in and out.

And millions of British people at the time were very, very hungry for more music as they had already proven after the huge success of the offshore radio stations like 266 Radio London, 259 Radio Caroline, Radio 390 and several others, all of which the then Labour government had decided to outlaw 3 years earlier in 1967.

Mr Harold Wilson’s Labour government was dogmatically opposed to any form of commercial radio but was in for a surprise when a new radio ship called Radio Northsea International (RNI) appeared in international waters off the coast of Clacton, Essex in March 1970.

His government’s reaction was to start jamming RNI’s programmes in April 1970 in an unprecedented attempt to prevent British listeners hearing its output. RNI responded with pro-Conservative political messages for the general election on 18 June 1970.

Some weeks earlier, RNI’s programme director, Larry Tremaine, had had the bright idea of recording an alternative version of the signature tune to the popular BBC-TV comedy series “Dad’s Army” as a sort of campaign song.

The lyrics were changed, the title became: “Who Do You Think You’re Kidding Mr. Wilson?” and the song was recorded at IBC recording studios at Portland Place, London — a lucky coincidence for UK commercial radio because IBC had been the company, owned by the legendary Leonard Plugge, which organised the very popular English language commercial radio programmes from Radio Normandy way back in the 1930’s.

Here is Larry Tremaine explaining to Paul Rowley on the BBC programme “The Radio Election” how “Who Do You Think You’re Kidding Mr Wilson” came to be created:

 
RNI changed its name to “Radio Caroline International” during the week of the June 1970 election and repeatedly played “Who Do You Think You’re Kidding Mr. Wilson?” which was very popular. But it was never actually issued to the public as a vinyl record.

So exactly how many acetates of the recording were made?

RNI’s programme director, Larry Tremaine has said that “major rock stars” were in the studio during the recording and he also says that only three (3) acetate record pressings of the song were made and he has one of them.

The other two copies were sent to the m/v Mebo II for playing over the air during the election campaign and one of those copies was kept by RNI DJ Alan West, who, some months later, offered it for sale.

In about 1971 Alan West attended several CIB committee meetings, at one of which he lent his acetate copy to CIB’s John Ker, who now takes up the story:
“… I met DJ Alan West who would often come to CIB meetings. In about early 1971 he lent me his copy of the acetate which I took to Graham Bunce (BBC engineer) and he transcribed the disc to tape. He took a great deal of care to ensure a really good quality transfer to tape (15 ips. filtered and re-equalized using an “Astronic” graphic equalizer). Having returned the original acetate to Alan West, I took the tape to IBC Studios (in the basement of 35, Portland Place – just opposite Broadcasting House) and had five (5) acetates cut. I was very pleased by the fact that they were recorded onto exactly the same acetate blanks as the original at IBC, i.e. near perfect clones. The only differences were that the group “The Opposition” was typed on these blanks whereas on the original “The Opposition” was hand-written and included mention of “Beacon Records”.”

According to DJ Alan West, Beacon Records was, at the time, R.N.I.’s “secret London address”.

Of those 5 acetate pressings, John Ker says he kept one for himself, he gave one to Graham Bunce and two to CIB’s Fred Bunzl. John Ker cannot now remember who had the fifth pressing!

Fred Bunzl kept his two acetate discs together with his record collection until they were all packed away into cartons when his wife and he emigrated from the UK in 1976. He didn’t give them much thought until recently when he was compiling old CIB documents for publication elsewhere on this web site.

Fred has now scanned and uploaded his two discs. You can also download a direct copy of the recording.

And here is a scan of what may be one of the original acetate pressings.

Asked what he intends doing with these two rare copies of “Who Do You Think You Are Kidding Mr Wilson”, Fred said: “I haven’t yet decided. If there’s enough interest I’d like to auction them off and give all the proceeds to charity.”


Download the audio of this rare acetate pressing here.