Monday, April 30, 2012

KAAY November 20, 1969 With Mitch Michaels

Here is a rare audio clip of KAAY's Newsman "Mitch Michaels" (Nick Markel, 1968-1978), covering a shift.

We've heard Mitch Michaels doing the news in previous audio clips and it is a real treat to hear him at work deejaying. The professionally-done commercials and great KAAY jingles bring us back to a more relaxed, fun time....

(or download here)

Thanks to Russell Wells for this contribution and to Dave S. for audio linkage.

Bud S. (

Friday, April 27, 2012

The Move! Pt. 3, By Dave Montgomery, Engineer

Getting Music to the Transmitter

The Cottondale Lane location was relatively low level compared to surrounding terrain, so there was no easy way to get a line of site from there to the transmitter. So at the beginning, we used a high quality telephone line to connect the studio to the transmitter. It was expensive, and we were at the mercy of the telephone company to fix things when something went wrong. It was reliable for the most part, but certainly not ideal.

After the acquisition of KEZQ-FM, we had access to The Tower Building in downtown. The Tower Building was the first “tall” building in the business district, and it was also the location of the KEZQ transmitter (which we now owned). We were able to secure some equipment rack space, and we installed a microwave transmitter link to go from the Tower Building to the Wrightsville transmitter in one hop. There were a couple of engineering challenges, but the link was successful. Once the microwave link was operational, our telephone link from Cottondale Lane to the Tower Building was relatively short, better quality, and easier to maintain.

Opening Day

The "on-air" date for the Cottondale Lane studio was determined long in advance. Part of the sign-on in the new building was to have an early morning motorcade from the West 7th Street studio to the Cottondale studio, headed by Sonny Martin (Matt White). It was heavily promoted on-air for months in advance.

The motorcade went off without a major hitch, and Sonny's show was broadcast from the new studios right on time. There were no major problems - his was the first show to broadcast from a brand new studio, with all new equipment, and he had never seen the equipment (!) - much less have any rehearsal time prior to the actual event. He was a pro in all respects.

The KAAY studio was on the 2nd floor, and it overlooked the back parking lot at Cottondale. There was a large picture window that allowed Sonny to see the crowd that gathered that morning - and vice-versa. The throng could watch Sonny do his program through the control room window - - it was a great time!

We signed on in the Cottondale studios with basic capability - a control room studio for KAAY, a news booth, and one production studio. Over the next few weeks, we built two more production studios, several news editing stations, a farm programming studio for Marvin Vines. The eventual addition of the FM channel (KEZQ, now KKPT-FM), would come several months later.

The technical cutover was handled by having people at both studios as well as the transmitter. When the last word was spoken from the 7th Street studio, a changeover was made to feed audio to the transmitter from the new studio. It happened so quickly and smoothly on the air that no one knew we had made a little radio magic happen right before their ears!

(Thank you, Dave!  This story had been eagerly awaited by many of us, myself included!  When I was in Little Rock a year ago this month, with Jerry Sims and Charlie Scarbrough, all I had in my mind of the 7th Street Studio was the picture I had found awhile back and posted on this blog.  In fact, here it is again:

I'd never known it had been a doctor's office...and here is 2400 Cottondale, taken while Jerry was driving me around:

I can only imagine the procession!  I wish I could have been there,  Thanks to Dave Montgomery for this great bit of history- and to David B. Treadway, for his story, which led into this three-part series.  You guys are truly Greats! Bud S.)

Wednesday, April 25, 2012

KAAY Reunion In Planning!

Folks, there are plans afoot for a KAAY reunion for those who worked (....errr, I hate using that word, they had SO much fun while at the station!) from 1962-1985.  Please contact me direct at my e-mail address below and I'll forward your message(s).

Sorry I can't be more forthcoming on the information, but I will say that the target date is late August or early September, so pass me your messages A.S.A.P. and I'll get 'em to the planner!

Bud S. (

Monday, April 23, 2012

The Move! Pt. 2, By Dave Montgomery, Engineer

Choosing a Site for the New Studios

The agreement between the highway department and the radio station allowed for buying the existing building structure, a moving allowance, an allowance to find a new site, and an allowance to build a new building. It also had an equipment allowance, since for at least some period of time, we would need duplicate facilities until the move was completed.

Pat found a suitable site on Cottondale Lane. It was part of a new business park that had just opened up, and the developers were looking for tenants. So a deal was struck for the land at 2400 Cottondale Lane. We were the first building in the new business park.

