ROYALTY OF ROCK SALUTES THE MOODY BLUES IN STUDIO, MIKE HARRISON HOST, 8 TUNES

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HI GUYS AND GALS!  DO YOU LIKE ROCK N' ROLL PRESENTED BY ONE OF ROCK'S PREMIER DJ'S, WITH A FULL HOUR DEVOTED TO ONE ARTIST OR GROUP IN STUDIO TALKING ABOUT THEIR LIFE, CAREER, AND PLAYING THEIR GREATEST HITS?  AND ALL THIS FROM ONE OF RADIO'S LEGENDARY SYNDICATION LABELS, RKO RECORDS. AND IN NEAR MINT CONDITION.

WELCOME TO KEITH'S KOLLECTABLES, ONE OF EBAY'S TOP BUYERS AND SELLERS OF PRISTINE RADIO SHOWS OF EVERY GENRE ALONG WITH OTHER SPECIAL ITEMS OF AMERICANA SUCH AS MAD MAGAZINE, AND WEEKLY WORLD NEWS AMONG OTHERS.

AND BEFORE WE GET STARTED ON THE DETAILS, PLEASE  NOTE FELLOW COLLECTOR FRIENDS THAT WHEN YOU BUY FIVE OR MORE ITEMS FROM MY STORE AT ONE TIME THAT EBAY WILL IMMEDIATELY DISCOUNT YOUR INVOICE BY 20%  IT IS THE LEAST I CAN DO FOR MY FELLOW COLLECTORS WHO LOOK FOR GREAT DEALS AS MUCH AS I DO

AND IF YOU COMBINE THE ABOVE DISCOUNT WITH MY WEEKLY ONE HALF AND REDUCED PRICE SPECIALS WHICH YOU CAN EASILY FIND ON MY HOME PAGE IN A TAB, YOU WILL SAVE EVEN MORE ON YOUR FAVORITE TITLES.  MUCH MORE!!!

KEITH'S KOLLECTABLES PRESENTS ONE OF THE RAREST AND SPECIAL RADIO SERIES THAT EVER AIRED. 

IT WAS FROM THE LEGENDARY RKO RADIO NETWORK WHICH WAS A FORERUNNER IN THE ROCK RADIO SHOW GENRE BEFORE ITS DISSOLUTION IN 1985 BY FEDERAL REGULATORS OVER PRESUMED SCANDALS WHICH WERE NEVER PROVEN.  ITS ASSETS WERE ACQUIRED BY UNITED STATIONS RADIO NETWORK FORMED BY DICK CLARK.

 EACH SHOW FEATURED THE GREATEST ARTISTS AND GROUPS IN ROCK IN HOUR TRIBUTES WITH GREAT INTERVIEWS AND MUSIC. READ ON FOR A DESCRIPTION OF THIS SHOW AND SERIES AND IF YOU ARE INTERESTED AND DO NOT KNOW MUCH ABOUT RADIO SHOWS, PLEASE READ ON FOR MY HUMBLE 'RADIO SHOWS 101'. A DICK AND JANE PRIMER ABOUT THEIR HISTORY (NOT DICK AND JANE, BUT RADIO SHOWS!)

THE ROYALTY OF ROCK WITH HOST MIKE HARRISON WAS A TIME LIMITED SERIES THAT AIRED WEEKLY FOR ONE HOUR ON THE LEGENDARY RKO RADIO NETWORKS.  IT IS A VERY RARE SERIES - I HAVE NEVER SEEN THE ENTIRE SET - AND IS SOUGHT AFTER BY COLLECTORS BECAUSE THERE ARE SO FEW AVAILABLE. 

  IT COMES ON ONE LP IN NEAR MINT LIKE NEW CONDITION ALONG WITH ITS CUE SHEETS IN EXCELLENT CONDITION

THIS SHOW AIRED IN 1983 AND FEATURED A FULL HOUR OF THE MOODY BLUES, LIVE  IN STUDIO WITH MIKE HARRISON FEATURING INTERVIEWS AND COMMENTARY ABOUT THEIR LIFE AND MUSIC.  

