Drake-Chenault
Encyclopedia
Drake-Chenault Enterprises (originally American Independent Radio Inc.) was a radio syndication company that specialized in automation
on FM radio stations. The company was founded in the late-1960s by radio programmer and deejay
Bill Drake
(1937–2008), and his business partner, Lester Eugene Chenault (1919–2010). Drake-Chenault was the predecessor of Jones Radio Networks
with its syndicated satellite-delivered formats.
In the 1960s the FCC introduced a rule that prohibited owners of AM and FM stations from simulcasting in an attempt to increase variety of programming and generate FM listenership. The FM audience share at that time was very small. Since the AM and FM stations aired the same programming, there was little reason to listen to FM. The rule targeted major markets first and had a "roll-out" period of several years with a less percentage of simulcasting allowed each year and smaller markets coming under the umbrella of the rule.
When station operators chose what format to air on the FM stations, one of the objectives was to not compete with the AM station. During this time AM stations could target big audiences so you could categorize stations with broad definitions such as MOR, top 40 and country/western. So "counter-programming" the FM was simple. A young targeted Top 40 AM would likely target older on the FM and vice versa if the AM was an older targeted MOR station. Nearly every large market had a "progressive rock" album station, a forerunner to AOR, and a "beautiful" music station. Both approaches had some early success. The baby boomers were coming of age and gravitated to the better audio quality, fewer commercials and "hipness" of the free-form rock stations. Older FM listeners embraced the lush sounds and fewer commercials of beautiful music stations. Many offices and retail stores used the "beautiful" stations as free Muzak.
The station operators also wanted to be able to run the FM stations inexpensively. There wasn't the revenue from FM to support a "live" presentation with another staff of announcers. The result was the birth of automated equipment and the pre-recorded, syndicated format business.
The automation systems usually consisted of 3 or 4 reel-to-reel tape decks, playing 10.5" or 14" reels containing the music, and several cartridge decks for commercials, weather, promos, etc. The early systems were "pre-computer" and simply sequenced pre-selected events that were triggered by an inaudible tone. Depending on the automation supplier and how many tape decks, a system would cost $18,000-$30,000.
The early syndication format suppliers included Bonneville, Schulke, Triangle, IGM, TM, Drake-Chenault and others. Drake-Chenault entered the business, initially, to just record music on tape for the RKO FM stations. D-C was consulting the RKO chain on the AM side and the aforementioned FCC rule was impacting the RKO FM stations. Music tapes were recorded at Gene Chenault's KYNO in Fresno, located on Barton Avenue, so under the name of Barton Industries in the late 60's...format syndication was born. The first format was Hitparade which aired on KHJ-FM in Los Angeles.
In the early 70's with AM and FM stations in all market sizes coming under the FCC rule and following the large market model, Drake-Chenault entered the radio syndication business in earnest...making taped formats available to non-RKO stations. Drake-Chenault syndication set-up shop at 8399 Topanga Canyon Blvd. in Canoga Park,CA. Among the early format offerings were Classic Gold, created for KHJ-FM (which became KRTH), Solid Gold, Hitparade and Great American Country. The landmark original 48-hour History of Rock and Roll, which also had been created for KHJ, was made available nationwide...soon to be followed by other syndicated "special" programs.
James Kefford, who would become the company's President, joined the firm in 1973 and teamed up with the automation suppliers to visit radio station owners and detail the benefits of using the automation system and the Drake Chenault programmers. Bill Drake and Gene Chenault tapped Kefford to spearhead the next growth phase for the company in 1977. By the late 70's, with a talented staff of regional managers, programming consultants, production engineers and administrative personnel the Drake Chenault format client list grew to over 300, with many of the consulted stations number one in their markets.
The company was sold to Albuquerque-based Wagontrain Communications in March 1985. Senior VP Denny Adkins, who had joined D-C in 1976 as a National Programming Consultant and ultimately oversaw the creation and content of all format programming, was named President.
Drake-Cheanult was relocated to Albuquerque in August 1986 along with Dallas-based TM Programming, which had also been acquired by Wagontrain. TM Programming was renamed Programming Consultants after the acquisition. The plan of having the two once solid companies occupy the same building and compete while sharing administration, production and other support departments to save money didn't work. While some attribute satellite radio programming as the reason for their demise, debt service smothered the companies and they were ultimately
broken-up with BPI Programming and Jones Radio picking up the pieces.
