July 2, 2025 • 16 mins
There was a time – a glorious time – when you could turn the dial in any city in the US and hear popular songs rearranged to be the most pleasant version of themselves. This was the Beautiful Music format and we are spiritually poorer for having lost it.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Hey, and welcome to the Short Stuff. I'm Josh, and
there's Chuck and Jerry's here too, and this is short Stuff,
the Routiness Tutinous, down home Sasparilla drinking podcast on the planet.
Speaker 2 (00:15):
That's right. Welcome to ws YSK, your source of all
the smooth podcasting sounds.
Speaker 1 (00:22):
That was great, Chuck, you have a future in radio.
Speaker 2 (00:26):
Oh great, here, there's a bright future in radio.
Speaker 1 (00:30):
So we are talking radio. That's why you just did that,
and we're talking about a specific kind of radio. But
we should kind of go back a little bit to
the beginning because and I should. It occurred to me
that there are people who listen to us they won't
even know what we're talking about with AM and FM.
But if you know enough about radio, there were two bands,
the AM band and the FM band. And when if
(00:50):
you grew up in this late seventies, eighties, nineties, you
knew that AM radio was as square as.
Speaker 2 (01:00):
A Rubic's cube.
Speaker 1 (01:01):
Yes, and the FM radio was where it was at.
But it turns out that when FM radio first came
on the scene in the sixties and then early seventies,
it was square and AM radio is where it was at.
That's where you'd hear hits and rock and stuff like that.
FM was so super square that it actually gave birth
to what we consider easy listening music today.
Speaker 2 (01:22):
By the way, I know this is going to be
kind of a long one, but I still have to
say this. When you were just stumped on trying to
think of a square thing, all I could think of
was the little Homer Simpson bubble above your head with
just like a doughnut.
Speaker 1 (01:35):
Or that black and white donkey swatting flies on the tail. Yeah,
that one always gets me. No. I thought of a
Citral Wilson quote that I just can't I can't say,
but it's hilarious.
Speaker 2 (01:45):
All right, we'll tell me later, Okay, all right, So
you left off that AM radio square FM radio was
where the rock hits were.
Speaker 1 (01:52):
I think you said the opposite.
Speaker 2 (01:54):
Well, if you grew up like we did, right, they
did a switcheroo and early on AM radio was the
cool one and FM was the upstart that was trying
to find its way.
Speaker 1 (02:05):
Yeah, and so FM essentially gave birth to that easy
listening music, which is also called elevator music. Some people
call it good music, but the type of music format
that we're going to talk about today is known as
beautiful music, and it is a great name for a
great kind of music if you ask me.
Speaker 2 (02:22):
Yeah, and you know, if you heard our Musaic episode,
we talked a lot about this stuff. Muzak is of
course a proprietary eponym or aka a company, right.
Speaker 1 (02:33):
Right, did I use that right? Yeah?
Speaker 2 (02:36):
Yeah, okay. But beautiful music is that it is like,
let's take a pop hit of the day, like a
Beatles song or something, unless let's arrange it as an
orchestral arrangement. A lot of strings will either do pop
pits or maybe'll do old standards from like the Great
American Songbook. And you know, we're going to make it
super polished, very easy on the ears. We're going to
(02:58):
remove the voteocals almost always, and instead of like the singing,
there's going to be like a flute or a clarinet
or something. Is the is the singing voice or if
it does have human voices singing, it's probably gonna be
like a chorus just singing a little bit of it
here and there.
Speaker 1 (03:15):
Yeah, or doing that that kind of singing that the
vocalist does on the Star Trek theme where she's just
using her voice as an instrument.
Speaker 2 (03:23):
I don't know the Star Trek theme.
Speaker 1 (03:25):
What I don't.
Speaker 2 (03:27):
I've probably heard it, but I can't call up like,
oh yeah that thing.
