Miscellaneous KRAB music programs
Classical, Contemporary, Ethnic, Jazz, Electronic, Traditional, Blues, Baroque, Early
Here you will find samples, some complete shows, many partial recordings, of music programs heard on KRAB, listed in rough chronological order. Where we have found multiple recordings of a series of programs, they have been placed in their own pages, which are accessible through the Audio Archives main menu.
Problems listening, or comments? Please let us know. E-mail email@example.com
The KRAB Top 10 - Only to be heard on KRAB, over and over
What did you hear on KRAB, only on KRAB, that seemed to be played more frequently than necessary? Or maybe it just seemed that way. Here are some musical selections that I remember being very popular with volunteers and listeners alike.
Hey you! We are still waiting to hear from any of you that have memories surviving from listening to KRAB. Or did I just imagine all this? Nominate something you heard on KRAB that got stuck in your memory, that you believe to be "top ten" material. Remember, only heard on KRAB, and heard often. Write us at firstname.lastname@example.org
Point of clarification - As of today, the "Top 10" is only a top 7. Are there any former KRAB listeners in the audience with memories of what they could only hear on KRAB, but heard it, perhaps, a little too often?
A Selection of Music Broadcast on KRAB 1965 - 1969
Recently we were loaned a number of tapes that may be dubs of recordings from the old KRAB archives, or may have been recorded over-the-air. We can't tell for sure. But the contents of the the recordings are without a doubt typical KRAB. Some have less than sparkling audio quality, and since the tape labels are sometimes not enlightening, only a sample of the tape is shared below.
Recordings courtesy Nancy Keith
Music of Egypt from the Consulate of the United Arab Republic - KRAB 1964
In 1962 as KRAB was getting ready to go on the air, and then also during the first few years, Lorenzo, Jeremy and others sent letters out to embassies and consulates in the US, to United Nations member offices, and to radio broadcast systems overseas, requesting that they share recorded examples of their country's music, and spoken arts. The result was the occasional package with a one-time shipment that someone had scrabbled together, or sometimes KRAB made it on to a list, and there were regular shipments from Radio Nederland, Deutsche Welle, RAI, NHK, RSA, and others I can't remember.
I think there were six or maybe a dozen tapes that came from the consulate of the United Arab Republic. By the time they were sending material to us, the UAR was only Egypt. This is from two of the tapes - in my naive ignorance what I thought the best. You can judge for yourself. (Hekayet Shaab and Batal Al-Salam are phenomenal)
Note, the spellings (and translations) below are as found on the original tape labels, and not altered to conform to contemporary standards.
Program 1 (47:15)
Program 2 (47:16)
Recordings collection of C Reinsch
Jul 23, 2014 - A former KRAB listener writes from Taipei regarding Program 2, "from 38:39 is not Arabic music, but South Indian". This is a mystery. The tape label says "Unidentified Egyptian sounds" (but has no timings), but it certainly sounds South Indian. Perhaps the tape onto which the original UAR program was copied had previously been used, and not properly erased.
"Can all you bongo-ists hear me out there?" - Three by Henry Jacobs, 1965
Beginning in the early 1950's, Henry Jacobs brought a sly wit and a kind of slapstick Zen to the production of electronic and experimental audio compositions. The forms and themes of these compositions, almost always manipulating sound with new uses of technology, include interview with fictitious characters, exploration of formats of educational radio programs about ethnic music, montage, sound effects, and social and philosophical commentary. Mix in a little Dada, and it became impossible for the listener to sort the seriously absurd from the absurdly serious.
There is something about Jacobs' productions that make me wonder what influence he may have had on a couple of other Bay area radio jokesters, Jim Coyle and Mal Sharpe, whom I used to listen to on KGO during the mid 1960's.
Umdagumsubudu, KRAB Mar 3, 1965 (7:50)
Although this seems to have been later credited to Alan Watts, I recollect a 7" 45 floating around the doughnut shop with Umdagumsubudu on one side and with the credit to Henry Jacobs, and that is also how it was credited in program guide number 56.