During this same approximate time span, LIN Broadcasting sold the station to Multimedia Radio Inc of Greenville, SC.  Eventually, and before we moved into the new building, Pat Walsh would leave the station and Jim Tandy (ex-WSIX Nashville) would enter the scene as the new General Manager under the new Multimedia ownership.

Design and Planning the New Building

The building design was straightforward and uncomplicated. It was two floors, with all the studios on the second floor. Since the building is built next to a levee of the Arkansas river, we had to plan for the possibility of flooding at some point during the life of the building. So, the second floor elevation was slightly above the 100 year flood plane. All telephone, electrical, and communication s lines came into the second floor into a technical room. We also had a window installed at one end that would allow someone to boat right up to the building, and use the window as an emergency entry and exit. The auxiliary generator was located on the roof, and fed by natural gas, giving us virtually unlimited generator backup power if it was ever needed.

Studio cabinetry was custom built by a company in Ohio. I created a 3D view of each studio, complete with general dimensions to the cabinet maker, who built our new cabinets from those drawings. A detailed equipment list was prepared for each room, including re-purposed equipment from the old studio along with new equipment we had to purchase. I took this opportunity to upgrade to matching JBL speakers in all studios, and unify all microphones on the EV RE-20 model.

The AM studio would get a new RCA console, and it would be wired almost identical to the RCA console on West 7th street. This would reduce training and familiarization to a minimum, and make the installation of equipment easier as well. Speakers were installed in the ceiling over each announcer’s working location, which helped put the “sound” right into the announcer’s ears, and also help keep studio noise pollution down since the monitors would not be run at extremely high sound pressure levels.

All the studio walls were built of conventional stud and drywall building materials, except that we had separate stud walls for the interior wall and exterior wall. Walls were 6 inches thick with a 2 inch air gap in between the two rows of studs. Acoustic insulation was woven between the two stud walls, to dampen any coupled acoustic noise from inside to outside (and vice versa). Doors were acoustic dampened and had acoustical gaskets on the bottom, top, and sides. All windows were double paned, minimum.

Each studio had two independent lighting systems. A conventional fluorescent light system could be used, or a recessed lamp “mood light” on dimmers could be used. Each control room had its own air conditioner and separate thermostat. When the DJ’s were working, most of them liked the studio very cool or cold, and the music LOUD.

Next, Part 3! DM

Friday, April 20, 2012

Arkansan Levon Helm Of The Band Dead At 71

Arkansan Levon Helm, drummer, vocalist and co-founder of The Band passed away yesterday, after a long battle with throat cancer, at age seventy-one....

We've lost quite a few artists lately....we hope they're all attending The Big Jam Session In The Sky, wherever they are.

Bud S.

Thursday, April 19, 2012

The Move! Pt. 1, By Dave Montgomery, Engineer

The Lead In To The Move

Pat Walsh was the General Manager, Wayne Moss was the Operations Manager, and the station was still owned by Lin Broadcasting. The station was located on the West 7th street building, a former doctor’s office.

Pat had been told that the State was going to extend the partially complete I-630 “Wilbur Mills Freeway” to connect I-30 in downtown, and extend it to far west Little Rock. Western Little Rock was growing rapidly, and it was immediately apparent that a quick way from the far-west bedroom neighborhoods back to the State Capitol area and downtown business core was needed. So plans were drawn up by State Highway Department engineers, and the KAAY building on West 7th street just happened to be in the planned State Capitol exit of I-630.

The highway department made contact with Pat, and advised him that they intended to buy the building, tear it down, and build a freeway off ramp in its place. Negotiations were held and an equitable solution was reached. We were given a timeframe to move (I think it was about 24 months but I am not sure of this point). Pat advised corporate and the clock started ticking.

About the same time, we had decided to upgrade the KAAY control room with a new audio mix console. We decided on the RCA BC-7 since it was approximately the same capability and size of the existing Collins 212. (RCA BC-7, Collins 212 consoles)

After several planning sessions, we came up with a console control layout that was very similar to the Collins, which would make training the DJ’s easy. Basically, we duplicated the layout of the Collins console onto the new RCA console so that the controls for each tape player and turntable was as close to the same location on the new console as it was on the old one.