Speaker 1 (03:31):
It goes d It turns out I do know that actually, yeah. So,
like you said, the vocals were almost always removed, except
when they were humming or that kind of thing. Sometimes
they would include vocals, but they, like the carpenters, were
(03:52):
a little too hard edged for beautiful music, so they
would have like the ray Koniff singers sing the song
and provide the vocals like this is how softened. They
would take these songs and make them. And I mean,
if it was done right, even like the hardest core punk,
even the members of Crafts would hear that song and
(04:13):
be like, I'm not going to admit this out loud,
but that is actually beautiful music.
Speaker 2 (04:19):
Are you going on a limb and saying that everybody
likes this stuff?
Speaker 1 (04:23):
I I no, no, no, no, not as a genre
for sure. I'm just saying there were some There's this
one version of What's New pussy Cat that is way
better than any version Tom Jones Burt backrack. It's so
good that I really think that basically anybody could hear
and be like, this is this is a great song.
(04:44):
It actually is great, whether they'd admit it or not.
But I don't think that that would automatically convert them
to beautiful music. I'm just saying, in some instances, done perfectly,
it really is beautiful music, all right.
Speaker 2 (04:55):
Well, pressing forward, the BM format really took off because
of an FCC ruling in nineteen sixty five that said,
if you are a company that has AM stations and
FM stations, you got to play different stuff. Because at
the time, there were companies that are like, hey, this
is great. We can just broadcast the same thing on
AM and FM and get ads on AM and also
get different ads on FM and essentially double down on
(05:18):
our product. And that's like the opposite of what they
were trying to do with FM to begin with. So
the FCC came around in sixty five said you can't
do this anymore. You got to play different stuff. And
so Beautiful Music came along and said, hey, this is
a pretty cheap solution. It's going to be sell a
lot of ads because it's going to be directly aimed
(05:40):
at women, especially housewives, because you know what they're doing.
They're at home all day doing that housework, listening to music,
and this will make them happy while they're doing their housework.
They're going to have it on the background and we're
going to pump ads in there for all the stuff
that they're making the buying decisions over, which is household stuff.
Speaker 1 (05:59):
Yeah, because they were the target demographic of advertisers at
the time, they bought most of the stuff that advertisers
was selling. They made those day to day decisions about purchases.
So they were what teenagers are today as far as
the target demo, right, And it was just basically assumed
and presumed that women would not want anything intrusive or
(06:22):
jarring or something. They wanted smooth, beautiful music, so much
so that like a version of this was called music
only for a woman. That's what the industry called the
mow right. The thing is, despite the fact that this
was set up to advertised to women directly beautiful music
as a whole as a format on the radio, actually,
(06:46):
I guess the best way to put is mellowed out
as far as advertising goes, and was very protective and
defensive of the listener experience, which meant cutting down on
ads and doing all sorts of other interesting things to
ads to YEA.
Speaker 2 (07:00):
A company in particular that came along called shul Key
Radio Productions SRP, and they were a they became like
the biggest player in syndication, like being a syndication company
for the BM format because they offered They were like, here,
we're going to send you these ready to play, real,
real tapes. It's all programmed. You just slap that sucker
(07:20):
on there and push play and your set and they said,
this sounds great, and they said, oh, but wait a minute.
If you want to use our stuff, like, we're audio files,
so we want the listening experience to be great and
we want it to be kind of perfect. So you've
got to update your broadcasting equipment because we're sending you
high quality tapes and they need to come across that way.
You've got to hire an engineer that really knows what
(07:42):
they're doing and make sure this is all going to
go as we say it goes. And those ads, those
sixteen minutes of ads an hour that you're playing, you
can only do six minutes of those an hour, and
when you do, you got to have those lower in
volume than the music even and all the stuff you
should know. Listeners stood up and cheered.