Professor Irwin Corey interviewed by Henry Jacobs, KRAB Apr 20, 1965 (26:50)
Corey's rambling non-sequiturs were made for Jacobs' straight man. A re-mastered, and complete, version of the interview is available directly from Irwin Corey's web site. According to one source, if you visit New York, you may find him hawking CD's on the street. Be sure to get an autographed copy.
Recording collection of C Reinsch
La Bomba, a Mexican Dance, KRAB Sep 29, 1965 (31:40) - While many, if not most, of Jacobs' programs appeared first on KPFA, I cannot find any indication of La Bomba being broadcast anywhere except at KRAB. That it has not reappeared on any of the recent compilations makes me wonder if the master was destroyed in a 1995 fire. La Bomba was created somewhere between Dec 1963 and Sep 1965.
Recording courtesy Nancy Keith
If you are interested in hearing more of Henry Jacobs, take a look at John Whiting's web site where you will find a Conversation beween Whiting and Jacobs recorded in 1994 as well as of productions by Jacobs. There are also albums that have been re-released by Smithsonian Folkways and Important Records, and an article and interview at Smithsonian.
Steve Lalor and Group with a LIVE concert from the Doughnut Shop - KRAB Mar 12, 1965
Here is "Monte Curlew and the Rhythm Blossoms", with Steve Lalor, Danny O'Keefe, David Brooks, and Larry Van Over, and a bunch of others packed into the studio. It seems Lorenzo Milam engineered, wearing his engineer's cap (as pictured on the Richard AC Greene page. Lorenzo's scrawl is unmistakable on the label of tape 2. On Tape 3 David Cutler writes "Might be interesting as fill in place of records."
Recording courtesy of the Jack Straw Foundation, JSF inv M0304 and M0305
Gagaku - Music of the Imperial Court of Japan - KRAB Nov 4, 1965
During the years Professor Robert Garfias was Music Director he permitted KRAB to make tape copies of LP's from his personal collection. I believe that he was the source of this recording. The KRAB copies sounded good enough, but since the phonograph album text was often not in English and the person writing the notes on the box likely not be conversant in the language used, the notes on the tape label lacked much substance.
The recording presented here may be from a three 12-inch Victor LP set titled "Gagaku Taikei – Kigaku Hen", although you would never know it from the tape label. The spellings of the titles on the tape label are different than those Garfias uses in his extensive treatise on the Tōgaku style of Japanese Court Music Music of a Thousand Autumns. Some other sources indicate these are interchangeable variants.
1 - The first short selection was labeled Hyō-jō Netori (Tuning in Hyō-jō)
The next 3 selections are each introduced on the album/tape with the title:
2 - Instrumental suite "Gojoraku" (The Five Virtues)
Recording collection of C Reinsch
Yokoku: Music of the Japanese Noh drama - KRAB Nov 13, 1965
Recording collection of C Reinsch
A Conversation With John Cage - KRAB Feb 23, 1966
The composer of sounds and spaces talks with Lorenzo Milam and Bill Holcomb of the UW School of Music
The earliest appearance of John Cage on KRAB that has been identified so far is April 11, 1963, just four months after KRAB went on the air. Over the next 22 years, Cage's explorations of sound (randomness, coincidence, silence, more silence) became regular features of KRAB's schedule. If KRAB had a "top-ten", Indeterminacy would have been near number one.
The exact date this was recorded is unknown, but sometime before February 23, 1966. This is the interview about which I have written elsewhere on the web site. I was pleased to discover that the tape box label confirmed my memory of the occasion. What I had forgotten was the amount of cigarette smoke and ash that would fill the studio during and after a recording session. The label credits Lorenzo as the Producer, so I suspect he was the one that added the musical excerpts that punctuate the interview.
Recording courtesy of the Jack Straw Foundation, JSF inv M1441
ISCM: Contemporary Concert - Recorded Apr 23, 1966, KRAB May 27, 1966
A concert on the occasion of a meeting of the International Society for Contemporary Music (ISCM) and the American Musicological Society in Seattle in 1966.
Recorded at Piggott Hall, Seattle University, by Dave Calhoun.
