The Soul Express

On a drive across New England I picked up a free issue of Neighbors magazine. In it I found a lengthy article by Dean Farrell aka Dean Fiora. He was singing the praises of some obscure soul 45s. You know I can't resist that. In his byline it revealed that he's also a a 35-year radio-man currently with shows on two different stations WECS, and WRTC.

Dean turned out to be an absolute renaissance man: a fiction writer, a music columnist, a musician, a performer, a soul-man, and a rockabilly fan among other things. He's even written for Mad Magazine. We've even met some of the same radio folks in our travels. It was an honor and a pleasure to interview him. It'll take a while, but I do plan to read all of his Kolchak stories. (For you kids under 40, that was the X-files before there was an X-files. Wildly under-rated show with a cult following)

 JF: By my count you've worked at at least ten radio stations: 89.3 WRTC, 88.1 WESU, 100.5 WRCH, 1350 WINY-AM, 104.1 WIOF, 1590 WQQW-AM , 91.7 WHUS, 910 WNEZ-AM,  1220 WATX-AM and 90.1 WECS. Did I even get all of them? 

DF: One more. When I lived in Florida from 1996-97, I was involved with the non-commercial WFIT from the Florida Institute of Technology in Melbourne. It was mainly a jazz station, so that's what I played too.

JF: Your commercial radio tenure seems to have been relatively short. Any advice for would-be commercial radio DJs?

DF: For my piece in the Neighbors paper, I simplified the timeline. I actually worked part-time and per diem in commercial radio for five years (1990-95).

As for advice to would-be commercial DJs: you're better off trying Internet or satellite radio than terrestrial. When I worked in commercial radio 30 years ago, they were already busy replacing on-air DJs with network feeds and automation. I got out because I was never able to make a full-time living at it. And it's only gotten worse. However, if you really want to be on the AM or FM band, you might give news, talk, or sports radio a try.

JF: I saw on Mixcloud that you have been building Soul Express playlists from old soul radio playlists: WMBM, WAWA, WABQ, KDIA, WBEE, KXLW, WGOK, XPRS, WCHB, KDKO etc.The list goes on. I really like this idea. Where did this come from?

DF: I've collected Classic Soul music for about 35 years. During that time, I've amassed tens of thousands of individual tracks. Yet, whenever I do an old radio station countdown, there's always something I've never heard before. That's why I do them. Well, that and I've always enjoyed the countdown format. Casey Kasem was one of my heroes! I found the playlists at the ARSA website: http://las-solanas.com/arsa/index.php

JF: Is the program name "Soul Express" named after anything in particular? The magazine "Soul Express" or the band "Raw Soul Express?" Maybe the 1968 song by Lonnie Mack?

DF: It was just a name I came up with when I first put the show on the air in 1994. It also rhymed with the station’s call letters: “You’re listening to The Soul Express on ‘HUS.” Or now, ‘ECS.

JF: You've had two different shows on WRTC; Soul Express and Roots Rock Radio. I think a third one named "Something Different." These are very different shows with different playlists. Can you tell me how they're different for you?

DF: Thanks to my involvement with college radio, I discovered a lot of artists and genres that I never heard on the commercial stations. As a result, my musical tastes went all over the map. At present, I own approximately 5,000 CDs and file them by genre. (My 45s and LPs, I simply file by the artists’ names.)

JF. I read that soul singer Betty Harris made her re-entry into the music biz after an appearance on your show at WHUS in 2004. Can you tell me how all that came to be?

DF: In June 2004, I received an email from Betty's son via my (now defunct) Soul Express website. He advised me that his mother lived in Hartford and, after 35 years out of the music business, was looking to get back in. So I had her on my show, making damned good and sure the Internet soul music community knew about it in advance. And things just took off from there.

JF: I read in your bio that you resigned from WHUS in 2010. Do you care to comment on that at all?

DF: In 2008, UConn audited WHUS and decided the station was insufficiently student focused. They then demanded (under threat of defunding) a series of changes that made us community members feel increasingly unwelcome. For example, we were no longer allowed to serve on the Operations Board or vote on station-related matters. They also canceled Radiothon, our annual pledge drive, and demanded the station no longer maintain a booth at Willimantic's monthly Third Thursday Street Festival. And that was just the beginning.

