My guess is it’s not uncommon for folks who work at college radio stations to take a souvenir or two on their way out the door—given the state of the WTLX library in the fall of 1983, surely those who came before us had absconded with much of the good stuff that had at some point been there (there were hundreds of LPs in a closet, very few of which looked interesting to this then-Top 40 snob; as I believe I’ve noted before, there was no doubt a failure to recognize many quality platters). At least some of my peers and, I must confess, yours truly, may have also succumbed to this temptation. My roommate James trundled off with a few Dr. Demento disks from the 1983-84 school year and a multi-LP history of Canada, but I think he considers the big prize to be an album from West Virginia psychedelic/Christian band Mind Garage (side one of 1970’s Mind Garage Again! includes covers of “Tobacco Road” and well-known hits from Little Richard, Elvis, and the Stones, while side two was comprised of the band-penned The Electric Liturgy).
Warren took something completely different. One Saturday night in the spring semester of 1984, he, James, and I were hanging down in the station, rummaging around the library, looking I suppose for hidden gems (WTLX was off the air on Saturdays). Among a stack of reel-to-reel tapes was one with a handwritten title that immediately raised eyebrows: Uncle Pervy. Well, you know we had to check it out. Fortunately (?), the station’s ancient reel machine was still functional, and soon we were learning about the, er…, unseemly proclivities of the title character and hearing a lot of heavy breathing. It went on for several minutes, clearly sprung from the fevered imaginations of a couple of our predecessors at the station. I’d guess it was done sometime in the mid-to-late 70s; one wonders about their level of sobriety at the time of recording. I’ll admit the three of us were much more entertained by this discovery than perhaps we should have been, and that name became part of our shared lexicon over the next couple of years. Warren reports the tape is currently buried in a closet at his house.
(Aside: I wonder if the perpetrators of the UP tape have stayed in touch over the years, or see each other at reunions. Do they have a laugh about that drunken night in the radio station? There’s zero chance they’ll ever see this article, but maybe they didn’t realize they left the evidence behind, never thought someone might come across it?)
(Another aside: In messaging about all this with my friends earlier this month, Warren mentioned an album from the library he coveted but didn’t take, only to find the station’s copy (a magic-markered ‘WTLX’ on the cover was a dead giveaway) for sale a few years later at one of the used-record stores in Lexington. Makes me realize that folks weren’t always getting stuff from the station for personal collections—I imagine some of it turned into cash for Budweiser, Thunderbird, or pot.)
As for me, I didn’t (as far as I recall) spirit away any vinyl or reels when I graduated. No, I’d long had my eye on the single copy of Billboard I noticed the first time I ever set foot in the station. Dated 1/31/81, it was more than five years out of date when I liberated it from the basement of Clay Hall—despite the admonition in the upper left corner of the front page, I guess I figured no one would need it anymore or miss it. (That no one had disturbed it in the interim probably says something about the level of housekeeping we maintained.)
It’s now forty years old, and of course I still have it—let’s celebrate its birthday by taking a gander at and sharing a few of the goodies inside.
–On the cover is an advertisement for Grace Slick’s latest solo record, Welcome to the Wrecking Ball. Take a look at the breathless copy her record company provided.
Au contraire, said Steve Simels about six months later in Stereo Review: words he used to describe Slick’s efforts include ludicrous, sad, pointless, posturing, desperate, and depressing. (I’ve never heard anything from it, so I can’t weigh in.) She’d be back with the Starship within eighteen months, eventually enjoying maximum success singing about corporation games.
–The first installment of a five-week series on the 1981 Grammy nominees for Record of the Year is in this issue. They’re leading off with the eventual winner, “Sailing.” The article recaps Cross’s difficulty in landing a contract and mentions that the original choice for second single was “I Really Don’t Know Anymore” (Michael McDonald apparently put the kibosh on that). Hindsight and all that, but I can’t imagine that one being much of a hit.