Recording courtesy of the Jack Straw Foundation, JSF inv M-0063
Education of a Record Collector with Ed Mignon - KRAB Jul 17, 1966 and Jul 31, 1966
The Phantom (of the opera) Strikes Again. Ed Mignon hides in the wings with rapier drawn.
Between September 1964 and September 1966, Ed Mignon recorded about 25 programs, including reviews of new records, an interview of Julian Bream, commentary about music, and the series, "Education of a Record Collector".
Ed Mignon died January 17, 2012 in Tucson, where he had been living since retiring from the University of Washington. From the obituary published in the Seattle Times:
During the 1960s Mr. Mignon was employed by the Boeing Scientific Research Laboratory in Seattle. He left in 1966 to accept a fellowship for four years of study at the University of California, Berkeley, where he received a PhD in information science. While at Berkeley, he participated in research leading to the development of the Internet at Berkeley's Institute of Library Research. His research supervisor said the "the most intense, intelligent, and sensitive work came from the heart, head, and hands of Ed Mignon," a compliment Mr. Mignon valued above all others. Mr. Mignon later returned to Seattle and began his teaching career at the University of Washington, where he taught information science for more than 30 years.
After his retirement, he and his wife, Molly moved to Tucson, where Mr. Mignon became a friend of the Chandler Symphony Orchestra, writing a number of compositions performed by that ensemble, including "Frolic," which received its premier lastOctober, and "Optimistic Overture,"first performed in November, 2008. Another of his compositions, "A Short Symphony,"was performed by the Arizona Chamber Orchestra. Mr. Mignon continued composing music up to the time of his death.
So far two recordings of Ed's programs have been found. They are consectutive parts of a series he did on Opera. This first was recorded on July 17, 1966, sub-titled Opera #3 of 4, and described in the program guide with the above description.
* * * * *
Based on Mignon's comments at the beginning of this next recording, it was recorded Jul 31, 1966, and is number 4 in what was becoming a longer series than he had originally planned. In this episode he presents several singers, including Friedrich Schorr (1926), Lauritz Melchior (1941), Pol Plançon (1903), Lilli Lehmann (1905), Enrico Caruso (1920), and duets by Alma Gluck and Louise Homer (1920) and Beniamino Gigli and Giuseppe De Luca (1929). Unfortunately, we do not have guide number 93 (Jul 27 to Aug 10, 1966), so we do not know how the program was originally described.
Jul 17 recording courtesy of the Jack Straw Foundation, JSF inv M1454; Jul 31 recording courtesy Saint Louis State Historical Society of Missouri (KDNA archive).
New Music for Solo Trombone Performed by Stuart Dempster (KPFA Aug 11, 1966) - KRAB Nov 18, 1966
Part 1 (62:50)
1 - Changes: In Open Style, for trombone and magnetic tape (1965) by Larry Austin;
2 - Solo, for sliding trombone (1957-58) by John Cage;
3 - Ricercar à 5 (1966) by Robert Erickson
Part 2 (41:09)
4 - Sequenza V, for solo trombone (1966) by Luciano Berio;
5 - Theater Piece, for trombone player, garden hoses, & tape (1966) by Pauline Oliveros and Elizabeth Harris;
6 - Sonata, for solo trombone by Barney Childs
May 12, 1967 - 10:30pm - NIGHT INTO DAY. This program begins the regular playing of a series of late-night musicathons from WBAI in New York. They will include live and recorded music, as well as discussion and occasional interviews. The music is mostly folk and ethnic.
The above guide description announced the start of a new program on Friday nights, during my engineering and announcing shift. Sort of like a few other programs (Jean Shepherd and Martin William's "Scope of Jazz", for instance) KRAB received and rebroadcast, this one featuring Bob Fass with a variety of characters of late-night New York, including Marshall Efron, Bob Dylan, and Arlo Guthrie. "Night Into Day" was a one-hour selection of the best of the previous week's "Radio Unnameable" programs, with Bob Fass as anchorman.