I put up with the university's crap for two years before I walked away in September 2010. A year later, they fired John Murphy, who had been the GM for 33 years. The reason they gave was "organizational restructuring." At that point, I knew once and for all that WHUS was a lost cause. I haven't so much as tuned into the station since then, and neither has anyone else that I know--including people who had been devoted 'HUS listeners for decades.

UConn is hellbent on isolating itself from the surrounding community and demanded the same of its radio station. Never mind that WHUS has a 4,400-watt signal that reaches 60 miles in all directions. Those bureaucrats transformed WHUS from an award-winning non-commercial station into a desiccated husk of its former self. And they're damned glad of it. To this day, I can't help but feel disgusted.

Hardly anyone asks me about the station anymore; but if they do, I tell them, "I had sixteen good years at WHUS. Problem is, I was there for eighteen."

JF: How did you get started at WECS? Did you know someone there or did you just fill out an application?

DF: The general manager of WECS is also the chief operator at WHUS. I’ve known JZ [John Zatowski] for 30+ years. When I decided in 2016 that I wanted to return to radio after six years away, I contacted JZ and that was that.

I find it especially convenient to do radio at WECS because it’s only a five-minute drive from my house. Plus, there’s usually nobody on after me. So if I want to stay on the air late, I can do so.

JF: You've put out a few singles, even two with Bloodshot Bill. How did all that come about?  Covid-era side project?

DF:  One of the musical styles I love is rockabilly, for which there is an international underground scene. From 2013-2018, and then again in 2022, Beck Rustic put on the New England Shake-Up, a weekend-long rockabilly festival, in Sturbridge, MA, a mere one-hour drive for me. I befriended a lot of the performers and attendees, some of whom flew in from as far away as Australia and Japan!

After the 2017 Shake-Up, I spent two weeks deathly ill with a respiratory infection (as did a number of other attendees). That inspired me, at age 51, to write a song for the first time in my life. Since I don’t play an instrument, all I had was lyrics. However, Bloodshot Bill, a rockabilly performer from Montreal, took an interest in the song and set it to music. We recorded “Bop Flu” together at his home studio in April 2019. (He played all the instruments himself via overdubbing.) The following year, Bill got the Sleazy label inSpain to include “Bop Flu” on a 4-track various-artists EP titled, “Bloodshot Bill Present Rare Gems from Sin Studio.” (That’s what he calls his home set-up. It’s a goof on the iconic Sun Studio in Memphis.) Alas, it came out at the height of Covid, so there was no way to really promote the record. Consequently, most rockabilly fans still don’t know about the vinyl release.

To date, I’ve recorded five of my songs with musician pals, but only “Bop Flu” has been commercially released. You can hear them all at https://bopflu.bandcamp.com/

Alas, the New England Shake-Up ended in 2022 as it got to be a financial drain on the promoter. I still miss it, and so do thousands of other rockabilly fans worldwide.

JF: Would you also be the same Dean Fiora who wrote the story Kolchak: the NightStalker? 

DF: Yeah, that's me too. "Fiora" is my real surname. I Americanized it to "Farrell" when I got into commercial radio. Those Kolchak stories are my sole descent into fandom. I wrote eight of them in total. You can read them all at https://adventures-in-night-stalking.site123.me/

Radio Artifact # 472

 

This is a schedule from the radio station 90.1 WECS from the late 1990s. being abotu 20 years old it's no surprise to see a few changes. Following a national trend with NPR affilates, the afternoon NPR block is now 3 hours long starting at 4:00 PM.

While there is no date noted on the document, the DJ names confirm the station. Art Rovozzo for example, remains on the station to this day. He's moved from a 12-3 slot to a somewhat longer 11 - 3 on Saturdays. Mark E. Ramone has moved from a Friday night slow to Saturday afternoons after Art. Marko Fontaine of the Punk Rock Jukebox, formerly also of WCNI appears to have moved on. I know from newspaper reports that he was still on air as recently as 2016.  Brian Tilton appears to have ended up at WNRP in Pensacola. Kevin Johnson went on to work at WTIC and WILI.

As at most college stations, you have a few long-haul DJs and a large number of students that however talented, move on to other things. But the station, if we are lucky, endures.

Turkey Day 2019

This requires no comment. The image comes from the website of 90.1 WECS.

I thought it was hysterical. 