THE CUE SHEETS ARE ESPECIALLY DETAILED, UNLIKE MOST CUE SHEETS, BECAUSE THE SHOW WAS SET UP SO THAT THE LOCAL STATION'S DJ COULD ACT AS A CO-HOST ON THE SHOW BY READING THE SCRIPT PROVIDED FOR HIM OR HER.

EVEN THE COMMERCIALS ARE FUN TO LISTEN TO AFTER 40+ YEARS.  FUNNY HOW WE HATED THEM THEN BUT NOW THEY BRING BACK FOND MEMORIES.  

The dj, Michael (“Mike”) Harrison's fascination with radio extends to 1950s’ Long Island, where the pre-Teen enjoyed listening to WINS/New York’s Alan Freed.

 “I’d compare charts from each station when they did their [weekly countdowns],” he recalls. “I began seeing this wasn’t something written in stone but rather based on subjective determination.

 I figured out how to track music and rooted for [certain] records as I became interested in public sentiment-based research.”

 In summer 1967, the 18-year-old landed a job as a department store announcer at Modell’s Shopper’s World. “I loved radio but never made the connection I could do it,” notes Harrison, who attended Nassau College before transferring to Hofstra. “I auditioned at [Hofstra’s WVHC] and they put me on that night to [read the weather forecast].” 

Then located in the Garden City Hotel’s basement, Easy Listening WLIR/Long Island was the site of Harrison’s first on-air commercial experience. A three-year staff announcer stint culminated in being named PD (1970) and Harrison shifted (the late) John Rieger-owned WLIR to progressive Rock. “If it weren’t for [Rieger],” Harrison notes, “I don’t know if I ever would have gotten into the business.”

 It was one year later when he ascended to mornings at legendary WNEW-FM/New York, whose on-air staff included Scott Muni and Alison (“The Nightbird”) Steele. “I did very well but didn’t quite get along with the culture,” Harrison admits.

 “I had my own ideas and [my run there] lasted about [18 months].” Research-oriented Harrison played “too many” hits, a philosophy stemming from the fact he approached radio from the listener’s perspective. “You have to give [listeners] what they want. It was apparent when I played the best progressive Rock music I had better ratings than when I showed hippie friends how much esoteric music I knew. It sounds quaint today, but those were major issues in FM music radio’s [early] days.”

 Instantly after Harrison’s WNEW-FM tenure concluded, he received fill-in inquiries from cross-town WCBS-FM and Top 40 WPIX. “I suddenly went from being a progressive morning [air talent] to doing part-time work on two different stations,” he recounts.

 “I did five shifts a week and learned a lot about other formats. I was never good but had [an aptitude] for radio mechanics.” Shortly thereafter, John Gehron-programmed WCBS-FM switched to Oldies and Harrison stayed on.

 Former co-worker Scott Muni suggested Harrison return to WNEW-FM so for about a year, “I did as many as nine shifts a week on all three stations. I was very much a student of radio and took it terribly seriously.” 

This daunting on-air schedule notwithstanding, Harrison had designs of re-occupying a PD chair. After scouring the country for the best opportunity, he found it at KPRI/San Diego, a progressive station he describes as “getting its clock cleaned” by Ron Jacobs-programmed KGB AM & FM.

  I had the opportunity to go head-to-head [against] Jacobs with this weak-signal station.” 

Within Harrison’s first few months in America’s Finest City, he became friendly with label promoters and ran into KDAY/Los Angeles PD Bob Wilson at a record company party. “Meeting him changed my life,” Harrison matter-of-factly states. “He said he was thinking about beginning a trade publication to compete [against] Billboard and it would be the Tiffany of tip-sheets. I had a beef with Billboard because they only wrote about Ron Jacobs. They didn’t show any interest whatsoever in what I was doing. I told Bob I’d be his FM Rock Editor and began [Radio & Records’] AOR section. 

For about 18 months Harrison executed those duties from his San Diego apartment – not R&R’s Los Angeles headquarters. 

“Radio & Records didn’t become an overnight success,” he explains. “There was a small staff and it was a struggle for us [but] I became extremely close with Bob. We reached the point in 1975  where R&R was doing well enough that I moved in Los Angeles and became Managing Editor.” It was Harrison’s contention that FM Rock radio’s biggest problem was ad agencies didn’t take it seriously because they thought it was underground, kid radio. “MOR [Middle of the Road] was a very popular term and I thought `AOR’ would work,” he reasons. “`Progressive’ was more descriptive about subjective determination [while] `Album Oriented Rock’ was objective. Radio didn’t know how to research albums – they just researched singles.” 