On Jul 28, 1967 the guide announced: NIGHT INTO ETERNITY: Bob Fass, of late, sleepy WBAI fame, with Arlo Guthrie and Jeff Outlaw. Here Arlo plays piano and Jeff Outlaw guitar. Over the next six months it was played and played until the cows fled to Canada.
I kept a copy, as did Nancy Keith. The best parts of both are assembled here. And, there is another, the "Philadelphia" version ("Sam. Do you remember Sam?"). If there is enough interest, I might put it up.
Recording courtesy of Nancy Keith and C Reinsch, NK0003
Shortly after starting this web site, Geoffrey Hewings was amongst the first KRAB programmers I was able to locate via a web search: His KRAB volunteer work is mentioned in his CV. Between Mar 1967 and Jul 1969, he is heard in over fifty three programs: Commentaries; readings, discussions and occasional interviews about World Affairs; morning and afternoon classical music programs; a series of readings from "The English" by David Frost and Antony Jay; and reviews of Seattle Symphony concerts.
Here is Geoff's review of the opening concert of the Symphony's 1967-68 season.
Recording courtesy Geoffrey Hewings
Bishop R. J. Causey preaches and leads the congregation
Between Jun and Oct 1968, Sundays at 6:00pm KRAB would play a recording made of the morning's service. A similiar program was aired during 1975.
Recording courtesy Bob West
9:15 One of the originators of electronic music in this country, a man who co-founded the San Francisco Tape Library, who has been Musical Director of Lincoln Center, and who is now primarily interested in the theatrical uses of mixed media. He is presently on the faculty of the California Institute of the Arts in Los Angeles. Interviewed for KRAB by Nick (Baltic) Johnson.
10:00 The Wild Bull - a composition for electronic-music synthesizer by Morton Subotnick. (A Nonesuch Records Commission, 1967)
This was recorded when Morton Subotnick was in Seattle for two concerts sponsored by New Dimensions in Music and performed at A Contemporary Theatre on lower Queen Anne hill. When broadcast on KRAB, the interview was followed by an airing of Subnotick's composition "The Wild Bull", which was not included in the concert, but was in the KRAB library. There were three works performed at ACT:
Sidewinder - Electronic Music and modulated laser beams (the record was released later in 1971)
Circles - Electronic music and synthesizer, with computer film by Doris Totten Chase. (Doris Totten Chase also designed opera and dance stage sets, some of which ended up being stored at KRAB's Harvard and Union Ave Fire House.)
Windows - Controlled tape and synthesizer, with two films by Don Levy and two dancers
Announcing, and joining Nick with a question, sounds like Phil Bannon.
For more about Morton Subotnick see www.mortonsubotnick.com
Recording courtesy Jack Straw Foundation, PA0181; The Wild Bull courtesy Morton Subotnick
Phil Munger studied music composition at Oberlin and at the University of Washington and served as KRAB’s co-Music director, News Director, and producer of the morning program from 1970 until 1973, when he left Seattle for the wilds of Alaska. He describes this piece, one of his experimental programs, created for KRAB, as his “Goodbye!” to hosting the morning show and working at KRAB. The work is now in his catalog as Op. 10, No. 2.
Program guide description: "Echoes & silent sections from some colossal Romantic works, re-oriented through, tape, permutation (& other such tricks)"
Assisting in the production were the following:
Michael Wiater – voice
Leila Gorbman – voice
D.J. – voice
Pamela Jennings – production
Jerry Jensen and New Dimensions in Music – Buchla synthesizer
Since the over-the-air recording was made at the house of volunteer Leslie Mohrman, located on the south side of Queen Anne, KRAB’s signal had to traverse many obstacles and unfortunately seems to have suffered from multipath distortion which added some of the whooshing and swishing noises. At least that is what may be happening in some places.
These days Phil is still in Alaska, composing, conducting, teaching, and writing. There is an autobiographical sketch at firedoglake. More of his music can be found at Music of Philip Munger. And his writings about politics and the environment can be found on his blog Progressive Alaska.
