WKBW’s ultra-modern Radio Center was actually a refaced barn which stood next door to the Churchill Tabernacle building. It was built out in 1951 in the parking lot of Tabernacle—which by the end of the decade was destined to become the home of WKBW-TV Ch.7.
As songs like “Rock Around The Clock” by Bill Haley & His Comets hit number one on the charts, Elvis Presley was still receiving second billing to Slim Whitman and Andy Griffith in stage shows around the south.
“Rhythm and blues” was still working its way into “rock ‘n’ roll,” and it was still a little time before Elvis started to become recognized first as “the hottest hillbilly attraction” and “the king of western bop.”
Young people were paying attention, but society— not yet.
Even though The Hound was on KB in 1955, his sound was not reflective of the station by any means.
In fact, The Hound’s lead-in show six nights a week was Stan Jasinski’s Polka Beehive.
The programs and talent that WKBW Radio was promoting in 1956– only a matter of months before rock ‘n’ roll Top 40 would change radio forever– looks much more like KB did in 1930 than it would in 1960.
WKBW, Buffalo’s Most Powerful Radio Station, mid-50s letterhead.
Dorothy Ireland was on the air daily as Kay B. Cooke with interviews and homemaking tips. Wally Wagoner was WKBW’s Farm Director.
Carroll Hardy, who would go on to become one of WEBR’s legendary jazz deejays, was one of the many men who served as WKBW’s Clock Watcher, broadcasting live from the front lawn of the radio station on Main Street near Utica every morning.
Among the others on KB’s deejay staff in the mid-50s were Herb Knight, George “Hound Dog” Lorenz, and Larry Brownell.
Remembered as one of Buffalo’s most beloved sports broadcasters, Stan Barron was also a disc jockey through most of his time in Buffalo radio, including his turn as WKBW’s Clock Watcher. Here he’s on KB’s lawn with Clint Churchill Jr., WKBW General Manager Al Anscombe, KB Polka Beehive host Stan Jasinski, salesman Jim McGrath and Roger Baker—who, after returning to KB from WBES-TV, dabbled in sports but focused on sales.
Stan Barron calling play-by-play action at Memorial Auditorium on WKBW. Through the years, he called Canisius and Niagara basketball, Buffalo Bisons baseball and Buffalo Bisons hockey. He was also the color man on Buffalo Bills broadcasts alongside Van Miller.
Frank Frederics, who also anchored newscasts on WBUF-TV, reads the news on WKBW as engineer William Routh looks on.
Lee Forster brought the sounds of Western music and folk music to KB, as he had also done on Ch.4’s Barn Dance show.
From 1958 to 1988, Al Lafler had his hand on the rudder of the production sound that allowed KB to stand head and shoulders above the rest. His more famous co-workers will tell you, his credo “Good enough isn’t good enough,” helped give KB such a great sound over the years.
Gospel musician and evangelist Elder Charles Beck ran his network of 30 stations from WKBW. Nicknamed The Singing Evangelist, The Encyclopedia of America Gospel Music calls Beck “a seminal figure in the formative years of modern African-American gospel music.” His shows aired Sunday nights on KB.
Verne Stevenson played the best in rhythm and blues on Saturday nights on WKBW.
Michael Brocia hosted music and news in Italian on Saturdays on WKBW.
Chief Engineer Leroy Fiedler, left, was at WKBW from the very beginning in 1926, and was still with the station through the 60s. Dan Lesniak, right, with Cassie Lanzalaco, was a KB salesman who founded one of the stations that helped usher in the FM era of Buffalo radio as the owner of WADV-FM.
Al Anscombe was a sports announcer under Roger Baker at KB before serving in the Air Corps in World War II. In 1950, he replaced Baker as KB’s general manager.
It was under the direction of Al Anscombe that the mostly staid, conservative, WKBW would up-end radio not just in Buffalo but around the country when, as their ad campaign said, “KB Goes KA-BOOM!” introducing a Top-40 style rock ‘n’ roll format which debuted 19 months after the 30th anniversary of Doc Churchill’s WKBW was celebrated in 1956.
This photo shows two well-known figures in 1970s Buffalo getting together to talk about jazz in in the WADV-FM studios.