In the days Harrison bounced around New York, Metromedia KMET/Los Angeles VP/GM L. David Morehead became aware of him. “ABC was [involved in] the research trip [with Los Angeles Rocker KLOS while] KMET had every [air personality] do his own thing,” Harrison recounts. “The first day I was at R&R, [Morehead] called and asked if I missed radio, [because] he needed a PD for KMET. I said I couldn’t imagine I’d take the job because I had a commitment with Bob Wilson.” Ironically however, one of Harrison’s fantasies was to program “The Mighty Met” and he told Morehead KMET’s music had to be tighter and the station needed to be more disciplined. “Those were sacrilegious things in those days.” A deal was struck where Harrison “very quietly” consulted KMET. “They appointed a bright woman, Sam Bellamy, as PD,” he points out. “There were no computers then and we set up a rotation of `reds,’ `blues’ and `greens.’ We instituted [various] techniques to make the music better and create a station atmosphere.” 

The thing Harrison truly coveted from the KMET experience was a weekend talk show. “Alex Bennett did a hippy-dippy weekend talk show on WMCA/ New York that fascinated me. KMET gave me my own Saturday morning talk show.” 

While Harrison’s KMET relationship would endure for ten years, the R&R connection soured and ended in three. “Talkers Magazine has always maintained the spirit of the early Radio & Records,” Harrison comments. “Bob Wilson was the right man at the right time. In many ways, he [is] a genius and understood radio’s essence from the listener’s perspective. Considering the volatility and changing nature of those times, Bob Wilson and I were a great team.” Both men at the time however were only in their late-20s. (Wilson is presently progressing after a series of devastating strokes several months ago.) “We were young and very egotistical,” Harrison concedes. “By 1978 our egos clashed and it became a love/hate relationship. Bob felt the AOR section operated in its own universe. We became petty with each other. I look back and regret it greatly because both of us were jerky. I learned a lesson from that experience I never, ever forgot. Don’t go to war against any individual or company – unless you really have to.

 I left in 1978 and took several people with me.” That association’s denouement led to Goodphone, which Harrison says reverted to the tip-sheet mode. “It was very futuristic and geared to Rock radio [PDs who] realized the 1980s were coming. By that point, I was already onto the concept of track research. It was clear record company A&R departments didn’t have a clue regarding what kind of singles to release. Album Rock radio couldn’t use singles research to program their tracks.”

But by 1980, Harrison was ready for another challenge. “Of all people, I became friendly with Billboard Publisher Lee Zito and he [proposed Billboard] take over Goodphone Weekly,” he points out. “I was also producing `The Great American Radio Show’ for Westwood One; `Album Greats’ for TM; and other radio specials for my company, Goodphone Communications.” Once Billboard acquired Goodphone Weekly, Harrison maintains they “dismantled” it. “The deal was I couldn’t publish anything in radio trades for at least five years,” he remarks. “I became a Billboard consultant/columnist.” 

The dream of programming KMET was realized in late-1983, but by 1985 for “various reasons,” Harrison determined it was time to depart. “I’m not a corporate kind of guy. I thought Talk radio was going to be the big thing in the 1990s [and it’s been] my deep passion. I always recognized the presenter [the on-air talent] is the very core of what makes radio great and what makes it culturally relevant.”

 Acting on his theory that Talk radio was simply an extension of AOR – minus the music – Harrison in 1985 accelerated his plan to buy AM stations, joining forces with Los Angeles friend Al Herskovitz. “We weren’t big money guys - we basically just had our savings,” Harrison remarks. “After a year, we located [WSPR/Springfield, MA] that was primed to be turned into a Talk station.” Harsh Reality H&H Broadcasting bought WSPR in 1986. “The idea was [to be] high energy, pop culture-oriented and politics as a spectator sport – everything happening in Talk radio today,” Harrison recounts. “It was a wonderful station.” 

Turning WSPR around in six months and buying more facilities was the game plan but Harrison chuckles, “It didn’t work out that way. I was President/morning man; Al was GM/Sales Manager.

