Radio was fun in those days. You had independent stations that weren’t controlled by some syndicated “mega-corporation.” There were the little guys- like WFTP, a little AM station that kept it’s audience glued to the dial, even though it only had a signal that would barely get out of the parking lot! There were actual personalities, like George Gordon, and Robert Michael Green. WFTP was like the starting point of quite a few people who would eventually have the “dream come true” of getting on the FM dial. It almost seemed like a “prerequisite.” You had to work there first. I can’t remember all of the people who started their broadcasting careers at FTP, but some would go on to fame and notoriety. There were people like Glen Curtis, Jeff Brown, and Mike Michaels, to name a few.

Then there was the “rival to WFTP, WAVW. “Wave 105.” Affectionately known as “your Treasure Coast Hit Kicker.” Wave 105 was a 3,000 watt FM station that spun country music from Floyd Cramer and Patsy Cline, to Eddy Rabbit and Marshall Tucker. At the time, Wave 105 was the only FM country station in the area, and it remained that way for quite a few years. Some of the line up of “DJ’s included: Bill West in the morning, Jeff Brown on mid-day, Mike Mitchell in the afternoon, and Glenn Curtis on evening drive. There was a host of overnight people like: Brian Hardman, Jeff Major, and Mark Stafford. The news and traffic reports were done by Sheila Simmons. Wave 105 was a “family run” station, and had an extremely loyal audience. So loyal in fact, that when the station was sold, there was quite a protest (and even threats) because the format would be changing from country, to “adult contemporary.” Overnight personality Mark Stafford had the experience of playing the last “country record” before the station went off the air, April 17th 1986. Soon it would become “Lite 105.5 fm.

This brings into the picture, another station. WOVV 95.5 . They sold the equipment to Wave 105, that would make everything automated. This was the very beginning of syndicated radio on the Treasure Coast. Looking back now, the equipment was so primitive. There was a huge machine called a “carousel,” that would hold a hundred or so “carts.” These “carts,” had songs recorded on them. The machine was then loaded with the carts, and at the appropriate time, it would spin until it found the cart to be played. Then it would actually turn the cart and insert it into the player. It was like an overgrown cd changer.

WOVV, was an FM top 40 radio station, boasting 50,000 watts at the time, and there were personalities like: Linda Hendry, and Bill James. There were several format changes that took place at WOVV. At one time it was a rock station, then a top 40 station, and even a country station.

Toward the end of 1986, and the demise of WAVW ’s country format, there emerged a “new kid on the block.” It was only about a mile away from “wave 105,” and affectionately called: “Wave 105 North.” The station was WCXL “Crystal 101.7.” Crystal was a 3,000 watt FM station, which was billed as a cross between an “oldies” station, and an “adult contemporary station. Some of the personalities included: Mark St. John, Bill West, Mike Michaels, and Mark Stafford (who was the first one on the air to say anything). The equipment at this little station was state of the art. The audio processing equipment would probably rival some of today’s most advanced processors. Crystal 101.7 FM was promoted by a well known South Florida radio personality: Rick Shaw.

The 1980’ s saw another Treasure Coast radio transformation, WIZD “the wizard” (whose slogan was “kick- ass rock and roll). At one time this was a very popular 100,000 watt fm rock station, with personalities such as: Tom Stevens, Arvette, and Rick Brenner.

At the end of WIZD, there came WKGR. WKGR FM was billed as “gourmet rock.” They were still considered to be AOR (album oriented rock) by the industry terminology. 98.7 WKGR was a 100,000 watt powerhouse, which included air personalities such as: Tom Stevens,Terry Griffin, Mark Stafford, Rich Dickerson, Mike Mitchel, Glen Curtis, Alec Numan, and more.

There you have it. Some of the Treasure Coast radio memories.

The history behind the number system:

I have heard different stories of how the "Nashville number system" came into use, but the one I'll use is this: Back in the early days of recording, there was a problem with getting a bunch of different players to work together. Although there were some great players, you'd be suprised to know that a lot of them couldn't read music. (Some of the best players I've heard can't read music). The solution was the "Nashville number system."

The players would simply need to know what KEY the song was in , and what progression. Assuming you have SOME knowledge about scales and chords, the number system works like this: If you were in the key of "C," you know the notes in a major scale are: C-D-E-F-G-A-B. (All white notes on a piano). You simply assign a number to the note instead of a letter. So, you would have:1-2-3-4-5-6-7. Now a C-F-G becomes 1-4-5. It works with any key, so in the key of B flat for example, a 1-4-5 would be a Bflat chord, E flt chord, and F chord. Using this system it's easier to signal the other musicians of a chord change, because you don't have to yell across the stage. You just hold your hand up.