Best known for his time at WKBW Radio, Fred Klestine spent parts of four decades as a disc jockey on Buffalo radio stations WWOL, WBNY, WADV and WBUF. A Lackawanna boy who worked in the Bethlehem plant before turning to radio, his broadcast persona was a deep, melodic voiced blue-collar everyman. Off the air, he was a coffee-swilling funnyman who was one of everyone’s favorite co-workers.
As the outgoing public face of “The Electric Company,” Buffalo Bills offensive lineman Reggie McKenzie and his fellow guard Joe DeLamielleure were given plenty of credit for O.J. Simpson’s ability to run for a record 2003 yards in 1973. As the man who helped make the way for “the Juice,” McKenzie even became a spokesman for Niagara Mohawk.
On this day, McKenzie dropped by the Buffalo studios of “beautiful music” WADV-FM to promote two jazz albums that were recorded in the Hotel Statler’s Downtown Room. The call letters of WADV-FM were changed to WYRK-FM in 1981.
BUFFALO, NY – It’s funny the way memories begin to haze. Strictly from a Buffalo point of view, in the late 50’s and early 60’s, KB was one of many stations cranking out the music and antics that made for great rock n’ roll radio.
Stations like WBNY, WWOL, WXRA, and later WYSL and a host of others were capturing the imaginations of young people in Buffalo. Tommy Shannon first made girls swoon at WXRA Radio, from a location way out in the boonies. The studio was on rural Niagara Falls Boulevard, in a location which soon would be the home of Swiss Chalet for the next 50 years. WXRA later became WINE, where Hernando played host.
Tom Clay, one of many disc jockeys to use the name Guy King on WWOL, was arrested after his playing ‘Rock Around the Clock’ over and over again, while perched atop a billboard in Shelton Square. Traffic was snarled for hours in what was considered “Buffalo’s Times Square,” and is now just considered the MetroRail tracks in front of the Main Place Mall.
If you tuned to WBNY in the late 50s, you were likely to hear the voice of Daffy Dan Neaverth, Joey Reynolds (right), Fred Klestine and Henry Brach. At WBNY, Neaverth would pull a rooftop like event similar to Guy King’s, throwing candy out to passersby. Neaverth, perhaps with his boyish good looks and demeanor, evaded arrest for his stunt.
As many of the smaller stations in Buffalo were churning out rhythm and blues music all day, at night, for Buffalo and the entire eastern seaboard, ‘the Hound Sound was around.’
George “Hound Dog” Lorenz, the Godfather of rock n’ roll radio (not just in Buffalo, but PERIOD) first plied his trade in Western New York at Niagara Falls’ WJJL, as early as 1951. By the mid 50’s, Lorenz’s hip daddy style, and the fact that he was spinning records from black artists, made him an institution.
Ironically, the man who brought Elvis to Memorial Auditorium was out at KB when the station went Rock n’ Roll full-time. Lorenz wanted nothing to do with a Top 40 style format. While inspiring many of the changes that came to KB and many other stations around the country, the Hound stayed true to his style, and founded WBLK Radio; where he continued to uncover and spotlight new artists, both in Buffalo, and to a syndicated audience around the country.
Despite a pioneering spirit and great imaginative programming, each of those true rock n’roll pioneer stations had unique problems. Either they weren’t well financed, or had daytime-only signals so weak that they couldn’t be heard throughout the city and all the nearby suburbs.
Enter WKBW Radio, soon with the corporate backing of owner Capital Cities (now THE DISNEY CORPORATION, by the way), and its monstrous 50,000 watt signal. With an eventual 50% of the marketshare, KB quickly blew all of the much smaller competitors out of the water. Half of the audience was listening to KB. Never before, and never since, has a radio station been so dominant in Buffalo.
On July 4, 1958, Futursonic Radio was alive on WKBW. The rock n’roll era had arrived on a respectable, long established Buffalo radio station. When station manager Al Anscombe first convinced the Reverend Clinton Churchill to make the switch to Top 40, initially, the station was stocked with out-of-towners at the direction of the man who’d established WBNY as the city’s Top 40 leader, program director Dick Lawrence.
But eventually, a base of homegrown talent sprinkled with some of the most talented people from around the country, KB built an unprecedented following in Buffalo and around the country. Most of the names already mentioned here made their way to KB, and many reading this might not know or remember they worked elsewhere.