Recording courtesy Phil Munger
This was probably one of the first live music broadcasts from firehouse 25. Since a lot of guides from 1973 are missing from the archive, we can't know exactly what was scheduled the night of Aug 12th, but the tape label says this:
The musicians are Jeff Johnson, guitar; Dean Johnson, bass; David Lewis, electric piano; Robert Harris, percussion; Rekovic (?), tenor sax and flute.
"Play various tunes including "Badia" by Weather Report, and various originals. Bad gaps in program caused by tech problems when recorded."
Roswell and the musicians may be annoyed as the levels change dramatically at the gaps, but I've left them in anyway. Bob Friede's (music director and general manager of that time) Sharpie scrawl is distinctive on the tape label.
Recording courtesy of the Jack Straw Foundation, JSF inv M-1583
THE LABYRINTH comes creeping after 'im, creeping, crawling and confusing with the light. Pamela holds on to the ball of twine. (As described in Feb 1974 guide)
"The Labyrinth" is only found scheduled in a few guides between Feb and Apr 1974, for Tuesday nights, alternating with Gary Danzl, and Pamela's other late night program "Underwater Ballet". This recording starts with Tom Berghan playing lute; followed by Bob Gronenthal playing guitar; Tom Berghan again; Pamela reads a bit from John Donne while Tom plays; and then Bob Gronenthal returns and plays piano. Details are on the tape label, although the order of play is a little different.
Recording courtesy Jack Straw Foundation M0216
A walk through the KRAB rain forest, realized the day the roof leaked everywhere. An impromptu composition. ("Liquid" -- the Daily Rag.) With the KRAB Aqua-Infinity Arkestra, Including: Jeff Follette, ethereal space conduit; Leila Gorbman, Pepsi can: Lee Read, orange juice bottle and shovel; Chuck Reinsch, tape, jar, and vacuum cleaner hose; Johnny Walker, heating grate: Stu Witmer, conduit and soprano buckets; Greg Palmer, bass buckets; Shanti, styrofoam cup; Bob Weppner, sheet metal and acoustic bead curtain. Produced by Tom Eckels, with the assistance of Gravity.
A summer storm (mid-afternoon Aug 18, 1975) brought the KRAB staff together for a spontaneous collaboration that started with a rush to protect the Production Room equipment and a search for containers to catch the deluge. Do any of the perpetrators remember whose idea it was to broadcast this live?
Recording courtesy of the Jack Straw Foundation, JSF inv M-1483
P. K. Dwyer and Donna Beck; Barbara Bush, and Ron W. Bailey, some of Seattle's best pass-the-hat tavern musicians, bring you solos, duos, trios and quartets, from a LIVE-at-KRAB pub-jam session on March 22, 1976. Run-fetch-a-pitcher-and-get-the-baby-some-beer!
Produced and introduced by Judith Hadley, with a "semi-live audience".
Recording courtesy Jack Straw Foundation, M0218
A Marathon presentation of obnoxious, or loathsome, or simply inane recordings; either performer, material or both performer and performance reaching crud standards. Including notes for other obnoxicologists.
Recording courtesy of the Jack Straw Foundation, JSF inv M-0552
A live concert from the Seattle Folklore Society Clubhouse. Chanteuse Marlene Fontenay plays piano, sings, and speaks with KRAB Music Director Bill Noll about her life and music. She performs classics as well as her own work of surprising authenticity. Click here for 1981 review in the New York Times.
Recording courtesy of the Jack Straw Foundation, JSF inv 311
"A new show with Ethnomusicolgist Fred Lieberman. Professor Lieberman will make it possible for you to hear what you probably have never heard."
Recording courtesy of the Jack Straw Foundation, M0964
Tuesday Night Live At KRAB - A Women's Day presentation tonight featuring peformers: Sandy Bradley and Jill Johnson with Balkan folk songs; Ellen Thorn, banjo; and Gwen Harrell, guitar. This is live from the KRAB studios.
These two recordings came from Karen Berge's collection of tapes from her Production Assistant days at KRAB. In 1977 she orgainzed the programming for International Women's Day.
The first recording begins with Ellen and Jeff Thorne; then Jill Johnson with Sandy Bradley; and then Gwen Harrell guitar and vocal. The second tape is of Mary Litchfield playing guitar and singing.
