Ladies and Gentlemen, Keith's Kollectables proudly presents one of the rarest radio shows in the world and available only and exclusively through our store, the largest radio show store in the world.  Why is it so rare?  It is a fascinating story about a fabled radio station you probably never heard of and a DJ who was one of the pioneers of the Boss Jock sound that was so prominent in the 60's, starting in Los Angeles,  and spreading all over the country but perhaps most importantly (outside of LA) in Portland,Oregon.  It was there where an ambitious owner of a string of small  radio stations, took a huge gamble and created  KISN-AM. ('Kissin' Radio) coming alive with a blockbuster staff led by Dave "Records' Stone.  This series was Stone's loving remembrance of those landmark years of Boss Radio on KISN-AM.  He was able to keep it going for a year's worth of weekly one hour episodes before coming to the reality that in the age of huge radio networks like Westwood One, United Stations Radio Networks, CBS Radio, NBC Radio, RKO Radio, Jones Radio, and others flooded the market with shows carried on hundreds of stations across the the country and the world.  That would be an absolute tragedy to rock music lovers then and now because his on air demeanor, use of fun jingles, high energy, and extensive knowledge of everything rock 'n roll.  To be sadly but truthfully honest, Dave 'Records' Stone ranks above the best known djs in history including Dick Clark, Dick Bartley, Casey Kasem, Rick Dees and all the others, none of whom I am disparaging because I love them all.
Here is the story of THE MAN and HIS KISN-AM
The backstory of Dave "Records" Stone highlights how local radio personnel used stage names, as his real name is Dave Rogoway. Unlike many high-profile "Boss Jocks" of the 1960s and 70s who traveled from city to city across the country, Rogoway's roots and career were deeply tied to the local Portland, Oregon community. [1, 2]
Before he was ever a prominent voice on the radio, the Rogoway family was well-known in the Pacific Northwest for an entirely different industry: fine jewelry.
Rogoway balanced a fascinating dual career throughout his life. By day, he worked as a local Portland jeweler. By night, his absolute obsession with rock 'n' roll, rhythm and blues, and collecting physical 45 RPM vinyl records drew him into the world of broadcast media. 
Becoming a "Good Guy" at KISN
His on-air persona, Dave "Records" Stone, was born out of his reputation as an encyclopedia of music. He possessed a massive personal record collection and an uncanny ability to identify obscure B-sides and forgotten hits. 
When he joined the lineup at KISN 910 AM, the station was in its prime as a fast-talking Top 40 powerhouse. Station owner Don Burden had modeled the station's presentation after the high-energy "Boss Jock" formats pioneered in California. To maintain an elite on-air presentation, the DJs were branded as the "KISN Good Guys." 
Rogoway carved out his niche under his "Stone" moniker by serving as the ultimate music purist of the staff. Instead of just playing the standard rotation of top hits, he frequently championed the history of early rock and roll. Because his style was built around deep musical curation, he earned the middle name "Records." He became a stable, beloved mainstay at the station, contrasting with the high turnover of corporate radio and cementing his role as the legendary voice trusted to send the station off the air during its final hours in 1976. 
The lineup of "KISN Good Guys" at 910 AM featured some of the most dynamic, colorful, and influential personalities in radio history. Station owner Don Burden designed a high-octane environment where the DJs weren't just playing records—they were public spectacles, broadcasting live behind a giant glass window at the famous "KISN Corner" on 10th and West Burnside in downtown Portland. 
Several of the most notable KISN Good Guys who left an indelible mark on the Boss Radio era include:
'The World-Famous Tom Murphy'
Usually handling the high-energy evening shifts, Tom Murphy was legendary for his rapid-fire delivery, wild stunts, and massive popularity with local teenagers. He famously engaged in on-air battles and friendly rivalries with fellow DJs. His success at KISN propelled him to major-market success later in his career, including prominent stints at powerhouse stations like WCFL in Chicago and KFI in Los Angeles
"The Real" Don Steele
Before he became a defining voice of the legendary "Boss Radio" era at KHJ in Los Angeles and a national icon of Top 40 radio, Don Steele sharpened his high-energy, fast-talking style as a KISN Good Guy in the early 1960s. He was known for his relentless pacing and wild public appearances. 