As often happens, over the last 50 years, for better or for worse, people who remember Guy King or the earliest Tom Shannon or Daffy Dan Neaverth shows, will think they heard those things on KB, forgetting those early pioneering rock n’roll days. If you watched Elvis shake his hips on Ed Sullivan for the first time, and you then listened to Elvis on the radio– It wasn’t likely KB, even though your memory might tell you otherwise.
Many who played a part in making those smaller stations great feel slighted by the fact that KB has swallowed up the collective memory of the early rock n’roll era; but it’s no slight on those great stations and the folks who worked there: It’s more a testament to the incredible juggernaut that KB was. Henry Ford didn’t invent the automobile, he was just the first to make the same car available to everyone.
With its clear-channel 50,000 watt signal, KB was heard all over the eastern half of North America. Anyone who worked at KB in its heyday has stories. The Joey Reynolds Show was a resounding Number 1 in Buffalo. But 370 miles away in Baltimore, the show showed up in the ratings as number 4. The late newsman Ed Little would remember being in the room as packages containing female lingerie were opened; sent from Maryland by an obviously big fan. Don Yearke, known as Don Keller the Farm Feller back in the early 60s on KB, was recognized along with his KB Litter Box by a fan in Southern Pennsylvania.
Starting in the mid 50s, and running through the mid 70s, its fair to say cumulatively, that nighttime KB disc jockeys like George “Hound Dog” Lorenz, Dick Biondi, Tommy Shannon, Jay Nelson, Joey Reynolds, Sandy Beach, and Jack Armstrong enjoyed more listeners on a single radio station during that clear-channel time in the evening, than any other station in the country.
For that reason, KB owns a special place not only in Buffalo’s pop cultural lexicon, but also for thousands and thousands of fans, who just like the ones in Buffalo, fell asleep with their transistor under their pillow, wondering where the hell Lackawanna was.
The proof is in a quick search of WKBW on your favorite search engine. People from all over the country, and not just Buffalo transplants, have built websites dedicated to keeping the memory of WKBW alive. It’s a part of Buffalo’s past of which we should all be proud.
Listen to WKBW!
Narrated by then-KB Radio newsman Irv Weinstein, this piece reflects the KB staff from it’s first year as a Top 40 station. It starts with The Perry Allen show, with an Irv Weinstein KB Pulsebeat Newscast… with some of the great writing and style Irv would become known for in Buffalo over the next 40 years. You’ll also hear from Russ Syracuse, Johnny Barrett, Art Roberts, and Dick Biondi.
Narrated by Irv Weinstein, Instant KB was actually released on a single-sided album sized record for distribution sponsors on the local and national level. You’ll hear snippets of disc jockeys Stan Roberts, Fred Klestine, Jay Nelson, Dan Neaverth, and Joey Reynolds at work, followed by a Henry Brach newscast, and a quick excerpt from Irv Weinstein’s documentary “Buffalo and La Cosa Nostra.” Many KB commercials and contests follow.
The famous Jeff Kaye produced and narrated look at KB in 1971, with jocks Danny Neaverth, Jack Sheridan, Don Berns, Sandy Beach, Jack Armstrong, Bob McCrea, and Casey Piotrowski, with Kaye’s thoughts and insights on each in between. First appeared on album form from the industry periodical “Programmer’s Digest.”
The concept of the American Teenager as we know it today is a relatively new one.
In the simplest of terms, after decades of economic depression and war, young people of the late 1940s had less responsibility, more economic freedom and a growing segment of pop culture being cultivated to employ and take advantage of that free time and free cash.
For 70 years, more mature generations have been panning the choices of teenage girls and especially the fervor with which they make those choices. The names change, but from Frank Sinatra to Justin Bieber, rigid-minded adults can’t understand all the swooning over (some singer) with (some bizarre haircut, bizarre dance, etc.).
By 1964, American fuddy-duddies had withstood the waves of bobbysoxers and Elvis’ wagging hips — but the arrival of a moppy-headed quartet of singers from England took the genre up another notch.
If there’s a start date for Beatlemania, you might choose Feb. 9, 1964 — the date of the band’s first appearance on “The Ed Sullivan Show.” About 60 percent of American televisions were tuned to the performance of the nation’s No. 1 top single, “I Want to Hold Your Hand.”
Immediately, adults started to try to make sense of the mania.