Speaker 1 (08:00):
Yeah, it's true. Because they found that if you had
the radio on a low enough volume, those ads at
six decibels less were like you couldn't even hear them
sometimes at a certain volume threshold, even though you could
still hear the music. And there was another thing about
the ads too. They're like, you cannot use attention grabbing
tactics to advertise, and in some cases some of these
(08:22):
local radio stations had to go back to their advertisers
and be like, crazy, Murray, We're gonna have to tone
this down quite a bit. Yeah, and like they had
to re record rewrite ads to follow these Sholky standards.
And the reason that Sholkey could get away with this
was because they were selling up not just like pre
recorded tapes that you can just put on and have
your radio station. They were selling what muzak did as well,
(08:47):
that there was a scientific basis to this that like
followed the rhythm of the day and like built up
and crested and then Wayne and then built up and
crusted in Wayne just like musak is just like music
that was essentially totally made up. But Shulkey still had
the daya to prove it. People who listened to Beautiful
(09:08):
Music Radio listened essentially all day.
Speaker 2 (09:11):
Yeah, it feels like a good time for a break. I agreed,
And we'll be right back to finish up with BM
radio right after.
Speaker 1 (09:17):
This and things jogging job.
Speaker 3 (09:39):
Josh, all right, we're back.
Speaker 2 (09:51):
I think where we left off, Shulkey was doing pretty
good business. Crazy Murray was reduced to slightly eccentric Murray,
and they were selling like hotcakes, and they had the
ratings to prove it, like you said, even though the
science was not true, and they were listening for hours
and hours and hours. But that posed a problem, or
I guess presented a problem, which was, hey, they're listening
(10:13):
for so many hours a day, they're just having to
hear this same playlist in order basically when it loops
back around, and we can't get these tapes out the
door fast enough to you guys. So people have like
a you know, cause they were concerned about the listener
experience and certainly listening to a playlist on a loop
is not a good one. And so some companies came
along that said, all right, well, let's just start hiring
(10:33):
conductors and arrangers and putting together our own stuff until
a company called Bonaville came along with a really unique idea, right.
Speaker 1 (10:42):
Yeah, Bonaville did what Shulkey did, Like you would get
pre recorded tapes of beautiful music from them, but you
also had to have essentially a random automatic tape player
that would select a tape a song from a tape
at random. So even though you had, like them said,
of say fifty songs, there was never going to be
(11:03):
a playlist over the course of like say twelve hours
that was the same as before, same songs here or there,
but never the same entire playlist starting over every twelve hours.
Speaker 2 (11:13):
Yeah, so they'send tapes and packages.
Speaker 1 (11:17):
Tapes and tapes, tapes and tapes.
Speaker 2 (11:19):
Man missed those guys. And then yeah, I mean pretty
good technology at the time to randomly select and you know,
cue up different songs. So it was it was a
pretty big leap forward.
Speaker 1 (11:29):
And well, well, beautiful music itself was basically an incubator
for figuring out how to standardize and automate radio. That's
where that's the cradle of it is beautiful music.
Speaker 2 (11:39):
Weirdly enough, Yeah, and it spread throughout the country as
a format. Every city had at least one station if
you were a big city, you probably had a few.
A lot of times it was like you know, in Detroit,
w JOI like very mellow call signs. They just wanted
to really put out, like brand themselves as BM Radio
(11:59):
because it was such a big deal. But it wasn't
a big deal for that long because, you know, buying
power shifted as rock and roll came along and younger
listeners became the dominant sort of listener of radio, and
one by one they kind of, you know, BM radio
station switched over, which is a very jarring thing for
any radio station format change. I'm sure we've all suffered
(12:21):
those where you're like, well, I can't listen to the
station anymore because you're just not the same radio station.
Speaker 1 (12:26):
Do you remember the opposite happening when ninety nine X
came out in the early nineties and they played like
the Smiths and it was like, what are the Smiths
doing on the radio? This is awesome?