The RCA console did not have enough inputs, so I added two more inputs, one each for the “left” turntable and “right” turntable. I had no space on the main panel, so I added them onto the meter panel – the “left” turntable control was just left of the left VU meter, and the right turntable was located just to the right of the right-hand VU meter.

We also wanted to upgrade the studio microphones – we had been using RCA 77DX ribbon microphones, and it was felt new microphones would help give us a punchier sound on the air. We obtained a Shure SM-7 microphone and an Electro-Voice RE-20 microphone. Both were tested on the air over a period of time, alternating from one to the other, and eventually the RE-20 was chosen.  (RCA 77DX, Shure SM-7, E-V RE-20)

The main control room was the biggest room in the building, and was formerly an X-ray room in the former doctor’s office. The studio layout was straightforward – the rear wall was a flow to ceiling record storage rack and cabinets that were used for various control room items. The audio console was on the opposite wall, facing into the newsroom through a large double pane window.

When sitting at the console, there were audio tape cartridge machines on the left and right sides of the console. On the far left wall was a large cartridge rack that held commercial announcement tapes and some program related tapes. You can see the general layout in this photo of Jonnie King hard at work in the West 7th Street studio.

We did not completely know it at the time, but choosing these new microphones and audio consoles would play an important role later on when we designed the new studio technical facilities.

Next: Part 2....DM

Wednesday, April 18, 2012

Beaker Street With Tom Roberts, April 1971

Here you go, all you Beaker Street fans!  Partially 'scoped, the opening captures some classic Gary Gears jingles in the beginning.  This recording seems to have been taped off the air, with a tape recorder and mic (due to some extraneous noise), the signal was very strong at times...there were periods of atmospheric fade, with some slight noise present in quiet periods of the recording.  The area where received and taped is not known, but it is remeniscent of other nostalgic DX off-air recordings....

There was mention of a February 18th concert, a January 1st concert, et al, late in the recording...maybe this is a montage of different nights?  The recording came to us listed as April 1971....

Somewhere, I remember a very short clip posted of Tom Roberts on A. J. Lindsey's blog, November 21, 2008, but the players are broken.  The recording I remembered was just a few seconds; we may revisit Tom Roberts and get that little snippet here sometime in the future.  It is a real pleasure to get this recording from Russell Wells and his collection!

We have virtually no history of Tom Roberts; can someone come forward and let us in on some history, please?

(or download here)

Thanks to Russell Wells; also to Dave S. for doing the audio honors!

Bud S. (

Monday, April 16, 2012

You Never Hear The One That Gets You‏

When I listened to the aircheck of Wayne Moss from August 16, 1976 (, I heard a complete and total professional at work. Of course, it didn't sound like work at all, which is the key to this whole Radio business.

The Wayne who was caught on tape that day was the same Wayne you would have heard any other day: a regular guy who just happened to be a star--with a fifty-thousand-watt limousine to ride around in. Wayne didn't have to give any conscious thought to what he was doing. His hands knew the location of every button and switch; he could have found 'em blindfolded. His mouth knew exactly where that microphone was and his ears told him how close to it he should be. Part of his brain was (and probably still is) on autopilot concerning the sequence of call letters, title and artist, time and temp, station promotion and the hundred other little details that we call Formatics.

If you have to think about these things, you sound like a robot. If they're second nature to you, you can concentrate on having fun. And according to the Pat Walsh Book of Radio Secrets (a remarkably thin book because there are so few secrets), "Fun is contagious. People hear you having fun and they want to have some, too."

So here's Wayne Moss, preserved in audio amber as he sits at the controls and lets it roll with that consummate ease of his. (Cue the theme from Jaws.) But little did he suspect that his days were numbered. That he was going to be replaced. That I would soon see him cleaning out his office to make way for somebody who--in my opinion--couldn't carry his headphones.

It was about this time that I had returned to KAAY after a four-year absence, thankful that Wayne had a gig for me. I was also a bit nervous that Lin Broadcasting had just sold KAAY to some outfit called Multimedia. I had been through my first station sale by then and had seen some real nastiness as a result. But maybe this one would be different. Silly boy!

One bright spot in the approaching Fall of 1976 was the fact that we finally were going to get in the new building! This joke ("wait 'til we get in the new building") had been going around 1425 West Seventh Street for so many years that it had long since ceased to be a joke and had become a myth of Biblical proportions. It's not unkind to say that the building on West Seventh was a dump. And it's not much of an exaggeration to say it had gotten so overcrowded that you had to go outside to change your mind.

