WPOP may well have used jingles prior to those listed. The following is an attempt to document as thoroughly as possible WPOP's known packages.

PAMS Series #14 - WPOP was a dedicated customer of PAMS of Dallas through most of its music years. This package, recorded August 17, 1960, was called Dramatic Signatures and featured cuts ranging from 5 to 33 seconds in length. Almost a third had instrumental intros leading to the vocal and reflected the station's on-air imaging, POP Radio. The master recording was a two-track; one track contained the instrumental and one vocal layer, the second track contained additional vocals.

Futuresonic - The origins of this package are unclear. It is believed to be produced by Futuresonic, a well-known early 60s jingle company. Many of the cuts are lengthy and most contain instrumental beds for DJ talkovers. The lyrics refer to the Magic 41 sheet, which was what WPOP called its weekly music surveys in 1962-63. Another cut refers to the Good Guys. Given the following two dated packages from 1962, and the fact that no airchecks have been found to indicate these ever aired, it is possible that the package was recorded as a demo.

PAMS Series #16 - Called Sound of the City, this package employed new on-air imaging: Wonderful WPOP. Several cuts featured alternate lyrics recorded on the same music bed. The original session sheet indicates the cuts were recorded from March 2-5, 1962 on a two-track master. Many stations chose a full-length song option called My Hometown, but WPOP didn't.

PAMS Series #17 - The theme for this package was New Frontiers and was recorded March 12-April 10, 1962. Like Series #16, the lyrics reflected the Wonderful WPOP imaging and included several lengthy cuts including the first two samples. Like most jingle packages of the era there were many instrumental beds interspersed with sung lyrics to allow DJs to talk over the jingle. The master was a 15 ips two-track.

WPOP News intro recorded in-house on January 20, 1963.

PAMS Series #25B - Recorded in September, 1963, the Happy Difference package featured numerous cuts sung by Carol and Lauri, two young twin sisters. At this point the station was known as 1410 the NEW WPOP. The package included half a dozen instrumentals and customized jock intros for Lou Terri, Joel Cash, Bill Hughes, Jim Simpson, Doug China and Tom Allen. It also had a customized jingle for the syndicated Mad Daddy show. There was a variation, Series #25D, called Cheerleaders, featuring high school fight songs but WPOP didn't buy it.

In 1964 the station was using a "leftover" jingle package that featured various times of the day; the producer is unknown.

Here is another unknown cut from November 1964 that sings "the Happy Home of the Swinging Good Guys" without call letters.

Mark Century Corporation - The Encore package was produced by a New York City syndication company. This example comes at the end of the Lou Terri clip in April 1964. It sounds suspiciously like the next package...

Purcell Productions - This 1964 package was identified by good friend Norman Barrington who provided the MP3 file; the package was called the Sound of Things To Come. Hear an example from the Lou Terri show. Little is known about Purcell and the package apparently saw limited use.

PAMS Series #18 - The exact date of WPOP's Sonosational package is unknown but airchecks suggest it was recorded in late 1964 or early 1965. It was originally recorded in 1961 for KFWB Los Angeles and introduced an electronic device called Sonovox. It was held against a singer's vocal chords to produce an unusual effect. This was a very widely-distributed package around the country. What is unique is that WPOP had two versions done featuring different musical logos. These samples compare several cuts; the first of each sample is slightly brighter indicating different equalization was used at the two sessions. There are jock sings for Johnny Gilbert, Dick Stephens, Lou Terri, Ken Griffin, Jonathon Dark, Gary Girard, Roy Cooper, Lee Sherwood and Fenway. While there was a well-known Miami jock named Lee Sherwood, he never worked at POP and this cut was probably just a station name; Fenway is a name Tom Shovan used at WMEX Boston. Several Hartford-area town names were also sung as well as a Spanish-language cut called Ole.

PAMS Series #28 - Program director Art Wander supervised the recording of the Happiness package on July 8, 1965. The vocal sound was very similar to Series #18 and focused on Good Guys and the More Music image WPOP was projecting. A unique feature of the package was a 40-second soul-flavored cut with a male vocal. No customized jock cuts were done suggesting that WPOP simultaneously used Series #28 and 18.

PAMS Series #30 - The exact recording dates are unclear but airchecks suggest The 'N Set was done for WPOP in late 1965 or early 1966. Heavy on Sonovox, the theme of the package revolved around What's New Pussycat, a smash hit by Tom Jones. It also contained a take on another hit song, The In Crowd, by the Ramsey Lewis Trio. PAMS crafted The Gold Pussycats, the all-female vocal group who sang the package. WPOP's version contained two customized jingles for deejays: Lou Terri, Kilroy, George Brewer, Stan Douglas, Gary Girard, Lee Barry (a house name) and Dick Stephens. Terri also had a pair of mellow cuts reflecting his midday status as the darling of the housewife set. The station master tape contained no cuts for Ken Griffin. But the last cut on the PAMS reference reel is a custom acapella for Ken. Either he was forgotten the first time around, or a special session was recorded sometime after the full package and it was dubbed onto the end of the reel. Most stations that bought Series #30 got a cut in Spanish but WPOPalso recorded the lyrics in German and Polish for the listeners in New Britsky.