Speaker 2 (12:37):
Yeah, because ninety nine in Atlanta before that was sort
of cheesy pop, and all of a sudden it was
alternative music, which was the first the first true alternative
station in Atlanta.
Speaker 1 (12:48):
Yeah, like truly alternative too, especially at first.
Speaker 2 (12:52):
Yeah, I was a ninety six rock kid. But then
oh yeah, yeah, but when nine an X came along,
I was into that. But then ninety nine X got
really bad.
Speaker 1 (13:00):
You right, But at first it was pretty great.
Speaker 2 (13:03):
No, I agree, because you couldn't hear the Smiths on
the radio unless you went left to the dial, which
I was doing with the great album eighty eight.
Speaker 1 (13:09):
Oh, album eighty eight guys, for anybody who didn't live
in Atlanta, while Album eighty eight was on the air,
it was so great. It had the best shows. They
played the best like regular rotation music, like it was
a great, great radio station, and like you can't find
it anywhere. Nobody's archived it.
Speaker 2 (13:29):
Sadly enough, I think they still have it on the weekends.
Speaker 1 (13:32):
You that.
Speaker 2 (13:33):
Yeah, the weekday they switched over to MPR, which is
dumb because we already have an MPR station.
Speaker 1 (13:37):
Yeah, they played basically the same thing.
Speaker 2 (13:39):
Yeah, but I'm still pretty sure that the album me
dy eight exists on the weekends. And if you haven't
heard of it, you may maybe have heard of the
great WFMU out of New Jersey. It's it's our version
of WFMU. But every most every city had a great
left of the dial station.
Speaker 1 (13:53):
Well, this one was the best left of the dial station.
And do you remember Adam Baum? He had a soul show.
Speaker 2 (14:01):
No, I don't remember that one, Soul Kitchen.
Speaker 1 (14:03):
I think it was called.
Speaker 2 (14:04):
Oh Okay, I remember Soul Kitchen.
Speaker 1 (14:05):
Yeah, that was Adam Bomb. And that's that's definitely not
archived anywhere on the internet. So if anybody has old
tapes of Adam Baum's Soul Kitchen, please post them. Yeah.
Speaker 2 (14:15):
They had Reeling in the Ears was a good show.
Their Sunday Morning Reggae Show was amazing.
Speaker 1 (14:18):
Do you remember the Sunday Saturday Morning cartoon theme show?
That was a good one, too, good stuff. I think
we should just put one last thing. You said that
a BM station started to drop like flies in the
or eighties, in particular, by nineteen ninety they were basically gone.
There was a fictionalized version of this event. Yeah, and
(14:39):
we like to call that fictionalized version WKRP in Cincinnati.
Speaker 2 (14:43):
You know what, I did not remember this and I
love that show until you included it in the article
and I was like, wait a minute, I do remember
the pilot, like I remember that happening.
Speaker 1 (14:53):
That's what happened. That's why they hired Andy a station manager,
because they were converting from beautiful music to rock. And
that's exactly what was going on at the time around them.
Speaker 2 (15:02):
Yeah, and that's why doctor Johnny Fever and Venus fly
Trap all were stoked about their job.
Speaker 1 (15:07):
Yeah, and Herb Tarlak had to go to Crazy Murray
and be like, can we can we turn you upward now?
Because we're a rock station.
Speaker 2 (15:14):
That's right? And Lannie Anderson said, did I type this right?
And lean over the desk.
Speaker 1 (15:19):
That was a good show. Oh, let's thank our sources
for this episode. Chuck Tarvar at the University of Delaware,
Go Blue Hens, Ken Mills at Radio World, Diffin dot com,
Ken Seapora at Credoville, and the Forum at Radio Discussions.
And since we have nothing more to say about beautiful music,
(15:42):
short Stuff is out.
Speaker 3 (15:46):
Stuff You Should Know is a production of iHeartRadio. For
more podcasts my Heart Radio, visit the iHeartRadio app, Apple Podcasts,
or
Speaker 1 (15:54):
Wherever you listen to your favorite shows.