The new building had become our Promised Land. Tape recorder bit the dust in the production room? Wait 'til we get in the new building. Leaky roof in the front hall? Wait 'til we get in the new building. Flat tire on the Funmobile? Wait 'til we get in the new building. One day, Tricia in traffic was whining that her butt had gotten too big. Right on cue, four of us told her: wait 'til we get in the new building!

So, yeah, that new building was the biggest of big deals to us. Trouble was, neither Wayne Moss nor Pat Walsh would get there with us. Serious miscarriage of Cosmic Justice and Harbinger of Decline. More about those aspects soon, but now it's time to let Dave Montgomery take up the story of The New Building.

David B. Treadway
Doc Holiday VII
The Last PD

Friday, April 13, 2012

The Car Radio, An Interesting History

Folks, we all know how we can't do without our car radios!  And how they've been an important part of listening to our favorite tunes while cruisin' the night away, or on a long trip.  I was alerted to this story by a fellow Ham radio operator and listening enthusiast...enjoy!


One evening in 1929 two young men named William Lear and Elmer Wavering drove their girlfriends to a lookout point high above the Mississippi River town of Quincy, Illinois, to watch the sunset. It was a romantic night to be sure, but one of the women observed that it would be even nicer if they could listen to music in the car.

Lear and Wavering liked the idea. Both men had tinkered with radios – Lear had served as a radio operator in the U. S. Navy during World War I – and it wasn’t long before they were taking apart a home radio and trying to get it to work in a car. But it wasn’t as easy as it sounds: automobiles have ignition switches, generators, spark plugs, and other electrical equipment that generate noisy static interference, making it nearly impossible to listen to the radio when the engine was running.


One by one, Lear and Wavering identified and eliminated each source of electrical interference. When they finally got their radio to work, they took it to a radio convention in Chicago. There they met Paul Galvin, owner of Galvin Manufacturing Corporation. He made a product called a “battery eliminator” a device that allowed battery-powered radios to run on household AC current. But as more homes were wired for electricity, more radio manufacturers made AC-powered radios. Galvin needed a new product to manufacture. When he met Lear and Wavering at the radio convention, he found it. He believed that mass-produced, affordable car radios had the potential to become a huge business.

Lear and Wavering set up shop in Galvin’s factory, and when they perfected their first radio, they installed it in his Studebaker. Then Galvin went to a local banker to apply for a loan. Thinking it might sweeten the deal, he had his men install a radio in the banker’s Packard. Good idea, but it didn’t work – half an hour after the installation, the banker’s Packard caught on fire. (They didn’t get the loan.)

Galvin didn’t give up. He drove his Studebaker nearly 800 miles to Atlantic City to show off the radio at the 1930 Radio Manufacturers Association convention. Too broke to afford a booth, he parked the car outside the convention hall and cranked up the radio so that passing conventioneers could hear it. That idea worked – he got enough orders to put the radio into production.


That first production model was called the 5T71. Galvin decided he needed to come up with something a little catchier. In those days many companies in the phonograph and radio businesses used the suffix “ola” for their names – Radiola, Columbiola, and Victrola were three of the biggest. Galvin decided to do the same thing, and since his radio was intended for use in a motor vehicle, he decided to call it the Motorola.

But even with the name change, the radio still had problems:

•When Motorola went on sale in 1930, it cost about $110 uninstalled, at a time when you could buy a brand-new car for $650, and the country was sliding into the Great Depression. (By that measure, a radio for a new car would cost about $3,000 today.)

•In 1930 it took two men several days to put in a car radio – the dashboard had to be taken apart so that the receiver and a single speaker could be installed, and the ceiling had to be cut open to install the antenna. These early radios ran on their own batteries, not on the car battery, so holes had to be cut into the floorboard to accommodate them. The installation manual had eight complete diagrams and 28 pages of instructions.


Selling complicated car radios that cost 20 percent of the price of a brand-new car wouldn’t have been easy in the best of times, let alone during the Great Depression – Galvin lost money in 1930 and struggled for a couple of years after that. But things picked up in 1933 when Ford began offering Motorolas pre-installed at the factory. In 1934 they got another boost when Galvin struck a deal with B. F. Goodrich tire company to sell and install them in its chain of tire stores. By then the price of the radio, installation included, had dropped to $55. The Motorola car radio was off and running. (The name of the company would be officially changed from Galvin Manufacturing to “Motorola” in 1947.)

