Gordon McLendon is credited (along with Todd Storz and Bill Stewart) with creatiing Top 40 radio, while he owned KLIF in Dallas, Texas. In 1953 he switched from live music and magazine-style programming to records and disc jockeys. By then an in-house musical ensemble had been producing station jingles—an idea that quickly spread throughout radio—and McLendon added wild contests and promotions, along with an emphasis on local news, to the mix. At its peak KLIF drew some 40 percent of Dallas’s listeners. Many of them tuned in to the nighttime shenanigans of Russ (“Weird Beard”) Knight. Holder of a master’s degree in journalism and the self-proclaimed “savior of Dallas radio,” Knight had a larger-than-life personality, a way with rhymes, and a penchant for the sound effects of the day (horns, whistles, and echo machines).
How and why Gordon chose to embark on the Top 40 route is not in dispute, but exactly when he introduced Top 40 to KLIF listeners is open to question. Gordon himself set the earliest Top 40 arrival date at 1952. However, Sponsor magazine pegged 1953 as the year that KLIF “burst into national prominence with its formula of music and news plus razzle-dazzle promotion”. Another source suggested that Gordon perhaps was tinkering with the Top 40 idea “in the early part of 1953” but was “using a top 25-record playlist (updated daily)”. But one other source said that by mid 1953, Gordon still had not settled into a particular Top 40 programming scheme. The latest time (and probably the closest to being correct in view of the evidence) for KLIF’s transition to Top 40 was said by Bill Meeks to be 1954.
Once inside the station, disc jockeys became well aware of management’s expectations. Station policy at KLIF reminded disc jockeys that the “first order of the day” was to “be brisk and bright.”
Somewhere around late 1954 and early 1955, then, all of the ingredients necessary for Top 40 appeared to be coming together at KLIF. The real catalyst in the development of a true Top 40 format at KLIF was Bill Stewart and the ideas that he brought to the station from his earlier association with Todd Storz. Don Keyes recalled that Stewart came in knowing what he was doing. And that’s when he really tightened the playlist. “Don’t laze along and be listless -sound peppy and alert and on the ball. Sounding brisk and lively may call for saying things faster. Keep whatever you have to say short and informative.
A KLIF disc jockey is: informative, or humorous, or he merely introduces the records. He prepares his show- and he prepares the material for his show. . . . The KLIF disc jockey is a personality disc jockey -an entertaining disc jockey because he is not mechanical, he does have something to say, he has prepared, he is conscious of what the tradition of KLIF disc jockeys has been.
A KLIF disc jockey prepares-he reads the morning and afternoon newspapers, some magazines and books, comments briefly upon what he’s reading and seen, or has something amusing to say -in short, he is interesting to listen to.
There was no doubt that KLIF was knocking the socks off the competition. But how was it doing it? The Top 40 format was only the product of a very keen intuition about what kind of radio programming people wanted to hear.
Two unscoped airchecks from the pre-Top 40 era on January 10, 1957. [ Part 1 ] (48:32), [ Part 2 ] (48:08)
Subtle changes in music policy continued to occur as years went by so that KLIF could adjust for listener needs and wants. By the 1960s the station’s music had moved more toward what later would be called “adult contemporary”.
Ken KnoxKen Knox is playing Top 40 records on January 4, 1961. [ LISTEN ] (18:08)
At the time of this recording, KLIF was competing with crosstown KBOX for Top 40 supremecy (Top 40, not Rock and Roll). The music on the charts this day is very diverse. Jimmy Fiddler reporting the latest Hollywood news is a hoot! Call the "Dial-A-Mink" contest line at Riverside 8-0600.Ken Knox did morning drive from 1958 to 1960, followed by a short stint in late mornings before departing in 1961. In addition to his on-air duties, Knox also appeared in three movies filmed in Texas: The Giant Gila Monster (1959, playing a character named Horatio Alger "Steamroller" Smith), My Dog, Buddy (1960) and Beyond the Time Barrier (1960). Knox, also jocked in Dallas at KILN, KBOX, KTLC-KMEZ and KCNC.