 I didn’t get a call my first three days on-air. We sold the station in 1988 and doubled our money [but] it wasn’t a fun couple of years and for the first time in my career, I found myself with not much left to do.” 

At the same time though, about 100 stations were airing “Mike Harrison’s Rock Connection” via CBS Radio, enabling the host to make a living. 

“I must tell you – there wasn’t a lot of money to be made owning WSPR,” Harrison laments. “That was a financial stretch. It’s real hard to sell advertising in a small market.” 

Following a brief programming go-round at WZLX/Boston (where Alan Colmes did mornings), Harrison decided in early-1990 he wanted to revisit Talk radio; the first Talkers issue was published in July 1990. “I’ve never looked back,” he notes. “The history of Talkers is colorful unto itself [but] I don’t feel I’ve ever left radio. I’m doing it on my terms. I’ve done projects that have put me on the air and run Talkers extremely hands-on in terms of my relationship with its readers. I have constant dialogues with broadcasters and feel I’m involved with radio.” Candid Comments In addition to producing documentaries, Harrison also owns Washington, DC’s Talk Radio News Service. “I don’t have the patience to sit in a studio to do a daily four-hour radio show,” he confides. “One hour in the studio is all I can take before I get bored.” A certain degree of objectivity is required in Harrison’s position, although he admits to having favorite personalities (particularly if they are in the mold of Westwood One’s Jim Bohannon). “They’re the ones who work hard; remember that this is an industry; and are kind to their fellow broadcasters. Those no longer feeling any kind of responsibility to anyone else but themselves are the ones I don’t go out of my way to help [but] I don’t go out of my way to hurt them. Today’s most pertinent talent could be obsolete tomorrow.” 

As much as he listens to spoken word radio, Harrison also samples a nearly equal amount of music radio and as usual doesn’t pull any punches. “Music radio is horrible,” he asserts. “The [PD] in me goes crazy when I listen because it’s clearly being programmed by `B’ and `C’ students. Really, really good programmers left music radio. I find it outrageously out-of-sync with true categories of demographic tastes. Great radio doesn’t come from corporate offices. It rises up from the sidewalks.” Remarkably, the nationally syndicated personality-consultantPD-station owner-trade paper publisher never considered himself to be that accomplished. “I see myself as having tremendous experiences,” Harrison humbly states. “We tend to view our own careers by what we didn’t accomplish. At this point, I’m happy with what I’ve done [although] my dream of putting together a giant conglomerate of AM Talk stations was a disappointment. I’ve done it all but never achieved prominence as a radio personality like Rush Limbaugh or Sean Hannity. Most people don’t know my background because radio doesn’t have good historians. Its history evaporates the same way its product does. I’ve always seen myself as a pioneer – not someone from the good old days.”

  SO WHAT ARE THE BIG QUESTIONS IF YOU ARE NOT SURE ABOUT RADIO SHOWS? 

 LET ME TELL YOU BUT FIRST....

Allow me tell you my own personal story of discovering the wonder of radio shows.

  I discovered radio shows quite by accident while reading one of my favorite (long since departed) magazines called "Discoveries" (It was later bought by the same company that publishes "Goldmine" which I personally always considered a lesser publication, but that is another story.

  This was before ebay became the driving force in radio show sales (and everything else) in the later 1990's.

 I was especially attracted in "Discoveries" to a two page (or more) spread in each issue by a guy called "The Old Hippie". 

 Let me tell you, the Old Hippie had it all.  He was a real pioneer.  Way before anyone knew what radio shows even were let alone that they could be bought as rarities, he had the market cornered.

Most shows that he advertised were way beyond my budget but I drooled over those pages every issue and once in awhile I could afford one or two. 

 Now, I have attempted in my own humble way to take on the mantle of "The Old Hippie".  I have listed over 11,000 unique radio shows of all genres for you all to drool over, and most at prices, hopefully, that collectors can better afford!  I want to make available to collectors what I could not afford and especially in these days of higher prices and lesser availability.