Hey, and welcome to the Short Stuff. I'm Josh, and
there's Chuck and Jerry's here too, and this is short Stuff,
the Routiness Tutinous, down home Sasparilla drinking podcast on the planet.
Speaker 2 (00:15):
That's right. Welcome to ws YSK, your source of all
the smooth podcasting sounds.
Speaker 1 (00:22):
That was great, Chuck, you have a future in radio.
Speaker 2 (00:26):
Oh great, here, there's a bright future in radio.
Speaker 1 (00:30):
So we are talking radio. That's why you just did that,
and we're talking about a specific kind of radio. But
we should kind of go back a little bit to
the beginning because and I should. It occurred to me
that there are people who listen to us they won't
even know what we're talking about with AM and FM.
But if you know enough about radio, there were two bands,
the AM band and the FM band. And when if
(00:50):
you grew up in this late seventies, eighties, nineties, you
knew that AM radio was as square as.
Speaker 2 (01:00):
A Rubic's cube.
Speaker 1 (01:01):
Yes, and the FM radio was where it was at.
But it turns out that when FM radio first came
on the scene in the sixties and then early seventies,
it was square and AM radio is where it was at.
That's where you'd hear hits and rock and stuff like that.
FM was so super square that it actually gave birth
to what we consider easy listening music today.
Speaker 2 (01:22):
By the way, I know this is going to be
kind of a long one, but I still have to
say this. When you were just stumped on trying to
think of a square thing, all I could think of
was the little Homer Simpson bubble above your head with
just like a doughnut.
Speaker 1 (01:35):
Or that black and white donkey swatting flies on the tail. Yeah,
that one always gets me. No. I thought of a
Citral Wilson quote that I just can't I can't say,
but it's hilarious.
Speaker 2 (01:45):
All right, we'll tell me later, Okay, all right, So
you left off that AM radio square FM radio was
where the rock hits were.
Speaker 1 (01:52):
I think you said the opposite.
Speaker 2 (01:54):
Well, if you grew up like we did, right, they
did a switcheroo and early on AM radio was the
cool one and FM was the upstart that was trying
to find its way.
Speaker 1 (02:05):
Yeah, and so FM essentially gave birth to that easy
listening music, which is also called elevator music. Some people
call it good music, but the type of music format
that we're going to talk about today is known as
beautiful music, and it is a great name for a
great kind of music if you ask me.
Speaker 2 (02:22):
Yeah, and you know, if you heard our Musaic episode,
we talked a lot about this stuff. Muzak is of
course a proprietary eponym or aka a company, right.
Speaker 1 (02:33):
Right, did I use that right? Yeah?
Speaker 2 (02:36):
Yeah, okay. But beautiful music is that it is like,
let's take a pop hit of the day, like a
Beatles song or something, unless let's arrange it as an
orchestral arrangement. A lot of strings will either do pop
pits or maybe'll do old standards from like the Great
American Songbook. And you know, we're going to make it
super polished, very easy on the ears. We're going to
(02:58):
remove the voteocals almost always, and instead of like the singing,
there's going to be like a flute or a clarinet
or something. Is the is the singing voice or if
it does have human voices singing, it's probably gonna be
like a chorus just singing a little bit of it
here and there.
Speaker 1 (03:15):
Yeah, or doing that that kind of singing that the
vocalist does on the Star Trek theme where she's just
using her voice as an instrument.
Speaker 2 (03:23):
I don't know the Star Trek theme.
Speaker 1 (03:25):
What I don't.
Speaker 2 (03:27):
I've probably heard it, but I can't call up like,
oh yeah that thing.