The disc jockeys who played the music, who really were the spark or catalyst that made the programming work, had to be the best; Gordon insisted on that. KLIF “jocks” were undisputedly in a class by themselves. Don Keyes, Kenny Sargent, Bruce Hayes, Bill Stewart, Gene Edwards, Larry Monroe and Jim Randolph have been mentioned already as having formed the vanguard of Top 40 disc jockeys who would lend their efforts toward building KLIF into America’s leading radio station.
Russ "Weird Beard" Knight is playing records and Cruisin' in 1962. [ LISTEN ] (42:29)
Featuring artists Joey Dee & The Starlighters, The Shirelles, Don Gardner & Dee Dee Ford, Bruce Channel, The Sensations, Shelley Fabares, Gene Chandler, Barbara Lynn, Dion, James Darren, Brian Hyland and Little Eva.
And features including News Headlines, Summer Spectacular, This Knight's Bullseye, Skyland Chrysler commercial, Gillette commercial, E.S.P. promo, Flying High in the Dallas Sky, and a KLIF DJ Trading Stamp promo.
Many others would follow, and each would carve a niche for himself in KLIF history. Most of their real names never were known to KLIF listeners, but their radio names were famous throughout Dallas. Among them were Charlie Brown and Irving Harrigan, who teamed up as Charlie and Harrigan; Johnny Dark, Jim O’Brian, Deano Day, Jimmy Rabbitt and Russ Knight, the Weird Beard.
Here's a couple of airchecks featuring the morning duo of Charlie And Harrigan. This one aired on September 11, 1962. [ LISTEN ] (9:26), and another from September 24, 1963. [ LISTEN ] (13:05)
Interestingly, the "Charlie and Harrigan" show was actually "Murphy and Harrigan" to begin with. Tom Murphy was Ron Chapman's partner. Ron describes their working relationship this way, "Tom had trouble showing up on time, so he did not last." Chapman played the role of "Irving Harrigan" with Murphy first, then Jack Woods replaced Murphy and the show became "Charlie & Harrigan" Jack Woods remained until the summer of 1964 when he left to go to Indianapolis. Dan (McCurdy) Patrick was on the overnite shift and auditioned for the part of "Charlie Brown" and got it. Dan started on the morning show in August of '64 and a month later Charlie & Harrigan introduced The Beatles at Memorial Auditorium in Dallas. Dan stayed until June of '65 when he left for WMEX in Boston, only to return to Dallas a few months later and take the morning job at KLIF's competition KBOX. He went back to using "Dan Patrick" as his air name at KBOX. . As time went by, "Charlie and Harrigan" was produced by other DJ's in various parts of the country, some with former KLIF "Charlie and Harrigan's."Chapman remained at KLIF hoping to use bit players as "partners" from a talent pool in Dallas. At the time, Chapman was already doing some television work at WFAA TV Channel 8 in Dallas hosting a Saturday night TV show called "The Group & Harrigan". It was his idea to re-name the KLIF morning show "The Group & Harrigan" as well. McLendon did not like the idea, so Chapman left. WFAA TV offered him a full-time job hosting a game show called "Away We Go" in the morning and afternoon dance show called "Sump 'n Else"(much like a local American Bandstand).
Chapman accepted, but McLendon intervened claiming ownership to the "Irving Harrigan" name. Chapman was never quite enamored by the name anyway, so he changed his on-air name. He toyed with "Rock" and "Rob" and then settled on "Ron" Chapman. (Ron's real name is Ralph Chapman.) McLendon brought in two new "Charlie and Harrigan's" and it was business as usual. The next generation of "Charlie & Harrigan" was Jack Auldridge and Brice Armstrong. Later, Jack Woods returned in his role of Charlie Brown teaming this time with Paul Menard. When this version of C&H was leaving, Ron Chapman (at WFAA TV at the time) came back to KLIF for a few weeks to do the morning show. For a few days Chapman joined Woods and Menard and then did the show solo for a few weeks while KLIF awaited the return of Ken Dowe who had gone to Atlanta. Chapman did the morning show for those few weeks while doing his television work in the afternoon at WFAA.