–“Plasmatics Melee in Milwaukee” recounts an incident at the Palms on 1/18. Wendy O. and the band’s manager faced multiple charges, including battery, and in Williams’s case, “suggestive stage movements with a sledgehammer and with her own body” violated a city ordinance. The article includes allegations by the manager that police officers engaged in an “aggressive body search” of Williams; when she fought back, she was hit with resisting arrest. You can find additional information here.
–In “Doors Selling,” a VP of sales for Elektra notes that all twelve of the LPs from Jim Morrison and company sold more in 1980 than any year previous; ten are now gold.
–The Singles Radio Action sheet reports that nationally the Prime Movers are “9 To 5,” “Woman,” and “Hey Nineteen,” while the Top Add Ons are “Hello Again,” “Hearts On Fire,” and “What Kind of Fool.”
–WLUP in Chicago is running a contest featuring five “montage(s) of rock song snippets aired as sonic puzzles to be deciphered by listeners.” The first solver of each wins a cool $100K. The article focuses on the efforts of rival station WMET to play spoiler by ‘decoding’ the montages for their audience.
–Under Hits of the World, Ultravox’s “Vienna” is #16 in Britain, “Looking for Clues” from Robert Palmer sits at #17 in Canada, and Kate Bush is #3 in France with “Babooshka,” all evidence that taste in music here in the States at this moment was rather lacking.
–On the album reviews page: 1) Top Pop Album Picks are Marvin Gaye’s In Our Lifetime and the triple-LP Sandanista! from the Clash; 2) First Time Around, which highlights debut disks, features Stiv Bators, The Teardrop Explodes, and Yello; 3) Recommended LPs include The Skill by Australian AOR band The Sherbs (which found a spot in my collection within a year) and the latest effort from a struggling singer who’d recently scored a gig on General Hospital, playing some cat by the name of Noah Drake. Working Class Dog is described as “Catchy, mainstream rock produced by a young pro that sounds like perfect AOR fare.” Notably, “Jessie’s Girl” is not listed among its ‘Best Cuts.’
–The Hot 100 is missing, perhaps cut out to be posted on a wall at the station (alas, reviews of new singles were on the other side of that page). We do have the album chart, though. LPs in the Top 50 I eventually owned are Crimes of Passion (#2), Hi Infidelity (#12), Making Movies (#26), Christopher Cross (#31), Glass Houses (#35), and Remain In Light (#50). (My sister had Paradise Theater, which is bowing in at #18.) In the wake of John Lennon’s murder, there are scads of Beatles and Lennon albums strewn throughout the chart (and of course, Double Fantasy is #1). Dark Side of the Moon is in its 348th week on the chart, holding steady at #137 (Second in longevity is The Cars—136 weeks—barely hanging on at #198.)
If you want to view this issue in its almost entirety, you can find it (minus the Hot 100) at worldradiohistory.com.
I’ve wondered from time to time how it is that magazine wound up in WTLX’s studio, and maybe why there weren’t any others. How active had the station been during the 80-81 school year? Were they trying to do a pop hits format? If so, why were there so few records, including 45s, from that time frame just two years later? I suppose I speculated about this last question up at the top; I’m just sorry that whatever momentum there had been before my cohort’s arrival on campus had stalled out.
We don’t play nearly enough Kate Bush around here, so even though I wouldn’t hear it for another six years (until I purchased The Whole Story), here’s “Babooshka”—a dark inversion of Rupert Holmes’s “Escape.”
2 thoughts on “Leave In Control Room”
The Wendy O. Williams/Plasmatics thing was big news in Wisconsin at the time. At our Wisconsin college across the state from Milwaukee, we reported it as a news story, although I think only a couple of the late-night jocks played the Plasmatics’ record. We did play the Grace Slick album, which was every bit as terrible as Stereo Review had it, shrill and hectoring and completely unpleasant.
I tried to listen to Grace this afternoon. Made it about two minutes into the first song. Mercy, that was incredibly bad.