In the meantime, Galvin continued to develop new uses for car radios. In 1936, the same year that it introduced push-button tuning, it also introduced the Motorola Police Cruiser, a standard car radio that was factory preset to a single frequency to pick up police broadcasts. In 1940 he developed with the first handheld two-way radio – the Handie-Talkie – for the U. S. Army.

A lot of the communications technologies that we take for granted today were born in Motorola labs in the years that followed World War II. In 1947 they came out with the first television to sell under $200. In 1956 the company introduced the world’s first pager; in 1969 it supplied the radio and television equipment that was used to televise Neil Armstrong’s first steps on the Moon. In 1973 it invented the world’s first handheld cellular phone. Today Motorola is one of the second-largest cell phone manufacturer in the world. And it all started with the car radio.


The two men who installed the first radio in Paul Galvin’s car, Elmer Wavering and William Lear, ended up taking very different paths in life. Wavering stayed with Motorola. In the 1950’s he helped change the automobile experience again when he developed the first automotive alternator, replacing inefficient and unreliable generators. The invention lead to such luxuries as power windows, power seats, and, eventually, air-conditioning.

Lear also continued inventing. He holds more than 150 patents. Remember eight-track tape players? Lear invented that. But what he’s really famous for are his contributions to the field of aviation. He invented radio direction finders for planes, aided in the invention of the autopilot, designed the first fully automatic aircraft landing system, and in 1963 introduced his most famous invention of all, the Lear Jet, the world’s first mass-produced, affordable business jet. (Not bad for a guy who dropped out of school after the eighth grade.)

This story and a "Learavian radio", among other neat things, can be found on Jim's Antique radio Museum web page:

Car radio....ahhh, what a luxury!  Thanks for the heads-up to KD4ORO!

Bud S. (KC4HGH) (

Wednesday, April 11, 2012

"More Hit Music, With J. J. Stone!" KAAY, April 11, 1973

Thanks to our good friend Russell Wells, here is J. J. Stone!  Opening with a classic Gary Gears jingle, we're off into a Easter season broadcast on a Wednesday.  J. J. Stone was at KAAY when Wayne Moss was Operations Manager.  Judging from the date, I was still in the 8th grade....

No 'scoping here --- just great memories and songs.  No jammed and crammed commercials, very professionally done.  This is the first and only recording I know of with J. J. Stone, so it was a real thrill when I found it!

Thirty-nine years later, we're able to bring this to you, sounding as good as you can imagine!  It is unknown if this was a studio recording or a close-in aircheck...happy anniversary, J. J. Stone!

(or download here)

(I'll have to ask Wayne Moss next time I call him, but does anyone have any idea who J. J. Stone was, or where he is today, please? Thanks! Bud)

Much thanks to Russell Wells for this rare donation of audio and to Dave S. for audio archival linkage!

Bud S. (

Tuesday, April 10, 2012

"Coming Attractions"

Dear reader and visitor, we are about to share with you over the next several months a number of airchecks and studio recordings from Russell Wells, with audio help from Greg Barman and the consummate computer skills of Dave S....just in time to post on their anniversary dates!  As they appear on their magical dates, please enjoy them...I marvel at the recovery efforts of several people, as these wonderful historical audio offerings have been lovingly preserved and offered to us to share with YOU!

It's just like stepping back in time, as I laid beneath those clear, beautiful skies out in Semmes, AL, looking up at the stars as a child, then later, driving through the night after my shift ended as a teenager and a college student, listening to KAAY's massive signal, delivering hit after hit in their special way!

Some of these recordings are of people we haven't found before, others are old favorites...please enjoy!

My thanks to Greg Barman, Russell Wells and Dave S. in their massive labors of love to bring these to you- gentlemen, we couldn't enjoy these without you!

Bud S. (

Monday, April 9, 2012

Hot Springs Attractions, 1900-1908- and Mobile, AL Thrown In....

Dear visitor, KAAY engineer Dave M. sent these pictures to me a few months ago...and I am still trying to catch up to him, at times.  My apologies to Dave for not running these sooner!

The first picture is from 1908, just a few years prior to KTHS' broadcast debut.  Dave said the caption read, "Army and Navy General Hospital"...Dave also says, "Closer to the camera on Reserve Avenue we have the Imperial Bath House and some helpful signage."