Fidelipac Fun #2

This is the intro to a funk radio program that ran on 88.7 WPSC in Wayne, NJ in the late 1990s. I know for a fact that host Josh Dion had previously done the same program under the same name at 90.1 WECS in Windham CT. Lou at Rollin' Recording in Boerne, TX dubbed this for me and he did great work, even replaced the felt pads inside the cart. He really did great work, and the price was excellent. I highly recommend them.
This short intro includes a little voice over but also in the bed music a sample of a classic funk song. James Brown "Make It Funky" actually has four parts making this tiny snippet not much of a sample, but already knowing the greatness that is the godfather of soul I can only hope that you assume the best. parts one and two were released as a single in 1971, which reached #1 on the U.S. R&B chart. The 3rd and 4th parts were released on the 1972 album There It Is. These days Josh is more in music than radio. A great DJ and a great drummer. You can check out his music here.

Fidelipac Fun #1

I found three old Fidelipac carts in a box, amongst my other archival audio. This one had some real winners so I will be posting a few of those this week. I selected these three because they are very different and will allow me to wander freely into completely different radio-related topics. For the record, Lou at Rollin' Recording in Boerne, TX handled the digitization. The label Broadcast Supply West was not the maker of the Fidelipac, but the label. they still exist today under the name BSW. They no longer make labels for carts.
WECS News Intro

WECS News Outro

Until the the 1940s the sound of news was Morse Code. Walter Winchell tapped a Morse code key through his news & gossip program. I cant even guess why, as the teletype was being used by the AP was early as 1914. The Teletype Corporation closed up in 1990 leaving a nine decade window that should have known the sound. Over time the more common sound of the news did become the teletype. The effect usually sounds like something cruising between 60 and 80 wpm. This recording seems to be that or a similar model. They used an nearly identical sound on CKLW. You can hear that here.

Radio Artifact #92

These are flyers from a radio program called The Radioman that ran decades ago. They are all black & white and all somewhat stark. They all share a similar layout, and while I am certain they all belong to the same program, I cannot guess if the 11:00 AM program is a re-run of the 9:00 AM program. It may just be the same program in a different time slot.

It's not always visible in my scans, but the the image always has Xerox burns but the framing logo and time slot are crisp. On the originals I can see white paper tape, a product used in flyer design in the 1980s. WECS only came on air in 1979, so that collaborates the bottom end of our time frame. Wikipedia notes an early 90s era which jives with what little else we know.

Driving to points North

I drove across the New York metro and Connecticut Friday on the way to Portland Maine, and for the first time in a long time caught Marko's Punk Rock Jukebox on 90.1 WECS. It is without a doubt the finest punk rock radio program I've heard in America. It also boasts the most obscure playlists. Host Marko owns an enviable collection of punk vinyl from the peak of the era. I've been unimpressed with the last few year of talent from that station, but Marko has kept solid for several years now. Thankfully the station streams now and I can listen to his show from the comfort of my cubicle. Of course the format is .pls requires a slight modification of your windows mediaplayer. Basically you install this doohickey. McAfee confirms this is free off malware and adware.

Instead fo rocking the local Boston radio while on I-95 North I played the Officer May record and celebrated the most recent peak of local Boston music. [I did catch a bit of Selected Shorts btu that's its own post.] Nobody else likes Officer May so I was alone on this point. Of course this would place said peak in 2003 likely leaving me at odds with our friends at Exitfare but so it goes.

In Portland I listened to several hours of 88.3 WYAR. Its a nostalgia outlet with a real touch for deep catalog standards and at night some truly amazing country oldies. I heard some slide guitar artisans I'd never head of previously. I'd really been looking forward to hearding something on WMPG but they were running a really run of the miss electric blues program. I dig the blues but weak whiteboy blues are not moving to me. But Saturday morning they made up for it all with a freakish program of Cambodian music; gotta love that. I couldn't listen to anything except 93.1 WMGX "the Coast" in my hotel room as it was audible ON ALL FREQUENCIES! I don't blame them though.... intermod happens. but it is odd to get intermod like that 4 miles out. I was in South Portland at the time.

But being in South Portland, I was abel to hear America's only Smooth Jazz Low Power station. http://www.wjzp.org/ they use Jazz-like branding but it's smooth jazz ,trust me. I get nauseous immediately.

Things were exciting and with wind chill managed to dip below zero. I ended up springing for a hot lunch mid afternoon at Rosies. A little demi salad and a bowl of hot minestrone helped me recover from working outside.