Ron Jacobs: I was hired at $15,000. We all were — are you kidding? $15,000, man? When I was fairly certain that I’d be around a while, I bought a new house at the top of Laurel Canyon, I was driving a new Cadillac. When I left KHJ I was making like 50 grand or something like that. But when I got there, money wasn’t the issue. Remember, two weeks before, I was in jail eating peanut butter and jelly sandwiches. And that wasn’t peanut butter or jelly. It was peanut butter and jelly all mushed together, take it or leave it.
Casey Kasem: Ron Jacobs and I became friends when he had asked to have a meeting concerning the possibility of my moving from KRLA to KHJ. As a matter of fact I think there were two or three meetings. We had a mutual respect for one another’s talent and hit it off. The only reason I didn’t go to KHJ was because the money I was asking for was much more than the salaries of the KHJ air staff — at the time I was enjoying success and making big money with my daily TV show and weekly dances. Ron couldn’t risk doing anything that might disrupt the great morale at KHJ or upset the DJs who were responsible for making his station #1. A few short years later, I called Ron and asked him if he would be interested in producing a countdown show, the Top 40 Hits in America. His immediate reply was, “Sounds great! Let’s get together and do it!” And with our associates, we did. And I’ve been counting down the hits ever since.
Gary Mack: As the rest of the crew was hired: Robert W. Morgan, Roger Christian, The Real Don Steele, Dave Diamond, Sam Riddle and Johnny Williams. We set about the business of getting organized. Ron Jacobs was brought in as Program Director--the best I’ve ever met.
Charlie Tuna: The Real Don Steele was the rock star leader of the Boss Jocks. Very mysterious, said very little off the air, but when he did, people listened. Sam Riddle was the businessman, always had a million outside deals going on in addition to his KHJ-TV show. It all paid off down the road; one of Sam’s productions was “Star Search” with Ed McMahon. Johnny Williams was the perfect all-night man, soothing voice, relaxed presentation and always right there with the quips and perfect feel for the format. No one could sound like he was having a ball during the really slow and lonely times any more than Williams.
Sam Riddle: When the time came to get ready for the new Boss format, I’ll never forget practicing on KHJ-FM so no one would hear me. Ron Jacobs said, “OK, you’ve got seven seconds to say what you used to say on KFWB and KRLA in forty-five seconds.” We had an engineer running the board. Dexter Young was my engineer and he took care of me. I thought: that’s fantastic. I’ll have more time to be on the phone to book Bobby Sherman concerts.
Gary Mack: It was grueling. Jacobs and Drake stood in the control room with an engineer while the future Boss Jocks practiced this new format. Every word and every nuance was critiqued on the fly. “More up! More energy! End up! Faster!” I remember the distinct odor of flop sweat. But every day got better, and we made our mistakes off the air.
Claude Hall: Bill Drake assembled a good staff. One of the smartest things he did was hire Ron Jacobs because Jacobs was a very, very hard-working guy. He’s extremely bright. Drake may not be that bright, but he thinks. He just sits back and thinks a lot. His major role, I think, in RKO during his time as consultant, was a thinker--as a brain to figure things out. A lot of people think Drake invented the tight play list, that he invented this and invented that. He didn’t. But like a genius (and the role of a genius takes in many different facets) what he was able to do was synthesize. Einstein didn’t “invent” E=mc2, he synthesized it. And this is what Drake did with Top 40 radio.
Ron Jacobs: When I got to KHJ I felt a rapport with Bill Mouzis. He was a pro who sensed what we would be doing in production, which was totally different from KHJ’s old-school sound. I asked Chief Engineer Ed Dela Pena if he could assign Mouzis to production. It was Mouzis who did all of the tedious razor splices. Mouzis sat there unconcerned when Morgan and I got into one of our screaming sessions about how he was ruining my copy — or how I was writing crap that a cave man couldn’t work with. Both of us running back to the “production library,” which was, at best, maybe 30 movie sound-track albums in a room where it was legal for us to touch turntables and argue some more. Morgan and I started our love/hate relationship in Fresno in 1962 and each of us knew that the other would be looking for any reason to provoke a confrontation. That was wonderful fun. It made us feel like we were “creative.” After a while, we were bringing in tons of money for RKO, more even than the mighty Channel 9. We could carry on, bellowing and slamming around and the suits just had to put up with it. (Laughs.)
Carol Morgan: I remember how important it was to Robert; he wanted Ron Jacobs there. He also got them to hire Don Steele. There weren’t too many people in radio that he really connected with. He loved people who were really bright and quick. Ron fulfilled something for him that he and I had always had between us up to that point.
Dexter Young: I worked mainly with Sam Riddle. I used to see Sam in the hallways. He was doing his TV show on Channel 9, KHJ-TV, but working for our competitor, KFWB, as a disc jockey. I used to ask Sam, “Since you have your TV show here, why don’t you have your radio show here too?” There had been a rumor that he was coming to KHJ and he finally did come with us. He and I became very good friends while working together. My wife and I were invited to his wedding.
The estimated shipping date is June 20, 2002.
Kindly order now to receive a first copy--and to receive your two complimentary CDs of killer KHJ promos.
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