Speaker 1 (03:31):
It goes d It turns out I do know that actually, yeah. So,
like you said, the vocals were almost always removed, except
when they were humming or that kind of thing. Sometimes
they would include vocals, but they, like the carpenters, were
(03:52):
a little too hard edged for beautiful music, so they
would have like the ray Koniff singers sing the song
and provide the vocals like this is how softened. They
would take these songs and make them. And I mean,
if it was done right, even like the hardest core punk,
even the members of Crafts would hear that song and
(04:13):
be like, I'm not going to admit this out loud,
but that is actually beautiful music.
Speaker 2 (04:19):
Are you going on a limb and saying that everybody
likes this stuff?
Speaker 1 (04:23):
I I no, no, no, no, not as a genre
for sure. I'm just saying there were some There's this
one version of What's New pussy Cat that is way
better than any version Tom Jones Burt backrack. It's so
good that I really think that basically anybody could hear
and be like, this is this is a great song.
(04:44):
It actually is great, whether they'd admit it or not.
But I don't think that that would automatically convert them
to beautiful music. I'm just saying, in some instances, done perfectly,
it really is beautiful music, all right.
Speaker 2 (04:55):
Well, pressing forward, the BM format really took off because
of an FCC ruling in nineteen sixty five that said,
if you are a company that has AM stations and
FM stations, you got to play different stuff. Because at
the time, there were companies that are like, hey, this
is great. We can just broadcast the same thing on
AM and FM and get ads on AM and also
get different ads on FM and essentially double down on
(05:18):
our product. And that's like the opposite of what they
were trying to do with FM to begin with. So
the FCC came around in sixty five said you can't
do this anymore. You got to play different stuff. And
so Beautiful Music came along and said, hey, this is
a pretty cheap solution. It's going to be sell a
lot of ads because it's going to be directly aimed
(05:40):
at women, especially housewives, because you know what they're doing.
They're at home all day doing that housework, listening to music,
and this will make them happy while they're doing their housework.
They're going to have it on the background and we're
going to pump ads in there for all the stuff
that they're making the buying decisions over, which is household stuff.
Speaker 1 (05:59):
Yeah, because they were the target demographic of advertisers at
the time, they bought most of the stuff that advertisers
was selling. They made those day to day decisions about purchases.
So they were what teenagers are today as far as
the target demo, right, And it was just basically assumed
and presumed that women would not want anything intrusive or
(06:22):
jarring or something. They wanted smooth, beautiful music, so much
so that like a version of this was called music
only for a woman. That's what the industry called the
mow right. The thing is, despite the fact that this
was set up to advertised to women directly beautiful music
as a whole as a format on the radio, actually,
(06:46):
I guess the best way to put is mellowed out
as far as advertising goes, and was very protective and
defensive of the listener experience, which meant cutting down on
ads and doing all sorts of other interesting things to
ads to YEA.
Speaker 2 (07:00):
A company in particular that came along called shul Key
Radio Productions SRP, and they were a they became like
the biggest player in syndication, like being a syndication company
for the BM format because they offered They were like, here,
we're going to send you these ready to play, real,
real tapes. It's all programmed. You just slap that sucker
(07:20):
on there and push play and your set and they said,
this sounds great, and they said, oh, but wait a minute.
If you want to use our stuff, like, we're audio files,
so we want the listening experience to be great and
we want it to be kind of perfect. So you've
got to update your broadcasting equipment because we're sending you
high quality tapes and they need to come across that way.
You've got to hire an engineer that really knows what
(07:42):
they're doing and make sure this is all going to
go as we say it goes. And those ads, those
sixteen minutes of ads an hour that you're playing, you
can only do six minutes of those an hour, and
when you do, you got to have those lower in
volume than the music even and all the stuff you
should know. Listeners stood up and cheered.