Hal Martin is on the air on August 28, 1968. (speed variance) [ LISTEN ] (48:08)
Chapman and Woods re-teamed once more in August, 1970 for a KLIF "Family Portrait" DJ reunion for one morning. Chapman was at KVIL by then. In 1975, Woods and Menard returned to KLIF for the last and final run of Charlie and Harrigan at KLIF.
In late 1966, the "Charlie & Harrigan" show was replaced by Ken Dowe and Granny Emma. Ken Dowe had an interesting position over the years with KLIF and McLendon. Originally working in afternoon drive, Dowe had an on-air character called "Granny Emma." She was created in the image of Ken's 87 year old Grandmother. Somehow her age never changed through the years. Granny's character was that of an old, meddling, know-it-all, cantankerous lady who could get away with saying anything.
McLendon knew a good thing when he heard it. He could have a two person show for the price of one. The "Ken Dowe and Granny Emma Show" graced the KLIF airwaves for years. Ken had been at KBOX in 1962. He left KBOX and worked at WQXI in Atlanta, returning to Dallas in 1963 to take over afternoons at KLIF. Ken left again and then returned to do the morning show at KLIF and was appointed Program Director. In 1968, Ken accepted an offer from WQXI in Atlanta again, only to return five months later. He did the morning show again at KLIF, and then went off the air to become the Executive Vice President overseeing all of McLendon's radio stations. Ken was indeed McLendon's "right-hand man".
Other morning shows came and went through the late 60's and early 70's. Deano Day, Don Wade, Rod Roddy, Michael O'Shea, Paxton Mills and Dave Ambrose all took turns at the KLIF morning show at one time or another.
It's a Monday morning, April 17, 1972, and Texan George Jennings has decided to shake up Sonny Martin, by challenging him to pose naked in a calendar foldout! [ LISTEN ] (32:19)
Over time, McLendon had purchased other stations in other cities. With the tremendous success at Top 40 he had at KLIF, he quickly switched formats of the other stations as well. Soon KLIF's format was heard on WRIT in Milwaukee, KTSA in San Antonio, KILT Houston, KEEL Shreveport, WAKY Louisville, WNOE New Orleans, and KNOE in Monroe, La.McLendon introduced several formats to the industry. He is credited with many early innovations in the area of Top 40 radio, but also was the first to put on an "All News" and "All Classified Ads" format. On KABL in San Francisco he was the first to initiate the "Beautiful Music" format.
Survey dated December 17, 1966.In the late 1960's, KLIF manufactured "KLIF Classic's" albums. They featured the great songs heard from the KLIF "files" and photo's of the DJ's, and occasionally art-work created by the DJ's.
KLIF was the number one station in Dallas from 1954 to 1972. Its unique blend of Top 40 hits, DJs with much personality, solid news content, and promotional support were responsible for its success. KLIF in its early times spent $3000 to $5000 a month on promotional giveaways. The figure peaked in the 1970's at around $20,000 per month.
KLIF commanded 30 to 40 percent of the audience throughout all of the 1960's and into the early 1970's, when the ratings began to decline. One broadcasting executive who admired McLendon said of KLIF, "it was a mountain, a station people talked about around the world, literally. The station had an enormous 'cult-status' in the industry. What ultimately made McLendon's KLIF so popular was that there was a sense that there was something happening all the time.
KLIF was a station that everyone listened to. To say this seems like the voice of an overzealous fan of the station, but the fact is almost everyone did in the 50's, 60's and early 70's.
In the day's of non-air conditioned cars, if you pulled up to a red light, chances are the same song would be playing from the radio in the car next to you. This was because everyone listened to KLIF. If you went to the pool or lake and walked among the sunbathers beside the water, each and every transistor radio would be blasting "Big KLIF"! If you asked someone at school if they heard something on the radio that morning, the answer was always "yes".
For most, the family's car radio was set to KLIF and the dial never moved. Kids loved it, teens dated by it, adults went to and from work by it.
The DJs were "teen idols" for their time. A personal appearance by the jocks would be paramount on the social calendar. The "Mighty 1190" was as much a part of Dallas as the Cotton Bowl and the flying red horse atop the Magnolia Building.
