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Page 4B. The Friday Edition
New FM station fills gaps on dial
Just when you thought the
magic had gone out of local
radio, ka-zam! A new radio sta
tion has arrived to break the spell
of radio indifference. The magic
call letters are KZAM.
The station, located on the dial
at 95.3 FM. was signed on the
air June 21. KZAM features a uni
que adult contemporary and jazz
format that was developed
specifically for this community.
After conducting studies to
learn about available audiences in
the Eugene area, a radio research
team discovered that there was a
fairly large void on the radio dial.
Apparently, a sizable group of
people between the ages of 18
and 49 were not being served by
the current stations in this
market.
The KZAM contention is that
there’s a large group of adults in
this area who like rock ‘n’ roll,
and have fairly broad musical
tastes. These people are willing to
open their minds and their ears to
new music, but they also want to
hear music from the '60s and ’70s
Jeff Hanley, a Seattle radio
veteran, is the afternoon host and
station program director. Hh was
instrumental in developing the
KZAM format.
Hanley explains KZAM’s ap
proach. “This is a format for the .
’80s. We’re not an oldies station,
though we do play a lot of older
music,”
Some of the artists featured oh
KZAM, says Hanley, include Joni
Mitchell, Phoebe Snow, Bruce .
Springsteen. Bob Dylan, and Stee
ly Dan. The station airs
everything from Elvis Costello, to
the Bangles, to Pat Metheny.
“We’rfe listening to what’s hap
pening in new music,” Hanley
continues, “and also to what's
happening in technology. 1 feel
that the compact disc is easily as
important as stereo in terms of an
innovation.”
KZAM is the first station in this
market to program a major por
tion of its music, currently 20 to
25 percent, from compact digital
discs. The station’s long-range
plan is to increase that to 80 or 90
percent. The compact disc in
creases dynamic range, and
eliminates pops and scratches, of
fering a clean sound to the
listener.
Hanley feels that KZAM will at
tract the University population.
“What we’re trying to offer is a
quality radio station, and quality
is something that appeals to all
generations.
“I think that the University is a
sophisticated campus. I feel like
they’ll respond to us. I'm hoping
that we can respond to some of
their needs. A good radio station
has a symbiotic relationship with
the community,” he says.
“We’re every day slowly
developing the station into what
we’d like it to be. We want to be
sensitive to what people are look
ing for out there. We’re trying to
listen to people and respond to
the market.”
KZAM is owned by the
California-based Visionary Radio
Euphonies. When the Federal
Communications Commission
opened a number of frequencies
in small markets, KZAM’s owners
applied for and received an FM
license to serve Creswell.
KZAM’s transmitting tower is
located in the south hills of
Eugene. The station's first priori
ty is to cover the Creswell com
munity with a quality signal.
Perhaps as icing on the cake.
KZAM can also be heard in most
of the Eugene-Springfield area.
Compared with many of the
Photo by Michael (Japp
Jeff Hanley came from Seattle to help create KZAM. the Eugene area‘s
newest radio station.
local radio giants. K/.AM has
relatively low power. The station
is limited to 3,000 watts, and
competes with other FM’s that
blast through the air with as •
much as 100.000 watts of
power.
Virtually everyone on the air
staff at KZAM is a radio veteran. ‘
Morning host Nick Morrison
came here with Hanley as part of '•
the initial team to get the station
started. Before that he was on the
air for many years in Seattle '
JBar<*v f jiiLt-iv (mid-davs) is the,
station s production director. A
longtime radio veteran, he’s '
worked at. everything from top-40 :
to free-form stations.
Evening host Eydie Bowen
came to this area about a year ago
from the California radio scene.
Tom Krumm does all-nights
and weekends. He also, hosts “Get •
Back," Sundays from 8 p.m. to
midnight, a show that features
the great music of the late ’60s
and early ’70s.
“Radio Ray” Pietz handles
“Bright Lights,” a regularly
scheduled digest of area arts and
entertainment. He also does voice
and production work.
Barbara Stern (weekends) and
Syd Steen (all-nights), both
Kugene radio veterans, round out
the regular air staff. .*
In addition to “Bright Lights!' • ’
and “Get Back,” KZAM offers
.other special programming,, in
cluding: “Sunday Morning Jazz." •
from 6 to 11 a.m.,-hosted by Jeff
Hanley; “The Great Outdoors'
Report.” a daily feature of
weather and activities for skiers. • .
hikers and other outdoor people;' '
and news reports from the CBS.
RadioRadio network.
The KZAM business phone
numeber is 741-1999, and 'the an
nouncer line is 726-9595.
Willy Elliot
Heads still making sense
Stop Making Sense
. Talking Heads
Sire Records
The Talking
Heads are a
difficult band
to classify.
Words 1 i ke
*‘cerebra 1 ’*
and “elec
tronic” describe certain aspects
of their sound, but fall short ot
pinpointing the group's
essence.
1'his refusal to be compart
mentalized accounts for much
of the Talking Heads’ appeal.
They really aren’t like any other
musical entity, and their fans
know it.
The band’s latest release.
Stop Making Sense, seems to af
firm their desire to avoid labels
and easy answers. It is a. live
record (their second) and is the
soundtrack to the performance
film of .the same name.
Three of the album’s nine
tracks also appear on the*
group’s previous live effort. The
Name. Of This .Band Is The
Talking Heads, including the
opening', number. ‘‘Psycho
Killer.”' . •
■ On the first live disc'the song
• remained, fairly true to the
studio version. This time,,
however, it appears the.Way it.
was done on the 1983 tour
featuring David Byrne alone on
stage with his acoustic guitar.,
accompanied by a pre-recorded
rhythm track. The cut loses
this is more than compensated
for by the sadness in Byrne’s
vocals and his aching, ringing
guitar licks.
Competing with “Psycho
Killer” for the album’s best is
side two’s opener, “Once In A
Lifetime.” Like the aforemen
tioned number, “Lifetime”
receives a much different treat
ment than its studio counter
part. A subtle synthesizer motif
runs through the song, punc
tuated by a skeletal bass line
and inventive percussion
figures. The guitar break is the
record’s finest moment, cutting
through the mix with a
locomotive-like devastation.
Stop Making Sense contains
three cuts from the Talking
Heads’ last studio album,
Speaking In Tongues. They are
“Swamp,” “Girlfriend Is Bet
ter” and the obligatory “Burn
ing Down The House.” These,
songs, while being enjoyable
enough, haven’t really achieved
a life of 'their own yet in the
Talking Heads’ live repertoire.
Making S6iise was recorded
digitally,’, and is their finest
sounding album to date. The
guitars are crisp, the bass guitar
and drums are explosive and
the keyboards sizzle. The in
struments all stand out well in
the rrtix (no cluttery “wall of
sound” here), and the stereo
percussion bits make- this, a
good disc to listen to on
headphones.
This album was reviewed
courtesy of Face The Music.
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