In a matrix that has repeated itself time and time again as American Pop Culture has evolved, the aversion to the Beatles was just as strong as the fanaticism of their young followers.
What was it about the Beatles? everyone seemed to want to know. Was it the haircuts, asked the Courier-Express’ “Enquiring Reporter” of Western New York high school students?
One boy from Cardinal O’Hara High School was convinced that it was “The Beatles’ weird looks more than their musical ability” that made them popular. Many others agreed, but said it was the combination of talent and different looks that made the Beatles “just far out.”
Whether you loved the Beatles or hated them, they were clearly a growing economic force to be reckoned with.
It wasn’t just with the expected idea of record sales at places like Twin Fair, more staid institutions such as AM&A’s were offering “The Beatle Bob” in their downtown and branch store beauty salons. Hengerer’s was selling Beatles records and wigs.
A month after the group’s first appearance on Ed Sullivan, a couple of doors down from Shea’s Buffalo, the Paramount Theatre sold out a weekend’s worth of closed-circuit showings of a Beatles concert.
Eighteen uniformed Buffalo Police officers were hired to help keep the peace among the more than 2,500 teens who showed up to watch the show at the Paramount, which was hosted by WKBW disc jockey Joey Reynolds. The only slight hint of misbehavior on the part of Beatles fans came when the infamous rabble-rouser Reynolds declared on the stage, “I hate the Beatles!” and he was pelted with jellybeans.
Beatlemania continued at a fever pitch through all of 1964 and 1965.
Local bands like the Buffalo Beetles, later renamed the Mods, enjoyed popularity and even their own records on the radio. After the July, 1964 release of The Beatles’ first film “A Hard Day’s Night,” the summer of 1965 saw the release of the Beatles’ second movie, “Help!,” which opened at Shea’s before moving onto the smaller theaters and the drive-ins.
The Beatles also played a concert at Toronto’s Maple Leaf Gardens in August 1965. There were at least a couple of dozen Buffalonians in attendance courtesy of the WKBW/Orange Crush Beatles caravan, hosted by Danny Neaverth.
Buffalo Stories archives
Sixteen-year-old Jay Burch of Orchard Park High School described Beatlemania from the midst of it in 1964 this way: “The Beatles’ singing is OK, but it’s the haircuts and dress that make them standouts. … The Beatles are different. They got a good gimmick and made it work.”
Many of Buffalo’s Beatles dreams finally came true on Oct. 22, 2015, when Paul McCartney made his first appearance in Buffalo, singing songs that many in the audience had first heard 51 ½ years earlier for the first time on a Sunday evening with Ed Sullivan.
Beyonce. Bono. Cher. Some personalities are so renowned and celebrated just one name will do. Such is Buffalo’s Danny.
Buffalo News archives
Pictured here in the studios of WKBW on Main Street with newsman John Zach in 1972, Danny Neaverth is perhaps Buffalo’s greatest pop culture star. He’s remembered most for peeking at us through the hole in the record behind the microphones of upstart WBNY radio in the 1950s as Daffy Dan, then WGR Radio, and then 25 years at WKBW Radio — with most of those years as Buffalo’s morning man. Tag on a dozen more years at WHTT, and a few more at KB again, and Danny moved our fannies on the radio for half a century.
But it wasn’t just radio — Neaverth was also a TV weatherman on Channel 7 and later Channel 2. He was the public address announcer for the NBA Braves and the NFL Bills. A few of his moonlighting gigs dovetailed more closely with his work as a disc jockey and radio host. He was a concert promoter and recording artist (who could forget “Rats in My Room,” even if they tried?). Of course, his face and voice were everywhere for Bells Supermarkets and dozens of other Western New York businesses through the years. His work in the community for dozens of causes and charities over the last 60 years has been unmatched.
In the ’70s and ’80s, it was difficult to spend a day in Buffalo and not somehow be graced by the voice, smile and personality of “Clean Dan Neaverth,” a true Buffalonian who never forgot his Seneca Street South Buffalo roots and proudly plied his trade among fellow Buffalonians proud to call him one of us.
BUFFALO, NY – In the 1960s and ’70s, Buffalo’s WKBW Radio billed itself as “one of America’s two great radio stations.” Never was that more on display than on Halloween night.
While Program Director Jeff Kaye might be best remembered for that deep resonant voice which he used like Horowitz on a Steinway, he was also perhaps the greatest producer and writer– that is to say, the greatest radio mind– of the generation.