Speaker 1 (08:00):
Yeah, it's true. Because they found that if you had
the radio on a low enough volume, those ads at
six decibels less were like you couldn't even hear them
sometimes at a certain volume threshold, even though you could
still hear the music. And there was another thing about
the ads too. They're like, you cannot use attention grabbing
tactics to advertise, and in some cases some of these
(08:22):
local radio stations had to go back to their advertisers
and be like, crazy, Murray, We're gonna have to tone
this down quite a bit. Yeah, and like they had
to re record rewrite ads to follow these Sholky standards.
And the reason that Sholkey could get away with this
was because they were selling up not just like pre
recorded tapes that you can just put on and have
your radio station. They were selling what muzak did as well,
(08:47):
that there was a scientific basis to this that like
followed the rhythm of the day and like built up
and crested and then Wayne and then built up and
crusted in Wayne just like musak is just like music
that was essentially totally made up. But Shulkey still had
the daya to prove it. People who listened to Beautiful
(09:08):
Music Radio listened essentially all day.
Speaker 2 (09:11):
Yeah, it feels like a good time for a break. I agreed,
And we'll be right back to finish up with BM
radio right after.
Speaker 1 (09:17):
This and things jogging job.
Speaker 3 (09:39):
Josh, all right, we're back.
Speaker 2 (09:51):
I think where we left off, Shulkey was doing pretty
good business. Crazy Murray was reduced to slightly eccentric Murray,
and they were selling like hotcakes, and they had the
ratings to prove it, like you said, even though the
science was not true, and they were listening for hours
and hours and hours. But that posed a problem, or
I guess presented a problem, which was, hey, they're listening
(10:13):
for so many hours a day, they're just having to
hear this same playlist in order basically when it loops
back around, and we can't get these tapes out the
door fast enough to you guys. So people have like
a you know, cause they were concerned about the listener
experience and certainly listening to a playlist on a loop
is not a good one. And so some companies came
along that said, all right, well, let's just start hiring
(10:33):
conductors and arrangers and putting together our own stuff until
a company called Bonaville came along with a really unique idea, right.
Speaker 1 (10:42):
Yeah, Bonaville did what Shulkey did, Like you would get
pre recorded tapes of beautiful music from them, but you
also had to have essentially a random automatic tape player
that would select a tape a song from a tape
at random. So even though you had, like them said,
of say fifty songs, there was never going to be
(11:03):
a playlist over the course of like say twelve hours
that was the same as before, same songs here or there,
but never the same entire playlist starting over every twelve hours.
Speaker 2 (11:13):
Yeah, so they'send tapes and packages.
Speaker 1 (11:17):
Tapes and tapes, tapes and tapes.
Speaker 2 (11:19):
Man missed those guys. And then yeah, I mean pretty
good technology at the time to randomly select and you know,
cue up different songs. So it was it was a
pretty big leap forward.
Speaker 1 (11:29):
And well, well, beautiful music itself was basically an incubator
for figuring out how to standardize and automate radio. That's
where that's the cradle of it is beautiful music.
Speaker 2 (11:39):
Weirdly enough, Yeah, and it spread throughout the country as
a format. Every city had at least one station if
you were a big city, you probably had a few.
A lot of times it was like you know, in Detroit,
w JOI like very mellow call signs. They just wanted
to really put out, like brand themselves as BM Radio
(11:59):
because it was such a big deal. But it wasn't
a big deal for that long because, you know, buying
power shifted as rock and roll came along and younger
listeners became the dominant sort of listener of radio, and
one by one they kind of, you know, BM radio
station switched over, which is a very jarring thing for
any radio station format change. I'm sure we've all suffered
(12:21):
those where you're like, well, I can't listen to the
station anymore because you're just not the same radio station.
Speaker 1 (12:26):
Do you remember the opposite happening when ninety nine X
came out in the early nineties and they played like
the Smiths and it was like, what are the Smiths
doing on the radio? This is awesome?
Speaker 2 (12:37):
Yeah, because ninety nine in Atlanta before that was sort
of cheesy pop, and all of a sudden it was
alternative music, which was the first the first true alternative
station in Atlanta.