, a concept originally created by Ron Jacobs
and Bill Drake at KHJ in 1969. The new version, researched, written and formatted by Gary Theroux, was narrated by Drake and produced by Theroux, Drake and chief engineer Mark Ford
. Its most famous feature: the final hour, which showcased a montage of every chart-topping hit from 1956 to 1977 in sequence. That montage inspired a whole series of later medley hits by everyone from Elvis Presley
to The Beatles, Stars on 45 to Jive Bunny & the Mastermixers. The landmark "rockumentary" debuted as a weekend marathon broadcast over more than 800 foreign and domestic stations and went on to win Billboard magazine's "Top Special Program of The Year" award. It also sparked Theroux to write the book The Top Ten: 1956-Present, which reveals the sometimes funny, sometimes sad, sometimes outrageous but always insightful stories behind the ten biggest hit records of each year since 1956.
Because the History was in pre-production when Elvis Presley died in August 1977, a completely new 3-hour Elvis special was able to be written, produced, duplicated and shipped within 48 hours of Elvis' death to several hundred radio stations. It was narrated by Bill Drake.
Drake-Chenault also produced the multi-part hour-long series "The Golden Years" and "The Golden Years of Country" as well as Mark Elliot
's "Weekly Top 30" (from 1980 to 1982) and its successor, Charlie Van Dyke
's "Weekly Music Magazine".
Bill Drake died on November 29, 2008. Gene Chenault died on February 23, 2010.
Automation
Automation is the use of control systems and information technologies to reduce the need for human work in the production of goods and services. In the scope of industrialization, automation is a step beyond mechanization...
on FM radio stations. The company was founded in the late-1960s by radio programmer and deejay
Deejay
A deejay is a reggae or dancehall musician who sings and toasts to an instrumental riddim .Deejays are not to be confused with disc jockeys from other music genres like hip-hop, where they select and play music. Dancehall/reggae DJs who select riddims to play are called selectors...
Bill Drake
Bill Drake
Bill Drake , born Philip Yarbrough, was an American radio programmer who co-developed the Boss Radio format with Gene Chenault via their company Drake-Chenault.-Early career:...
(1937–2008), and his business partner, Lester Eugene Chenault (1919–2010). Drake-Chenault was the predecessor of Jones Radio Networks
Jones Radio Networks
Jones Radio Networks & Jones Media Group were branches of Jones International before being sold to Triton Media Group. JRN and JMN provide local radio stations with satellite-delivered formats. They also offer other services to local radio such as news and talk programs, syndicated radio shows,...
with its syndicated satellite-delivered formats.
History
In the 1940s and 1950s, FM radio stations begin to gradually spring up all over the country, generally alongside a sister AM station. Most stations held their FM license by simulcasting the programming of the AM sister station.In the 1960s the FCC introduced a rule that prohibited owners of AM and FM stations from simulcasting in an attempt to increase variety of programming and generate FM listenership. The FM audience share at that time was very small. Since the AM and FM stations aired the same programming, there was little reason to listen to FM. The rule targeted major markets first and had a "roll-out" period of several years with a less percentage of simulcasting allowed each year and smaller markets coming under the umbrella of the rule.
When station operators chose what format to air on the FM stations, one of the objectives was to not compete with the AM station. During this time AM stations could target big audiences so you could categorize stations with broad definitions such as MOR, top 40 and country/western. So "counter-programming" the FM was simple. A young targeted Top 40 AM would likely target older on the FM and vice versa if the AM was an older targeted MOR station. Nearly every large market had a "progressive rock" album station, a forerunner to AOR, and a "beautiful" music station. Both approaches had some early success. The baby boomers were coming of age and gravitated to the better audio quality, fewer commercials and "hipness" of the free-form rock stations. Older FM listeners embraced the lush sounds and fewer commercials of beautiful music stations. Many offices and retail stores used the "beautiful" stations as free Muzak.
The station operators also wanted to be able to run the FM stations inexpensively. There wasn't the revenue from FM to support a "live" presentation with another staff of announcers. The result was the birth of automated equipment and the pre-recorded, syndicated format business.
The automation systems usually consisted of 3 or 4 reel-to-reel tape decks, playing 10.5" or 14" reels containing the music, and several cartridge decks for commercials, weather, promos, etc. The early systems were "pre-computer" and simply sequenced pre-selected events that were triggered by an inaudible tone. Depending on the automation supplier and how many tape decks, a system would cost $18,000-$30,000.
The early syndication format suppliers included Bonneville, Schulke, Triangle, IGM, TM, Drake-Chenault and others. Drake-Chenault entered the business, initially, to just record music on tape for the RKO FM stations. D-C was consulting the RKO chain on the AM side and the aforementioned FCC rule was impacting the RKO FM stations. Music tapes were recorded at Gene Chenault's KYNO in Fresno, located on Barton Avenue, so under the name of Barton Industries in the late 60's...format syndication was born. The first format was Hitparade which aired on KHJ-FM in Los Angeles.