KLIF always prized itself on having "personalities" on the air rather than simple time and temperature DJs. Former KLIF Program Director and DJ Johnny Borders, known on the air as "Johnny Dark" described it this way in Billboard magazine, "we place a strong emphasis on personality in our disk jockeys. We like pleasant, entertaining professionals behind our mikes, who have something to say beyond the title and artists and time and temp." Indeed, that was true. KLIF's on air positions were always some of the most sought-after in the industry. DJs who worked at KLIF had little trouble finding another job in other cities.
McLendon and KLIF did much to improve radio in the 50's, 60's, and 70's. One of McLendon's pet projects was his efforts in 1967 to clean up the lyrics of music. In fact, McLendon took out a full-page ad in Billboard magazine announcing his plans to ban any record submitted for airplay at any McLendon station that was not accompanied by a lyric sheet. He felt the subject matter and subliminal messages contained in current rock and roll tunes were undermining the moral character of the country. For this reason, many songs which were enormous hits nationally and locally were banned from KLIF's airwaves and those of all McLendon stations. This was an all-out war with the record companies at the time. Some were happy to comply, others held out and paid the price of no airplay on some of the nations biggest rated Top 40 stations in the McLendon chain. Any mention of sex or drug connotation, implied or stated, would would be deemed unsuitable for airplay.
KLIF did many things to remain successful over the years. In the late 60's and early 70's, KLIF had competition from two soul music stations, KKDA and KNOK. Both were daytime-only AM stations that were required to sign-off at local sunset, typically 5:30 at night in the winter and 8:30 in the summer. KLIF realized they could do little to keep their black listeners from stations like KKDA and KNOK which catered specifically to them. KLIF did however realize that they could do something to attract them after KKDA and KNOK signed-off. In order to accomplish this, KLIF made it policy that at the exact moment of sign-off time for KKDA and KNOK, KLIF would be playing a "soul" tune. The thinking being that when the black listeners stations went off, they could come right on over to 1190 KLIF and hear the same kind of music. KLIF became a bit more "soulful" after local sunset to attract the black listeners. They even had special KLIF jingles cut performed featuring black singers voices.
Another innovation KLIF created to attract black listeners was hiring one of the first black DJ's to work on a typically white DJ Top 40 station. In the late 60's KLIF hired "Cuzzin' Linnie" to do the overnight shift. His picture was featured proudly on KLIF surveys and album covers to promote his inclusion into the KLIF family. This was a time in the nation when much emphasis on black/white relations was foreground in the news. This did much to position KLIF as the station for all people. It was a tremendous success.
During KLIF's successful years, there were stories of DJs coming to KLIF for less money than they were making just so they could learn the McLendon/KLIF way of doing things. One-time Program Director Michael O'Shea, who for years hosted the noon to 3pm shift and later mornings, once said, "none of us made any real money working there, but we all left with an enormous education that for most paid off a hundred times over our salaries at KLIF in the years since".
KLIF did have some direct competition. KBOX 1480 AM to be exact. KBOX, which featured some of the DJ's later heard on KLIF, also was the home at one time of Dan Ingram (of WABC-New York fame); Ken Dowe (later with KLIF); Dan Patrick (a KLIF DJ and one of the "Charlie Browns"; and Al Lohman (of "Lohman & Barkley fame in Los Angeles).
For all their efforts at KBOX, they never quite could measure up. They did come close a few times, and did occassionally win a daypart, but never beat KLIF overall in the ratings. As one broadcast executive who grew up in Dallas put it, "KBOX would give away a car, KLIF would give away two...KLIF was always your first choice, KBOX second." KBOX gave up and went Country in 1967. Much of KLIF's competition then came from stations playing Country or Easy Listening.
KLIF adjusted its programming in 1967 to include album cuts from some crossover Easy Listening artists. According to a published report in Billboard magazine in August, 1967, KLIF Programming Chief Bill Stewart spoke of the alterations. During school times, KLIF would play artists like Steve Lawrence, Frank Sinatra, and Perry Como blended with the Top 40 hits of the day such as 5th Dimension, Simon & Garfunkle, and the Association in an attempt to appeal to the adult audience. After school, the usual Top 40 flair of Beatles, Beach Boys, Mitch Ryder, and the Four Tops would prevail. This enabled KLIF to thwart any attempt by Easy Listening stations to take away KLIF's adult audience at the time.