Unfortunately, these tapes suffer from some distortion which may have been caused by over loading of the microphones, or clipping in either the microphone preamps or the tape deck. Record volumes could be set in either the board (mixer) or in the tape deck, and operators sometimes did not monitor both.
Recordings courtesy Karen Berge
If my program guide searches are working, it seems the "Earth Music" category/program title was first coined by Phil Munger way back in 1972: "In praise of the multiplicity of musical possibilities on this planet". A mid-morning program in 1973 sometimes named "Ethnic Melodies" and other times "Ethnic Music", with rotataing hosts, adopted "Earth Music" in May 1973, and it stuck.
Today its reggae and maybe some dub.
This cassette recording was shared by a former KRAB listener.
Recording courtesy Anne MacFadden
Blues and reggae with Karl Kotas, says the guide. There's a PSA mid-program for a Spring Equinox Celebration tonight at the Polish Home, with Dumi. Tickets are on sale at the Central Tavern. And be warned, there will be a marathon Apr 1 to 10, so Karl probably won't be back for awhile.
Recording courtesy Anne MacFadden, AM0003
* * * * * * * * * *
If Reggae were the Congo, then Dub would be its Heart of Darkness. With Karl Kotas and "Leech."
Thomas Lantz and Karl Kotas with Emphyrio dub. At 26 minutes Karl Kotas announces engineer Ralph Blumenthal will be substituting for Howard's and Cynthia's Earth Music program. So is it Ralph playing the blues, or is it the beginning of Saturday Afternoon Blues with Jack Cook?
Recording courtesy Anne MacFadden, AM0005-b
Leech and Karl fiddle while Babylon burns.
Recording courtesy Anne MacFadden, AM0005-a
Between 1974 and 1982 KRAB blues hosts seemed to be always moving. In the Sep 1976 program guide it was announced:
Starting in September, Baby Biscuit Blues goes away, to be replaced by Jack Cook and Karl Kotas, alternating, Saturdays, at 2:30PM
Here is another cassette recording made off the air by Anne MacFadden. Jack, is this you?
Recording courtesy Anne MacFadden, AM0002
Although the label on the cassette says, "Jack Cook", at the end of the tape, Phil Bannon says it was Dave White. And Phil should know. "True Blues" was the name of the show and it ran from Nov 1978 to Feb 1982, and was hosted, alternately, by Karl Kotas, Jeff Poskin, and Dave White.
Jack Cook, sometimes with Steve Patterson, hosted "Blue Shadows" for a while in 1974, then took over King Biscuit Time from Bob West, then Double Biscuit Blues in 1976, and then Saturday Afternoon Blues until 1978.
Recording courtesy Anne MacFadden
Patchwork - Chinas Comidas, Red Dress, 84 year old Arnold Grizzly, the Blackouts! & other local luminaries on vinyl, on tape, on mike & on drugs. Also stars Patchman, Bill Dempsey and you.
Patch was KRAB production manager for a time. He was sometimes mildly outrageous and always provocative. He was Cerberus standing at the entrance to the record library
Recording courtesy Robert Deardorf, RD0002
Life Elsewhere was first revealed Saturday, Mar 3, 1979 with this notice
More curious than involved? Tune in for painfully loud and unintelligible music, from the Buzzcocks and x-ray spex. Also the delightful Yes LA., not produced by Brian Eno. An approach to rock with George Romansic, Judith Malmgren, and Jim Anderson.
It occurred again Apr 28, 1979 with this
The second of monthly doses of real music, this time exploring George's fascination with metric groups, Judy's keen interest in screaming women and Jim's attempt to discover WHO KILLED BAMBI.
It was Gojira (ゴジラ), wasn't it?
And then, in Jan 1980, beneath the title "smith-corona, My Sharona", the manifesto appeared:
As Darwin predicted in his Origin of the Species, Life Elsewhere has not remained the same. Initially produced by Judy Malmgren, George Romansic, and Jim Anderson in January of 1979, Life Elsewhere was a punk rock show airing once a month. In September of this year Norman Batley joined us and the show has been expanded to every other Saturday night. Life Elsewhere is a new wave music show committed to bringing Seattle the new, the exciting, and the ignored music of the Seventies.
