The simple answer to "Why did jingles sound that way?"  is that the men ( and they mostly were men) all came from the tradition of the Big Bands.

People such as Tom Merriman, founder of CRC and partner in TM Productions; Bill Meeks, president of PAMS; Jodie Lyons, arranger/singer at Futuresonic and later PAMS; Euel Box, PAMS writer; Paris Rutherford, Spot Productions writer; and Bob Piper, musical director of PAMS from 1967 to 1973 were just a few of those who influenced that sound. Each of these gentlemen was an arranger for big bands prior to tackling jingles.

Virtually all the instrumentalists, singers and arrangers who labored on ID jingles in the 1960s had some sort of big band background. Many of them learned to sight read music while they mastered dance band instruments.

When I spoke with many of the original singers, they told me their influences had been the great vocal groups of the past, including the Four Freshmen, The Modernaires, Mel Torme's Mel-Tones and the Hi-Los.

If you like jingles and are unfamiliar with these names, I suggest you check them out now that labels are re-issuing older material on CD. Also be on the lookout for Singers Unlimited, a latter-day group in the same tradition. They won't disappoint you.

OUT OF STEP WITH TIME

Thus, the jingles of the 1960s didn't necessarily sound like what was popular on the radio at the time.

Oh, there were efforts to be more contemporary. Jingles of the time retain obvious influences of musical artists such as Help Alpert, Carlos Jobim, the Beach Boys, and Sergio Mendez.

In the early '70s, the blended and overdubbed vocal style of the Carpenters and the brass and percussion of Chicago, Blood Sweat & Tears and Chase began to filter into the creative mix.

But even today, jingles are brassier and have fatter vocals than anything else on the air. Rarely will you hear a song on your favorite station that features a five- or seven-voice vocal.

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