
Click here to see the website in all its readably-sized glory!
"Echo was one of the first to challenge the predominantly 'cultural' approach of the majority of mid to late 70's DJs, and his influence on the upcoming DJs who made it big in the 80s was profound. He was one of the first DJs to be heard and fully appreciated on yard tapes as he tore up Jamaica on his own Echo Tone Hi-Fi set (he initially made a name for himself by chatting for the Gemini, Stereophonic and Ray Symbolic Sound Systems) and his preference for slack lyrics, particularly his timing and tone of voice, were very popular and widely imitated. Echo felt no compunction about stopping the music altogether if the vibes were right in order to tell a joke or two - a facet which endeared him even more to his followers."On November 22, 1980 the Kingston police force stopped a car General Echo was riding in and opened fire, killing him and two of his Echo Tone Hi-Fi crew. The cops never offered a decent explanation of why the shooting occurred but because of their, if you'll excuse my language for a word, fucking itchy trigger fingers the world was robbed of a talent who hadn't even begun to fully flourish.
Shock Theatre debuted in September of 1957 with Zach appearing as Roland, a crazy character who lived in a crypt. Charlie Vanda, the president of WCAU came up with the name and as Zach is quick to point out, the accent was on the second syllable -- Ro-LAND. Roland had an assistant named Igor, and his wife lived in a coffin. The wife was referred to as "my dear" and occasionally Roland would make her day with a well-placed thrust of a wooden stake. (The stake was actually driven into a bucket of dirt). Other times he would join her in the coffin while watching the evening's film with the audience. Another character was Gasport, Roland's son who hung formlessly from the wall in a burlap bag and moaned...
Roland opened each program by walking down the staircase and then reciting some little bits of info in a ghoulish voice. People who were regular Roland followers have said that Zacherle's performance at WCAU was usually more gory than broadcasts on WABC or WOR. For example, he would occasionally carry a basket down the stairs with him and reveal to the viewers that it contained a severed head complete dripping blood, which was actually, chocolate syrup.
...Originally, the program was aired in the 11:15 late night movie slot on Monday and Tuesday. However, the show was popular not only among adults but among children as well. Therefore, the program was moved to Friday and Saturday and Roland's popularity increased in leaps and bounds. At one point, there were in excess of 800 Roland Fan clubs in Philadelphia and kids could be spotted all over the city wearing large black buttons that said "Roland" or "l like Igor." Zach was even the subject of a feature article in the August 16, 1958, issue of Saturday Evening Post called "T.V.'s Midnight Madness."
... One of the more famous incidents at WCAU was the open house held at the studio, so that, all of Roland's fans could meet their hero. The executives at the station expected 1200-1300 people but realized that as many as 2,000 might show up. In actuality, 14,000 people showed up, stopping traffic throughout Philadelphia and damaging the WCAU facility. Needless to say, WCAU executives vowed to never hold another!"
"...the floor was concrete and the ceiling Gypsum. There were no (sound) acoustic rooms. We rehearsed and recorded in a section of the store at nights, after the store was closed.
I discovered Everard Williams and Alert Bedasse in 1955 after they recorded Night Food, I invited them along with their small Quintet to record exclusively for me. I then changed the name from Calypso Quintet to Chin's Calypso Sextet.
My recording machine used a cutting needle to cut groves into 78 RPM 10 inch vinyl resin discs. at that time 45s and LPs were not yet invented. The microphones I used were the large old ribbon types, RCA and Shure, they were very good, in those days there were no cassette, reel to reel, or eight track recorders, ceramic or crystal microphones, available in Jamaica. We were just leaving the gramophone behind, to play a 78 record in those early days on a Gramophone, you had to wind it up with a crank handle, then put a heavy metal head with a steel needle, which you put into it, on to the record.
The band consisted of a rumba box a bamboo saxophone, a Bamboo Flute a Banjo, a guitar, a floor bass guitar with four strings, a maracas and two heavy sticks called clave, which they knock together. All the instruments were made in Jamaica with local wood, bamboo and other things.
Bedasse was the song composer and singer, Williams was the lyrics composer, Williams also played the maracas and sticks as extra duty in the band, the saxophone player played the bamboo sax, and the bamboo flute, Bedasse played his guitar.
Most of my records were sent to Decca in England for mastering and pressing, some were done by the late Ken Khouri of the then Federal Records Ltd., some of my records went to Melodisc and marketed through Kalypso."