Norman moved to Seattle a year ago and his contacts with the British music scene bring us tapes and records not available in the United States. George's roots are more basic to the American scene, veering towards the unusual. Judy can't give up the sounds of the sixties that first drove her parents crazy, and Jim adds a local enthusiasm, his finger ever on the throbbing pulse of the city.
Commercial radio has become an institution which denies airplay to musical variants from the norm, an instrument of the corporations which dictate what our ears will receive. The prohibitive expense of vinyl and the veritable plethora of shiny black discs present a difficult if not impossible barrier to those who seek epiphany producing sounds. Though the impetus may be political, our underlying love of rock and roll continues as we bring to Seattle the music which it asks for and needs to initiate the previously unexposed. Our hope is to provide a medium of communication, as is the intent of listener-supported radio, and a means of escape for late night Saturday hours. Join us on into Sunday morning. We invite you to listen, entreat you to call (325-5110), and enjoy any and all written responses.
Buzzcocks Sex Pistols Tom Verlaine Lou Reed Pere Ubu Ramones Cabaret Voltaire B-52's XTC X-Ray Spex Eno Only Ones Patti Smith Dictators The Jam Kleenex Siouxsie and the Banshees Teenage Jesus and The Jerks Heartbreakers The Clash James White and The Blacks The Contortions Ultra Vox T.V.O.D. Alternative T.V . Public Image Generation X Richard Hell and The Voidoids Destroy All Monsters Dead Boys Sham 69
Recordings courtesy Gregg Whitcomb and Paul Dorpat
On the flip side of Anne MacFadden's Saturday Afternoon Blues cassette (above), is John Jay's KRAB Music Hall substituting for Sunday Afternoon Jazz with Doug Ekblade. Doug did the jazz show from mid-1980 to mid-1983, and the PSA for census workers dates this to 1980.
At the 28:10 the tape shifts to a poetry program.
Recording courtesy Anne MacFadden, AM0002
"Sing Out a Woman's Story" was mostly a music program, although some episodes included poetry and other content.
Trying to figure out when this was broadcast: At approximately the 36 minute mark there is an announcement that "International Women's Day will start Mar 8 at 6 pm.....". That does not narrow it down much, as IWD special programming almost always started on Mar 8, except for 1981 when it started on Mar 7.
"Sing Out a Woman's Story" aired from Aug of 1978 to Sep 1983, which narrows down the broadcast of this particular program to sometime between 1979 and 1983. On the other hand, Leslie Larsen is credited for hosting "Sing Out" monthly from Mar 19, 1979 to May 1981, but she continued to be on the volunteer list through Feb 1982. Was this program aired in Feb of 1980?
Amongst the producers of "Sing Out" were the following: Betsy Rose, Py Bateman, Eileen Michel, Della Hennesee, Judy Bierman, Betsy Dennis, Karen Berge, Beliz Brother, Joanne Craig, Leslie Larsen (in some guides spelled "Larson"), Doris Brevoort, Kathryn Taylor, Helene Silverman, Kathy Bottoms, Sarah Jacobus, Jill Smith, Karen Thomas, Kristin Means, Annie Rose, Carla Becker, Carol Rutenberg, and Marcie Sillman
Can anyone tell us more about this program, or share additional audio?
Recording courtesy Dennis Flannigan, DF1042
As an extension from our "prewar blues" show, dark and murky corridors will be swamped with a blue light as the many blind recording greats, including Blind Blake, Blind Lemon Jefferson, and Sonny Terry guide us through the dusty, winding roads of ancient record grooves with your chaperone, Dave White.