He found superb vehicles not only for his own talent, but also put the stars of KB in situations where they could shine brightest. These Halloween productions are brilliant examples. The writing and production stands up almost 50 years later, and gives the listener a true sense of the talent that went into “playing the hits” on KB.
Most of these recordings played several times through the years, starting in 1967 and running through the late 70’s.
You hear the voice, writing and production of Jeff Kaye; the engineering and production of Al Lafler, Dan Kreigler, and many others; the voices and writing of Dan Neaverth, Jim McLaughlin, Don Berns, Stan Roberts, Sandy Beach, Jack Armstrong, Shane Gibson, Joe Downey, Ron Baskin, Henry Brach, Jim Fagan, Don Lancer, Irv Weinstein, and others.
Three different versions of the war of the Worlds appear. The primary difference in each is the news guy, disc jockey and the music at the start of the show. Sandy Beach was in the original broadcast in 1968, Jack Armstrong was in the 1971 version, and Shane in 1973. In 1974, Jeff Kaye became the afternoon drive host on KB’s competitor WBEN, effectively ending any future reworking of the “covering of the invasion” half of the show– which remained mostly unchanged through the different broadcasts.
Jeff Kaye, Dan Neaverth, Stan Roberts and the K-Big DJs added gasoline to the “Paul is dead” fire with “Paul McCartney is alive and Well… Maybe?”
Jim McLaughlin introduces Halloween 1973, and reminds you…Don’t turn around.
Dan Neaverth narrates People… places… things.
Jeff Kaye narrates with the KB Players in The Darkness.
Dan Neaverth narrates The Bed.
Jeff Kaye narrates with the KB Players in The Monkey’s Paw.
Jim McLaughlin narrates Vampires.
War of the Worlds 1968: The original broadcast featuring an intro by Dan Neaverth, Joe Downey-KB Radio News, and Sandy Beach- KB Radio Music.
War of the Worlds 1971: The broadcast featuring an intro by Jeff Kaye, Joe Downey-KB Radio News, and Jack Armstrong- KB Radio Music.
War of the Worlds 1973: The broadcast featuring an intro by Jim McLaughlin, Ron Baskin-KB Radio News, and Shane!- KB Radio Music.
Read the coverage of the scare created by the 1968 and 1971 broadcasts from the Associated Press, as printed in the Lockport Union Sun-Journal.
BUFFALO, NY – For me, hearing the name ‘Stan Jasinski’ conjures up images of my grandfather, sitting on his South Buffalo porch listening to cassette tapes of polka radio shows he had taped the previous weekend. Ed “Edziu” Cichon would sit out there, looking at the comings and goings on Seneca Street with a serene smile on his face, enjoying the music, his grandkids, and life in general.
It was a great break for Gramps, from his numerous jobs- from tinsmith at Buffalo Color and National Aniline, to ticket taker for the Bills and Sabres, to bet taker at Buffalo Raceway.
For most of my generation, I would imagine thoughts of Stan Jasinski beckon thoughts of grandparents, and this is true for Edmund Haremski as well.
His family owned Lucki-Urban Furniture, sponsors of Jasinski’s broadcasts from the 50s-90s. He remembers playing the two transcription records from which these audio clips came in his grandma’s basement as a little guy.
The half hour program was recorded on these transcription records, sometime before Christmas Day 1954, for playback on that date. The program is completely on Polish, save the opening and closing voiceover by an WKBW staff announcer, perhaps Larry Brownell.
For those who remember listening to Jasinski near the end of his broadcast career as I do, his cadence and voice is amazingly consistent, sounding virtually identical, and very much recognizable, 40 years earlier.
You’ll hear Stan speaking between the songs, and if you’re like me– with a very limited understanding of Polish– The only words you’ll understand are a few numbers, and the words “Lucki-Urban’ and “Stromberg-Carlson,” the latter being a manufacturer of some of the finest radios of that era.
You’ll also hear ‘Stas’ singing along with the Paderewski Singing Society, working Lucki-Urban into Polish Christmas carols, including a Polish version of Jingle Bells.
Pada Snieg-– Polish Jingle Bells.
Stan Jasinski’s Complete Christmas 1954 broadcast on WKBW Radio, with the Paderewski Singing Society.