KLIF was always a station to play above and beyond the Billboard Hot 100 national charts. Local artists were often featured on the KLIF Top 40 Survey's. There were many "local hits" made from airplay on KLIF. "Joe Stampley and the Uniques" had a number one song in the summer of 1966 with "All These Things". "Mouse and the Traps" likewise with "Public Execution". "13th Floor Elevators", "Floyd Dakil", "Kenny and the Kasuals", "Jon and Robin and the In Crowd", and even KLIF's own "Jimmy Rabbit" had a hit or two on the KLIF 40 Survey!
Country was especially popular in the Southwest, so KLIF often played crossover Country songs. Tammy Wynette, Ray Price, Johnny Cash, Jack Greene, Bill Anderson, Charley Pride, Conway Twitty, and others made their way onto KLIF's playlist. KLIF was a station that played all types of music. This was in the day when there were fewer stations and they could program to a larger mass of audiences.
KLIF experiemented often with many different programming ideas. The Top 40 format was always a mainstay, but KLIF was known for many things. It was the "news authority" for Dallas. Sports was a prominent feature because of McLendon's love of the games.
According to an article in the March 30, 1968 BILLBOARD magazine, the following is a description of KLIF's programming at the time. KLIF features a Top 40 Format. The programming is not a "helter-skelter format" insists Ken Dowe, KLIF Program Director. Dowe, who also does the 6-9am show (he had a 31 share in a recent Hooper survey). The programming however, does involve new records, climbers, the top 20, about 10 records that are familiar hits, and about 350 records that Gordon McLendon, President of KLIF, terms as "freaks" because they appeal to everybody.
In fact, KLIF is aiming for a broad spectrum of demographics with its programming. You might call the programming a cross between Top 40 and Middle of the Road. Dowe says, "I was chicken, scared to death to try this type of programming. But it works, it's amazing!"
The programming hinges around the Top 20 records in local sales. Records that are climbing alternated with top 20 records as fillers. However, this pattern is interrupted in three different instances. For one thing, two album cuts are played each hour, taking the place of climbers. These are used to balance the daytime programming somewhat. Between 9am and 3pm, the albums cuts are limited to easy listening artists like Ed Ames, Glen Campbell, 5th Dimension, and the Mamas and Papas. In the evening hours, for example on the Jimmy Rabbit show, these album cuts are artists like Jimi Hendrix and Joe Tex.
KLIF has a list of familiar records - usually 10 that are changed each week - that Dowe calls his "A-File" records. KLIF deejays begin the hour on the tone with an "A-File" record like "Up, Up, and Away" by 5th Dimension or "Different Drum" by Stone Poneys; these are unannounced on the belief that the audience already knows them well. Usually, these are former hits records that have been pulled off the air for a few weeks.
"Freak" records are played after the "20/20" news. These are considered "freaks" because they appeal to everybody - country music fans and pop music fans, old and young. Dowe mentioned "King Of The Road" and "I Left My Heart In San Francisco" as examples. He says he has 350 of these; that Gordon McLendon had the idea several years ago for programming this type of record but that KLIF only put them into play few months ago. "The programming is so complex that you can't figure it out by listening on the air", says Dowe. "KLIF is programmed like an easy listening station...big in community involvement. We're also aiming at the 20-35 age group, hoping to pick up many of these listeners because of the music we're playing." The station has most of the teens locked up because of the lack of major competition. In fact, the most serious competition KLIF has at present is KBOX, a full-time country music operation.
The above programming is weaved in with four jingles per hour. Deejays talk 30 seconds after a record. Commercials are stepped down in time in that a 60 second commercial is followed by a 30-second spot and that's followed by a 10-second spot. "Then we throw in a jingle and go to a record fast", Dowe said. One-liner promotions are inserted between commercials. Deejays talk over the beginning of records very seldom and "when we do, we never fade the sound down."