One drawback is the 6 & 7 chords require two hands to signal.

A fast way to get started playing some basic blues, is to pick one scale you like a lot. I am a piano player, so I like the major keys, and I dont like the key of C. The C major scale on the piano is all white notes, but for blues, it changes. My favorite key is D. (Bach thought Dminor was the saddest sounding key). I 'm using the key of D for two other reasons: It is a common guitar key because you can use an open tuning; and for the piano, it takes some of the black notes away, which allow you to use whole tone scales, and easier fingering for faster ascending runs.

Knowing the D scale: D-E-F#-G-A-B-C#, play the scale by making the 3, 5, and 6 one half step flat. You'll play this: D-E-F-G-G#-B-C. Sounds strange right? Now, drop out the 2 and the 6. You'll play: D-F-G-A- C. This is a VERY basic scale, called the "pentatonic" scale. Penta of course - means five. Tonic- means tone; so you have a five tone scale. There are lots of variations to this type of scale, butno matter where you put the notes, they will always blend in with a typical blues progression.

As for the 1-4-5 progression (using the key of D), simply play as follows: 1111-4444-1111-1111-4444-44441111-1111-5555-4444-1111- 5555. Each set of numbers is a measure or "bar." This is very basic, and once you play around with it, you'll find other patterns, and you will immediately recognize where you are in the song. Thanks, for reading, and have fun.

I wrote an article on Triond not too long ago about how to improvise. The instrument you play doesn't matter, as music is a constant. There are rules, and certain things work, and others won't. Of course that also depends on your perception of what sounds good. For instance if you were to play a chord on a bass guitar, you might find it more pleasing to your ear if you play it in the higher range.(If you have a bass try it, you'll know what I mean). If you play a chord on the lower pitched strings, you may find it sounds more like thunder instead of music. Again, that depends. "Beauty is in the eye of the beholder."

I always had an appreciation for the blues, so I'll cover the basics. You will find that a lot of simple blues theory works in other styles, like rock, country, and even classical. Yes even the great composer Bach, was actually a jazz composer. He just didn't know it. If you like to look things up, just take a listen to his "Jesu, Joy of Man's Desiring." It should be easy to find, and there are a lot of different versions of it. (Most are played WAY too fast). I would play it and put it on loudio, but it's not my own composition. (But I love playing it).

For starters, most typical blues songs have a pattern commonly referred to as "12 bar blues." I am talking basics here. I have an example here.

It seems to me that rap and hip hop have made their way into a lot of formerly "traditional" styles of music, such as rock, R&B, funk, and EVEN COUNTRY! Now, I know that music changes over the years, for instance: Pearl Jam or Eve 6 probably wouldn't go over too well in James Brown's time. (I Feel Good knowing that). (Get it?). I think it's unfortunately becoming a reality that musicians are forgetting the early stuff. Just because it's "old school," doesn't make it bad.

It's like Mike Tyson. He may not be the number one boxer today, but I would be pretty sure the average guy wouldn't last long in the ring with him. The same goes for music. Take a piano player like Art Tatum. He was so good, he was often accused of sounding like there were two sets of hands playing. Even some of today's best players can't play Art Tatum's stuff. In fact, a lot of really good players today, haven't even heard of him.(If you really like jazz piano he's the man).

I'm shocked at how many people (especially kids), don't know-and don't care about where the music they listen to came from. For example, what we would call "classical" music Bach and Mozart would have most likely considered "hip" in their day. ( Those two would have been the "hippest"). Then you have rag time and jazz, which were borrowed from classical; blues and swing borowed from jazz; country, rock, funk, and disco borrowed from blues. How did rap get in there? I would think rap is more like poetry or a writing style than music.

Whatever happened to straight forward blues? Or straight forward rock and roll; or sraight forward country. (And so on).

Then there is the lifestyle associated with the music. Just because a person listens to classical, doesn't mean they have to be an "Ivy League snob." If a person listens to hip hop and rap, does that mean they have to become a violent, drive- by shooting thug? I don't think so. How about country? Does that mean you are automatically a redneck; or you have to be a drunk; or drive a beat up truck. Does that mean that you live on a farm?(I know people who wouldn' know what a tractor even looks like). If you are a rock listener, does that make you a drug addict just because you like Pink Floydd?

Whatever happened to the blues? Three chords, a good beat, and raw instruments like piano, guitar, organ, and maybe a little clav thrown in?

Let' appreciate the art of the many forms of music, and not the lifestyle attached to it. I hope I struck a note here.