Speaker 1 (12:48):
Yeah, like truly alternative too, especially at first.
Speaker 2 (12:52):
Yeah, I was a ninety six rock kid. But then
oh yeah, yeah, but when nine an X came along,
I was into that. But then ninety nine X got
really bad.
Speaker 1 (13:00):
You right, But at first it was pretty great.
Speaker 2 (13:03):
No, I agree, because you couldn't hear the Smiths on
the radio unless you went left to the dial, which
I was doing with the great album eighty eight.
Speaker 1 (13:09):
Oh, album eighty eight guys, for anybody who didn't live
in Atlanta, while Album eighty eight was on the air,
it was so great. It had the best shows. They
played the best like regular rotation music, like it was
a great, great radio station, and like you can't find
it anywhere. Nobody's archived it.
Speaker 2 (13:29):
Sadly enough, I think they still have it on the weekends.
Speaker 1 (13:32):
You that.
Speaker 2 (13:33):
Yeah, the weekday they switched over to MPR, which is
dumb because we already have an MPR station.
Speaker 1 (13:37):
Yeah, they played basically the same thing.
Speaker 2 (13:39):
Yeah, but I'm still pretty sure that the album me
dy eight exists on the weekends. And if you haven't
heard of it, you may maybe have heard of the
great WFMU out of New Jersey. It's it's our version
of WFMU. But every most every city had a great
left of the dial station.
Speaker 1 (13:53):
Well, this one was the best left of the dial station.
And do you remember Adam Baum? He had a soul show.
Speaker 2 (14:01):
No, I don't remember that one, Soul Kitchen.
Speaker 1 (14:03):
I think it was called.
Speaker 2 (14:04):
Oh Okay, I remember Soul Kitchen.
Speaker 1 (14:05):
Yeah, that was Adam Bomb. And that's that's definitely not
archived anywhere on the internet. So if anybody has old
tapes of Adam Baum's Soul Kitchen, please post them. Yeah.
Speaker 2 (14:15):
They had Reeling in the Ears was a good show.
Their Sunday Morning Reggae Show was amazing.
Speaker 1 (14:18):
Do you remember the Sunday Saturday Morning cartoon theme show?
That was a good one, too, good stuff. I think
we should just put one last thing. You said that
a BM station started to drop like flies in the
or eighties, in particular, by nineteen ninety they were basically gone.
There was a fictionalized version of this event. Yeah, and
(14:39):
we like to call that fictionalized version WKRP in Cincinnati.
Speaker 2 (14:43):
You know what, I did not remember this and I
love that show until you included it in the article
and I was like, wait a minute, I do remember
the pilot, like I remember that happening.
Speaker 1 (14:53):
That's what happened. That's why they hired Andy a station manager,
because they were converting from beautiful music to rock. And
that's exactly what was going on at the time around them.
Speaker 2 (15:02):
Yeah, and that's why doctor Johnny Fever and Venus fly
Trap all were stoked about their job.
Speaker 1 (15:07):
Yeah, and Herb Tarlak had to go to Crazy Murray
and be like, can we can we turn you upward now?
Because we're a rock station.
Speaker 2 (15:14):
That's right? And Lannie Anderson said, did I type this right?
And lean over the desk.
Speaker 1 (15:19):
That was a good show. Oh, let's thank our sources
for this episode. Chuck Tarvar at the University of Delaware,
Go Blue Hens, Ken Mills at Radio World, Diffin dot com,
Ken Seapora at Credoville, and the Forum at Radio Discussions.
And since we have nothing more to say about beautiful music,
(15:42):
short Stuff is out.
Speaker 3 (15:46):
Stuff You Should Know is a production of iHeartRadio. For
more podcasts my Heart Radio, visit the iHeartRadio app, Apple Podcasts,
or
Speaker 1 (15:54):
Wherever you listen to your favorite shows.
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Chuck Bryant
Josh Clark
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