KLIF pioneered "talk shows" as well. In 1966, Chuck Boyles was assigned to do a nightly talk program with varied subjects and callers. It was called "Snakepit" and aired nightly form 10p.m. till 1a.m. It was often controversial, by design! A live on-air promo in 1966 sounded like this: "Almost everyone in Dallas hates Chuck Boyles. Dial up "The Snakepit" 10-1 tonight on the Mighty 1190 to discover why. Keep listening! In almost no time at all, you'll hate him too!"
In later years the show was hosted by Rod Roddy of "Price Is Right" fame. They called his show "Hotline". One of his famous moments doing "Hotline" occurred when he was set to interview Miss America. Somehow Rod felt she was less than friendly and made mention of this as the live interview began. A moment later, she threw her coffee on him and left! As one can imagine, Rod became even more indignant and in the anger and excitement of the scene, he passed out live on the air. Producers and technicians were trying to revive him with the microphones still live on the air! It was obvious he had many fans as the local emergency crews were inundated with calls that Rod Roddy must have had a heart attack at KLIF. The KLIF studios were surrounded by ambulances within minutes. Fortunately, Rod had only hyperventilated and was fine shortly thereafter and resumed his show. Of course, he did allow the medical technicians into the studio to give him a check-up live on the air. It was indeed compelling radio!
Another interesting note about Rod Roddy's "Hotline" show. It was broadcast live on KLIF 1190 and replayed the next day during the mid-day on KLIF's sister station KNUS 99 FM. McLendon was putting effort into the FM station and this was a great opportunity to cross-promote, which KLIF did often.
Not only did KLIF feature frequent weather forecasts, but for a while in the late 60's and early 70's, KLIF and other McLendon stations featured the Astrological Forecast For The Day. This was introduced by Don Keyes "KLIF presents Leaka Kissner's astrological forecast for the day". This was followed by longtime Gordon McLendon personal assistant Billie Odom doing the voice of Leaka Kissner with that day's brief report for all the astrological signs. Keyes voiced the close with this disclaimer: "Astrology is a subject of controversy. Dependence upon forecast must be by individual choice."
At one time in the early 70's, KLIF DJ Dave Ambrose gave up playing music and hosted a daytime talk show on KLIF. It was called "Girl Talk". It featured Dave talking to the primarily female audience about such subjects as "How do you know when your man has been unfaithful to you?"; "Where is the most unusual place you and your man have made love?"; and "Was divorce really the answer?". Pretty raunchy stuff for the times! The show began in September 18, 1972 and ran through Summer, 1973. Aired from 10am till 1pm in the mid-day when KLIF was attracting mostly bored housewives at home. The show created quite a stir in the area. Frequent criticism came from PTA groups, other media, and private citizen groups. Dave maintained a "sounding board" format, that is, never offering advice himself, but allowing some 700 mostly female callers a month sound off on everything from laughter to tears. Though highly controversial, it was a ratings hit, attracting 40,000 listeners daily.
Speaking of raunchy stuff. Remember when Burt Reynolds caused a stir for posing for "Comopolitan" magazine in 1972? Not to be outdone, the KLIF jocks declared they would do the same! The "Plain Brown Wrapper" was the answer. Promoted on the air as being so revealing, it could only be delivered in a "plain brown wrapper". Did the KLIF jocks actually pose nude for a pinup? They certainly did and here is what it looked like. **Viewer discretion is advised!**
When McLendon owned KLIF and KNUS, many staffers worked both sides of the dial. At one time, KLIF's afternoon jock, Mike Selden, did noon to 2 p.m. on KNUS, then came back for 6-9pm on KLIF.
In the early 1970's the clock was running out on KLIF. Times were changing. The audience that grew up on KLIF was getting older. Music was changing too. The mass-appeal pop flavored tunes of the 50's and 60's were giving way to a more sophisticated sound now. In years past, much of what KLIF played appealed to teens and adults. Now, many of the adults were not into the "heavy R&B" and "hard rock" sound that was dominating the Top 40 charts. Top 40 Radio was seeing its numbers fall with specific demographic counter-programming from competitors.