Radio shows are harder and harder to find in quantity and the prices for the ones still out there just go higher and higher as they disappear from the market.  However, because of my large presence on eBay, I am often contacted with selling offers, some of which I take advantage of and some I have to pass on because of the prices. I have found that by buying in bulk, even when many or most of the shows are lesser known but still amazing shows, I can offer the best prices on all titles.

  NOW, EXACTLY WHAT IS A RADIO SHOW? 

 WHY COLLECT THEM?  

WHERE DO THEY COME FROM? 

 Well, those are good questions, especially if you have never known of them.  

Radio Shows are syndicated productions by one of several large and small distributors who supply broadcast product to radio stations normally during weekends when the usual air personalities have a break.  

Many air on Saturday or Sunday mornings, afternoons or evenings or less often during overnight segments.

  They often feature some of the best known voices for their genre from across the country thus the Dick Clark's and Casey Kasem's and Rick Dees and Dick Bartley and so many others.  

People collect them for various reasons. 

 Some just collect the series because they like it and want them all.  

Some collect their favorite artists or genre of music.  Rather than an album by the artist or a compilation downloaded through iTunes or wherever, they have a unique presentation of their favorite artist or music not available anywhere else and always with dj comments which were very entertaining. 

 Some collect interviews with their favorite artists as most shows had interview segments. 

 Some collect commercials especially old car commercials but certainly not limited to only those. 

 AND, these shows are in limited quantity. 

 They were pressed just for affiliate stations in the United States.

  Many have just a few still in circulation.  

Some of the more popular shows may have as few as a couple hundred of each week's show pressed but think about it.  A couple hundred for some 200 million Americans and millions of overseas collectors who look for unique presentations of their favorite artists or form of music is about as rare as rare can be. 

This show itself was only ever sent to the top 175 Metro markets. Smaller markets had to take the satellite feed once it became available.  So at the very most there were only 175 copies of each show EVER.   How do you compute rareness.  175 copies for the whole United States market and 38 years ago or more means that could possibly not be ANY more of these shows and at the very most there are 175.    

   How many survived as did the ones I have is anyone's guess. 

This is because most stations just threw these away after network broadcast since they could not be aired again because of the dated commercial content and most stations had limited storage space. (Believe me I know; I worked at one for over seven glorious years!) 

 So it is likely that very few still exist and they are increasingly hard to find  

They were first distributed on reel to reel tape or on lp, later on CD and even later (after 2000 for most shows) on CDR.  Now they are not available at all to collectors since they are distributed by digital download much like you get your music from iTunes. 

These shows become rarer and rarer every day because the people who buy them hold on to them. 

 The shows that you get now and hold on to will never decrease in value and only increase.  

 I have prided myself since the start to provide the best and fairest cost with a  guarantee that you will be happy or I refund your money.  I sell them for near what I bought them for.  I give volume discounts and discount postage always.  As the postal service increases their rates, my shipping rates over the years have decreased.

  And, I have one of the biggest radio show libraries in the world consisting of over fifteen thousand unique shows, so many that I don't even know all that I have and am sometimes amazed when I go to look for one show and find another that I did not realize I had. 

 Finally, it is Americana at its best. 

 Whether the show be from the 60's or 2000's, rock, countdown, oldies, country, classical, religious, jazz or big band, it is unique and home grown.

  And you just can't find them anywhere. 

 Even record stores that still exist will rarely have any.   Radio shows are wonderful representations of the real golden age of music radio. 

 And every  one you buy is  an original, not a copy, not a remake - all are limited editions in the hundreds at most and most, like this special show,  much less.  Once you get hooked, like me, it is a love affair for life!  Welcome to the Club!

       Remember, when you buy this show, not only will you own the tunes but also interspersed between songs is fascinating commentary on the artists and songs that only Dick Bartley and the gang can provide.  

Also, keep in mind that this and all the oldies shows are not just about the music - the music can be found anywhere.  It is the mixture of great music and great announcing that makes it so entertaining. 

 As well, it is a piece of radio history.  You just aren't going to find these shows anymore.  Think of what they will be worth in a few years!  (IF you wanted to sell.) 

 I am selling to share with other music lovers what I was able to get at a reasonable price.  

   As always, I charge only shipping on the first show you buy for U.S. buyers  and for my international friends,  so the more you buy the more money you will save. 

 Good Luck and God Bless You.