Recording courtesy Glen Beebe
Recording courtesy Gregg Whitcomb
With John Jay. Other somewhat similar programs aired on KRAB featuring recordings made in the first half of the century using prehistoric technology included the following:
Songs Like It Aint But Oughta Be ("Jack Roberts hosts a program of straight music of the thirties. Syruppy
melodies, golden throats, visions of Busby Barnaby choreography, etc. Wonderful!" 1968-1969?);
Nostalgic Syrup ("Dave Jones with straight music of the late 20's, the 30's and the 40 's");
Smitty's Old Records (Earl Smith with "songs of the good old days .. ragtime .. vaudeville", 1970-1972);
Yesterday's Sunshine (Ellfed Parry plays old 78's 1975-1976);
Memory Lane (Frank Olin with Old 78's, 1976-1980);
KRAB Music Hall (John Jay, Bill Osborne and Barbara Hayes with "American popular music from the 1890s to 1950, 1980-1984)
Recording courtesy of aircheck collector George Gucinski, who offered this when I posted in several radio history web sites about the KRAB archive project.
Opening with the last four minutes of Libby Sinclair's hour of music and stories especially for children. That's Libby doing the ID.
Then, it may sound like the theme for Greg Palmer's Sunday show, but it is actually John Jay with KRAB Music Hall. Last week on Jul 4 he played Bing Crosby's version of "Ballad for American's". At a listeners's request, this week, he presents Paul Robeson and the American Peoples Chorus with their version. The poem by John Latouche set to music by Earl Robinson.
Recording courtesy of George Gucinski, GG0002
Recording courtesy of the Jack Straw Foundation, JSF inv M-1506
Sometime between the mid 1970's and 1982, jazz spread into Saturday mornings, and none other than late night jazz and bebop host Nick Johnson (aka Captain Baltic) started alternating with Dave Gardner and Traff Hubert. Here is Nick speaking with Mark Murphy at KRAB's Jackson Street studios on a Saturday morning. Murphy was in Seattle appearing at Jazz Alley in the U District (4135 University Way NE).
Murphy died in Oct 2015 at the age of 83. Here's an obit published in No Depression that may be of interest.
Recording courtesy Nick Johnson
The first reference I can find to gospel music on KRAB was Dec 18, 1963, a "Big Fat Obscure Jazz- Blues-Gospel Festival", which was a return event of a program that Mike Duffy, Ray Skjelbred, and William R Lovy, Sr. did in the Spring of 1963.
Other highlights over the years included:
"The Gospel Show with Rev Causey and his congregation" (Jun 30, 1968);
Christmas Month Service recorded at the the First A.M.E. Church in Seattle, with the Reverend Cecil L Murray and the church choir (Dec 24, 1974);
"Not a live broadcast, but a LIVE broadcast from the House of Refuge Church of the Pentecost, complete with its remarkable congregation and choir, drums, piano, organ, trumpet, tambourine, and a special Christmas sermon by the Reverend Robert J. Causey" (Dec 25, 1974);
The Total Experience Gospel Choir in the KRAB music studio (Apr 6, 1977);
TEGC again, this time live from the Bilalian Kitchen (Jun 13, 1977);
And in the 1980's, "Sea-Tac Gospel Train" hosted by Sister Mae Campbell; "The Gospel Hour" hosted by Sister Anjetta Hardison; and "Gospel Pearls", a program with a lot of hosts: Fred Katz and Cleven Ticeson (Oct 1978 - Oct 1980); Tim Weatherly (Dec 1980); Diane Watt; "The Weatherlys"; Tim Weatherly and Anjetta Hardison (1982 - 1984).
Bob West made this recording. According to his notes it features Tim Weatherly with the Electrifying Warriors performing at the Tender Mercy Deliverance Center located at 2520 S Dearborn. Pastor John Sauls presiding. It was aired on "Gospel Pearls" in 1983 or 1984.
Recording courtesy Bob West
Shantha was a volunteer program producer for almost 13 years. She played and discussed the Music of India. This short clip is from her last show on KRAB, April 8, 1984. She is featured on a web page listing Hindustani Classical Musicians in Seattle Area.
Off-the-air recording courtesy Paul Dorpat
If you possess any souvenirs (program guides, tapes, or photos) or have a story about your experience with KRAB you are willing to share, please email email@example.com
Please do not use anything from this website without permission. Email firstname.lastname@example.org