While KLIF tried to continue to appeal to a broad sector, the pie was being sliced thinner and thinner. At this time in the early 1970's, KLIF was basically what today is described as "Adult Contemporary" during the daytime. That is, they attempted to avoid the annoying songs that drove away adults and concentrated on more mass-appeal tunes and approach on the air. McLendon himself admitted, "It was clear to me that FM stations were coming into their own." KLIF's years of dominating were coming to and end and McLendon saw the writing on the wall.
Although McLendon had an agreement to sell KLIF at the same time he sold KILT in Houston to LIN Broadcasting in 1967, that sale did not go through. The McLendons changed their minds and opted to keep KLIF and sell only KILT. Originally KLIF and KILT were sold at an agreed price of $15,000,000! Eventually LIN paid $7,500,000 for KILT alone. At the same time FM station KNUS was also sold for $150,000 to a group headed by Bob Hannah, T.A. Rippey, and Giles Miller. It was their intent to make it KPCN FM to complement their AM station at the time 730 KPCN AM. That sale was also cancelled and the McLendons continued to operate KLIF AM and KNUS FM for several more years.
Many in the industry wondered why McLendon didn't just take KLIF and put it on his FM frequency he already owned in Dallas. He saw it differently.
McLendon finally did sell KLIF in early 1972 to New York based Fairchild Industries for $10.5 Million. At the time, it was the single highest purchase price for one stand alone radio station. Interestingly, Fairchild was given the opportunity to purchase McLendon's FM station, 98.7 KNUS, and opted to go only for the "cash cow" in KLIF and passed on the FM. (Incidentally, 98.7 FM in the 1990's sold for tens of millions of dollars to CBS/Infinity!) As a condition of the sale, McLendon signed a ten year no-compete agreement which stated he would not operate an AM station within 150 miles of Dallas, Texas. This alone made it obvious that Fairchild Industries were not familiar with broadcasting applications as no mention was made of McLendon operating an FM station. Since he already owned KNUS FM, he concentrated his efforts on his FM property and re-launched its format in 1972.
Ken Dowe made a proposal to McLendon of what he'd like to do with KNUS. The plan was to make it a Top 40 approach to Album Rock. McLendon told Dowe he didn't want it to sound too much like KLIF. KNUS was one of the first Top 40 FM stations in the country. McLendon brought many KLIF staffers with him as he set up KNUS to compete directly with KLIF. KNUS featured a tight playlist of current hits, selected album cuts, and a large dose of classic hits. PAMS jingles initially were used featuring the short - high energy "WLS '72" package. Commercial breaks were kept to two minutes in order to promote "where you're never more than a minute from music". Promotions were a large part of the game plan and concert sponsorships tied perfectly to their demo. KNUS certainly had a different "attitude" on the air. By design, it featured many of the programming elements the longtime AM Top 40 stations couldn't do, like play album cuts from a favorite artist, not just their current hit. They would play one song after another with no talk at times. All of this in superior FM stereo, which the younger generation was more aware of.
KLIF, under Fairchild Industries ownership was a catastrophe. In the words of KLIF's Program Director at the time, Michael O'Shea, "they took a great, great radio station and brought it right to its knees".
According to Morton Langer, a securities analyst, "operating KLIF was beyond their scope of management. They just didn't understand the dynamics of running a radio station. They were an aerospace company. It was just alien to them."
Fairchild ran KLIF from the bottom line. They were more interested in short-term financial gains and did not understand the need for long-term investment and foresight.
McLendon took many of his talented people with him depleting KLIF and creating a struggle for Fairchild from the start. Within a year, the once "long-time line-up" was gone. New voices came and went with each declining rating book. One could no longer tune in and expect to hear anyone you remembered.
Interestingly, Fairchild Industries attempted to purchase 102.9 FM in Dallas in the mid 1970's but the sale did not go through. It was their intent to pair up 1190 AM with an FM, finally realizing their need for an FM frequency.
McLendon had sold KLIF but retained ownership of the triangle point KLIF building that housed KLIF. It is a matter of record that he did not put any effort into keeping the building state of the art. Within a few years the building began to look in disrepair. Now in direct competition with his former giant, McLendon apparently felt no obligation to use his funds to repair the image of KLIF.