PAMS Series #31 - This series was recorded in mid 1966. Comparing WPOP's version with the original demo for KLIF Dallas/KONO San Antonio would convince you they were two different products. The package was called Music Explosion and the demo had all-male vocals with lots of acapella cuts which could be laid over the beginning and end of songs. The samples here were sung by both male and female singers and had a logo totally unlike the demo. Only the two orchestrated cuts (heard first and last) tell you this is Series #31. Custom acapellas were sung for Bill Bland, George Brewer, Ken Griffin, Lou Terri and John Sherman; the session notes indicate a cut was sung for Jim Meeker but it is neither on the station copy or the PAMS reference copy.

Pepper #7914 - By 1966 stations were abandoning traditional long, orchestrated jingles in favor of short acapellas. Following the trend WPOP bought this package from Memphis-based Pepper Tanner. Many of the cuts keyed on W-(pop)-POP and featured a radical logo departure from the PAMS packages. The master tape appears to be lost but those samples which have survived are truly awful. They were aired from September 1966 through the summer of 1967.

Johnny Mann Singers - WPOP's jingle imaging progressed toward the short, acapella sound popular in the late 1960s. Hoping for the same success achieved by the Bill Drake-consulted RKO-General stations (KHJ Los Angeles, KFRC San Francisco, KYNO Fresno, KGB San Diego), WPOP opted for the distinctive sound of the Johnny Mann Singers. Recorded August 10, 1967 at United Recording Corp. in Hollywood, WPOP's package actually hit the air before either of RKO-General's WRKO Boston or WOR FM New York. The package included an unidentified studio voice doing spoken show intros for Gary Girard, Woody Roberts, Bill Bland, Bill Winters, Danny Clayton, Dick Heatherton, Terry McKay, Rusty Potz and Peter Starr (a station name); there were no sung jock acapellas. Some additional cuts were sung on October 3, 1968; those featured here are a composite of the two.

Al Anderson & The Wildweeds - GO Magazine reported in the March 8, 1968 edition that WPOP's new instrumental news open had been recorded by the popular group; read the article.

PAMS Custom Grid - Program director Danny Clayton was at the helm when WPOP returned to Dallas in August, 1969 for a PAMS Custom Grid. Retaining the musical logo from the Johnny Mann package, the grid featured a male/female vocal blend and was structured so numerous acapella cuts could be mixed with brassy instrumental beds. The basic theme of the package was When A Station Turns You On and there were acapella jock sings for John Scott, Bobby Branigan (mistakenly sung as Boom-Boom Branigan), The Big Kahuna, Woody Robinson (another error...it should have been Woody Roberts), Allen King, Mike Greene, Bill Love, Bill Winters, Danny Clayton and Jack Armstrong. A brass show intro was supplied and an unidentified talent (possibly Chuck Dunaway) was hired to voice spoken show intros and special features.

PAMS Custom Grid/moog - To freshen the 1969 Grid, additional cuts were recorded in two sessions, one in January and the other in April of 1970. Few of these cuts aired. They featured a moog synthesizer and the previous acapella cuts as an alternative to the normal instrumental beds. Revolutionary then, the electronics seem trite now. The April session included sung acapellas for the new morning team of Morton & Love, Tom Jones, Bobby Rivers, Ray Dunaway and Chip Hobart. These samples are a composite.

TM Phase II/Sound 70 Mix - On December 11, 1970, another Dallas jingle house recorded WPOP's version of Phase II/Sound 70. This was another grid concept with basic instrumentals mixed with a multitude of vocal cuts (each in three tempos), many of which were never used on the air. Jock cuts were recorded for Bill Love, Tom Jones, St. James, Bobby Rivers, Judge Harrigan and Frank Holler. There were three versions of each mixed with a vocal WPOP Hartford tag in fast, medium or slow tempo to match the flow of the next song. The package had a dramatic drum staging, for show open use, mixed with the three-tempo vocal tags.

TM Jock Sings - In August, 1971 WPOP returned to TM for two sung jock cuts to reflect the addition of Ric O'Connor and Bill Coffey to the staff.

TM Phase III - TM Productions produced a followup to Phase II employing the same vocal logo and a new grid. Again, WPOP received far more cuts than were actually aired, all sung in three tempos. The package was recorded in Dallas in February, 1972. This package included sung jock shouts over a staging bed for Sunny Shores, Lance Christian, Bill Coffey, Judge Harrigan and Ric O'Connor. Each deejay also had a customized jingle over a different musical bed. There was also a sung jingle with a show open bed for Ed Clancy's Women's Glib.

TM Lambert Sings - Sometime after T.J. Lambert joined the staff in June, 1972, TM recorded these custom acapellas.

PAMS Philadelphia Story - Also known as P.S. 73, this package was extremely popular around the country and debuted on WFIL Philadelphia. Recorded in August, 1973, WPOP's version reflected The Music Revolution on-air imaging. Jock shouts were recorded for Judge Harrigan, Bill Colman, Chuck Bennett, T.J. Lambert, Ric O'Connor, Brother Jack (Carney), Chris Kelly, Dale Denver, Tom Collins, Jerry Stone and Bobby Brooks; it is believed Kelly and Stone were station names and no one using those names ever appeared on the air. Under program director Dick Springfield the only version of these cuts that aired near WPOP's musical end were very short cuts with hard drum stabs.

PAMS jock shouts - These acapellas were the last WPOP jingles produced before the station went all-news in June, 1975. They were recorded February 22, 1974 for Jeff Henderson, the Greaseman and Lee Gordon.