A few years earlier, circa 1900, he found a picture of Central Avenue in Hot Springs:

Both of these pictures, and many more, can be found on

Some do, some don't know, but KAAY was KTHS in the early days before 1962, when LIN Broadcasting bought KTHS.  For more history, type in "KTHS" in the upper left-hand seach box, click on the magnifying glass and get ready to read!

Dave also provided me with a picture of downtown Mobile, AL circa 1901, which shows some interesting things: at the foot of what is present-day Government Street, there appears to be a radio tower or antenna!  We had some good discussions with this one!

Admiral Raphael Semmes is now, present-day, in almost the same position he was back then, after having been moved a time or two down the street.

Dave had enlarged the picture many times and we had fun picking out the details...he has a sharp eye (and wit to match!).  I'd almost forgotten about this photo, so I'll have to inquire around Mobile to see if anyone can identify what radio service (most likely maritime) utilized this tower.  These are Dave's observations:

"1) I think you are correct that it is a radio tower - probably transmissions for marine use (??) since it is next to the port, a good hint.

2) The tower is grounded at the bottom, there are no insulators that I could see.

3) There appears to be a wire grid work along the upper part of the tower face. Note sure what this is for other than to perhaps present a "solid" electrical face along the side of the tower.

4) There also appears to be what might be a feed wire coming from the left and attaching onto a tower face about 1/3 way up. With the tower grounded and the feed wire connector at about 1/3 the overall height, can we think this is a center loaded antenna? If so, the frequency may be in the range of 5 - 7 MHz judging on the apparent height. Do you know what frequencies were used for early marine Morse transmission?

5) The top of the tower has what appears to be a cantilevered support - maybe a supplemental radiator?

6) The ball on the top is likely for lightning suppression."

Thank you, Dave!

Bud S. (

Sunday, April 8, 2012

Happy Easter!

What more can be said?!?!

Bud S. (

Saturday, April 7, 2012

Recent Comments to the Blog

From time to time, I compile the comments people submit to the blog and post them here, so that you have the opportunity to see who is checking in and what they are saying.  Here is the batch from the last 10 weeks....

If any of the comments interest you, you can locate the original article by using the Search window at the top left corner of this web page.

--Dave S.

Thursday, April 5, 2012

Charlie Scarbrough Voiceover

"I found this video spot on YouTube that supposed to be a national commercial spot for Ole Miss. The voice sounds like Charlie Scarbrough.


John Price"
Yes, John, that is indeed our one and only Charlie Scarbrough!  Charlie does freelance voiceovers coast to coast and can be heard all over.  This is just one example of his work.
Many other KAAY personnel are still "in the business", deejaying, voice-over, production and other work.  The quality shows, after all the hard work radio personnel do to develop their craft.  Thank you John!
Thank you, Charlie Scarbrough for permission to post this...and to Jim Cleveland for help in this area, as well....
Bud S. (

Tuesday, April 3, 2012

1947 RCA BTA-50F Catalog, From Engineer Hollis Duncan!

Hey Bud,

Here is a link to the June 1947 issue of RCA Broadcast News announcing their brand new BTA-50F AM transmitter. It has lots of nice pictures and a schematic. Best regards, Hollis

Very COOL, thank you, Hollis! There's more in this copy (from RCA Broadcast News) to enjoy, so sit back and read on!

Dear Reader and Visitor, if you remember my visit to Little Rock a year ago this month, you'll likely remember all the pictures I posted here...many of the transmitter itself. This catalog, Hollis so thoughtfully forwarded for us to enjoy, explains a LOT of the goings-on in the different stages and areas of the fantastic!

David B. Treadway and Jerry Sims both were my guides there at the transmitter site. I hope David B. enjoys this catalog...and I wish Jerry were alive to see it, as well....

Enjoy, compliments of Engineer Hollis Duncan!

Bud S. (

Monday, April 2, 2012

One More Little Barn Catalog View

Gil, another friend of the blog and devoted Beaker Street listener, had sent along a .pdf file, also which Dave M. converted for us to view here on the blog.  It is also of the front and back covers of the First Edition, but in a different color.  Now we know that there are at LEAST two surviving Little Barn catalogs out there!

Gil said he listened to Clyde Clifford on Beaker Street while in Mobile, AL.  Thank you, Gil!

This has been fun, bringing these pages to you!  What a great look back....

Any more "heads" out there have any different versions, PLEASE?  (You don't have to be a "head"!)  I would love to hear from you at my e-mail address below!

Bud S. (