KLIF lost one its biggest attractions the same year McLendon sold the station. The Dallas Cowboys announced they would be moving to KRLD beginning with the 1972 season. The Cowboys were huge in Dallas and throughout North Texas and a big listener draw. The Cowboys had been on KLIF throughout the 60's and early 70's. They had just won their first Superbowl and now would no longer be a part of KLIF.
KLIF's own ineptitude was certainly to blame, but there were other forces at work. The changing marketplace was a huge part of it. Other Dallas stations that only recently were afraid to take on the Goliath in KLIF were now directly competing at them.
Another change in the marketplace which dramatically affected KLIF and others was in 1973. Arbitron Ratings Company combined the Dallas and Fort Worth markets into one ratings report. For a few years, they also published a Dallas only and Fort Worth only book, but advertising agency began to depend only on the Dallas-Fort Worth book since it made the market a much larger ranking nationally. The DFW book remained and the separate books were phased out. In years prior, they were treated as two separate markets entirely. This change effectively doubled the number of stations each had to compete with. KLIF now had head-on competition from not only KNUS and a few others in Dallas but also had to compete in Fort Worth with KFJZ and KXOL in the Top 40 arena.
Stations now had to program to a much larger population to succeed. This meant more investment for the owners of the radio stations. KLIF's owner, Fairchild Industries, had already sunk a fortune in purchasing the station and now were forced with making additional financial resources available to secure the investment. Many in the KLIF employ at the time felt like this was one of their biggest mistakes in owning KLIF. They did not double their efforts at that key time and saw losses in ratings and revenue by the day.
KLIF now had direct competition from fragmented formats biting away at it. WFAA AM was Middle of the Road and attracted many adult listeners. KRLD FM (92.5)was a progressive rock station. In 1973, KVIL was perhaps the one station that did more to put a nail in the coffin of KLIF than any other. KVIL came into its own when it was sold to Fairbanks Broadcasting. KLIF's former morning man Ron Chapman was at the helm and brought KLIF's Mike Selden over to do afternoons. They were perhaps the biggest spender in promotional dollars and took much of the fun away from KLIF. KVIL featured many of the ideas pioneered at KLIF in terms of promotions and programming. KVIL was under the direction of Fairbanks' Jim Hilliard, (a one-time KLIF jock by the name of Jimmy Darren), George Johns, and Ron Chapman (a previous Irving Harrigan from KLIF). KVIL took what KLIF was doing successfully for years and targeted to the adults that had grown up on KLIF, and broadcast it in FM Stereo. At the time, Dallas was becoming one of the first markets in the nation where FM was beginning to dominate over AM. This did much to take away any remaining adults still listening to KLIF, by design. KZEW went from a Beautiful Music format as WFAA FM to "the Zoo" Album Rock in 1973 with much success. And of course, KNUS was plugging away playing Top 40 in FM Stereo in direct competition to KLIF. What once was a very large mass-appeal radio audience at KLIF was now being scattered to the wind with many stations sharing what once was all KLIF's.
In January, 1980 Fairchild Industries finally grew tired of operating a company they had little expertise in. Susquehanna Broadcasting purchased KLIF for $4..25 million. A loss of over $6 million on their investment in broadcasting.
Gordon McLendon continued to operate KNUS (KLIF's former sister station). KNUS actually beat KLIF three years after McLendon sold KLIF. This was the first time an FM station beat an AM station at Top 40 in a major market in the U.S.
McLendon sold all remaining radio stations in his chain in the early 70's. His last hold-out, KNUS was sold in May, 1979 to San Juan Racing for $3.5 Million. He never re-invested in radio. Interestingly, it was San Juan Racing's first venture into broadcasting. One might wonder if McLendon sought out buyers who could not show him up. San Juan was not successful at operating KNUS and sold it years later at a loss.
By the way, regarding the $10.5 Million that McLendon received from the sale of KLIF in 1972. It was invested heavily in gold. It is a matter of record that he bought gold at $40 an ounce in 1972. He sold it in the 1980's when it was selling for over $400 an ounce. Needless to say, Mr. McLendon knew what he was doing!
Gordon McLendon died Sunday, September 14, 1986, after a battle with cancer at the age of 65.
Some materials found on this page were originally published by the following: Nick's Radio Corner