In the early 70's with AM and FM stations in all market sizes coming under the FCC rule and following the large market model, Drake-Chenault entered the radio syndication business in earnest...making taped formats available to non-RKO stations. Drake-Chenault syndication set-up shop at 8399 Topanga Canyon Blvd. in Canoga Park,CA. Among the early format offerings were Classic Gold, created for KHJ-FM (which became KRTH), Solid Gold, Hitparade and Great American Country. The landmark original 48-hour History of Rock and Roll, which also had been created for KHJ, was made available nationwide...soon to be followed by other syndicated "special" programs.
James Kefford, who would become the company's President, joined the firm in 1973 and teamed up with the automation suppliers to visit radio station owners and detail the benefits of using the automation system and the Drake Chenault programmers. Bill Drake and Gene Chenault tapped Kefford to spearhead the next growth phase for the company in 1977. By the late 70's, with a talented staff of regional managers, programming consultants, production engineers and administrative personnel the Drake Chenault format client list grew to over 300, with many of the consulted stations number one in their markets.
The company was sold to Albuquerque-based Wagontrain Communications in March 1985. Senior VP Denny Adkins, who had joined D-C in 1976 as a National Programming Consultant and ultimately oversaw the creation and content of all format programming, was named President.
Drake-Cheanult was relocated to Albuquerque in August 1986 along with Dallas-based TM Programming, which had also been acquired by Wagontrain. TM Programming was renamed Programming Consultants after the acquisition. The plan of having the two once solid companies occupy the same building and compete while sharing administration, production and other support departments to save money didn't work. While some attribute satellite radio programming as the reason for their demise, debt service smothered the companies and they were ultimately
broken-up with BPI Programming and Jones Radio picking up the pieces.
Documentaries
In 1978, Drake-Chenault released and syndicated an all-new, 52-hour edition of the definitive rock documentary, The History of Rock & RollThe History of Rock & Roll
The History of Rock & Roll was a radio documentary on rock and roll music, originally syndicated in 1969. One of the lengthiest documentaries of any medium , The History of Rock & Roll is a definitive history of the Rock and Roll genre, stretching from the early 1950s to its day...
, a concept originally created by Ron Jacobs
Ron Jacobs (broadcaster)
Ron Jacobs is an American broadcaster, author, record producer and concert promoter. He is best known as the program director of KHJ radio in Los Angeles during its ground-breaking "Boss Radio" period , and as co-creator of the countdown show American Top 40, and the seminal radio program The...
and Bill Drake at KHJ in 1969. The new version, researched, written and formatted by Gary Theroux, was narrated by Drake and produced by Theroux, Drake and chief engineer Mark Ford
Mark Ford
-Life:He went to school in London, and attended Oxford University and, as a Kennedy Scholar, Harvard University. He studied for his doctorate at Oxford University on the poetry of John Ashbery, and has published widely on nineteenth- and twentieth-century American writing, including on Raymond...
. Its most famous feature: the final hour, which showcased a montage of every chart-topping hit from 1956 to 1977 in sequence. That montage inspired a whole series of later medley hits by everyone from Elvis Presley
Elvis Presley
Elvis Aaron Presley was one of the most popular American singers of the 20th century. A cultural icon, he is widely known by the single name Elvis. He is often referred to as the "King of Rock and Roll" or simply "the King"....
to The Beatles, Stars on 45 to Jive Bunny & the Mastermixers. The landmark "rockumentary" debuted as a weekend marathon broadcast over more than 800 foreign and domestic stations and went on to win Billboard magazine's "Top Special Program of The Year" award. It also sparked Theroux to write the book The Top Ten: 1956-Present, which reveals the sometimes funny, sometimes sad, sometimes outrageous but always insightful stories behind the ten biggest hit records of each year since 1956.
Because the History was in pre-production when Elvis Presley died in August 1977, a completely new 3-hour Elvis special was able to be written, produced, duplicated and shipped within 48 hours of Elvis' death to several hundred radio stations. It was narrated by Bill Drake.
Drake-Chenault also produced the multi-part hour-long series "The Golden Years" and "The Golden Years of Country" as well as Mark Elliot
Mark Elliot (Disney)
Mark Elliot is the primary voice-over artist for Walt Disney Entertainment since 1983. He provides voice overs for trailers, logos, feature presentations and commercials. He is well known for his voice overs in Disney's television series. He was also the voice of CBS throughout the 1980s and...
's "Weekly Top 30" (from 1980 to 1982) and its successor, Charlie Van Dyke
Charlie Van Dyke
Charlie Van Dyke is a former radio disc jockey who is best known for the voice work he has done for numerous radio and television stations....
's "Weekly Music Magazine".
Bill Drake died on November 29, 2008. Gene Chenault died on February 23, 2010.