While at the station in 1964, Steele famously “ran a presidential campaign from Portland's Steel Bridge wearing an Uncle Sam costume.”  You can find his legendary Boss Jock tribute shows in Keith's Kollectables under the title 'Live in the 60's with The Real Don Steele'

Pat Pattee
If Dave "Records" Stone was the voice of KISN's final hours, Pat Pattee was the undisputed voice of Portland's late nights. From 1962 until the station was forced off the air in 1976, Pattee ruled the all-night graveyard shift. 
Unlike the other Good Guys who rotated through the glass studios downtown, “All of his shows were broadcast from the transmitter” site, giving his show a distinct, slightly mysterious late-night counter-culture vibe that local night owls loved.

Roger Hart
Roger Hart was a wildly popular daytime DJ who parlayed his position at Portland's top rock 'n' roll station into a massive career in the music industry. While working at KISN, he discovered a local rock band performing at a teen club. 
Hart eventually “quit his radio gig to manage Paul Revere and the Raiders,”
helping guide them from a Pacific Northwest garage band into one of the biggest televised pop-rock acts of the 1960s
Ken Chase
Ken Chase was a powerhouse personality who simultaneously shaped the local music scene as both a broadcaster and an entrepreneur. He owned a popular local teen nightclub in Vancouver, Washington called The Chase. 
He is best remembered historically as the manager and producer for the club's house band, The Kingsmen.
Chase actually produced and recorded their legendary, raw 1963 version of "Louie Louie"—a track that KISN heavily spun, helping break it into a global rock 'n' roll anthem.
Other Famous Mainstays
  • Tom Michaels: A beloved KISN voice who went on to become a household name across the Pacific Northwest as the long-time television and radio commercial spokesman for the Fred Meyer chain of stores. 
  • Whitey Coker: One of the station's premier hard-nosed newsmen who zipped around the city in the dedicated "KISN News Cruiser" to report breaking local stories with dramatic flair. 
  • Willie Nelson: Though he wasn't a "Boss Jock" during the Top 40 rock era, a young, pre-fame Willie Nelson actually worked as a country music DJ at the frequency in the late 1950s when the station was still known by its original call sign, KVAN.
  • The history of KISN 910 AM is one of the most dramatic stories in American broadcasting. It evolved from a modest local outfit into a multi-million-dollar Top 40 empire before suffering a sudden, permanent shutdown by the federal government.
  • 1. The KVAN Era (1939–1959)
    The station originally went on the air in 1939 as KVAN, licensed to Vancouver, Washington, and owned by Sheldon F. Sackett. It began as a tiny 250-watt daytimer broadcasting on 880 kHz before shifting to 910 kHz during a national frequency realignment in 1941. 
    By the late 1940s, KVAN grew into a full-time, 1,000-watt station. Throughout the early 1950s, its format was dedicated to country and western music (then widely referred to as "western music"). KVAN's greatest claim to fame during this period was employing a young, pre-fame Willie Nelson as a disc jockey. While spinning records at KVAN, Nelson even financed and recorded his very first musical single, "No Place For Me". 
    2. The Birth of KISN and the "Revolution" (1959)
    By 1958, Sackett was looking to exit radio to focus purely on the newspaper business. He sold KVAN to a relentless, aggressive radio entrepreneur named Don W. Burden (head of Star Stations) for $580,000. 
    Burden wanted to bring the high-octane Top 40 format exploding in California to the Pacific Northwest, and he orchestrated a brilliant marketing stunt to pull it off. On April 30, 1959, KVAN abruptly stopped its regular programming and began playing a single song—"Teen Age Bill of Rights" by Robby John & The Seven-Teens—on a continuous loop for 24 straight hours. Between airings of the "terrible music," a voice repeatedly asked listeners, "Do you want a revolution?" 
    At midnight on May 1, 1959, control officially transferred to Burden. The station flipped to a fast-paced rock 'n' roll format, backed by a massive $40,000 advertising blitz, and the call letters officially changed to KISN (pronounced “Kissin’”). 
    3. The Glory Days and "KISN Corner" (1960s–Early 1970s)
    KISN rapidly became a cultural phenomenon, dominating the local airwaves as the #1 rated radio station in the Portland market. 
    To maximize public visibility, Burden moved the primary broadcast studios across the Columbia River into downtown Portland on November 28, 1959. He established the iconic "KISN Corner" at 10th and West Burnside. The studio featured massive street-level glass windows. Passersby on the sidewalk could stand inches away from the "KISN Good Guys" while they danced, shouted, and spun 45 RPM records live on the air. 
    However, this move sparked KISN's first major battle with the Federal Communications Commission (FCC). Because the station was legally licensed to Vancouver, Washington, it was required by law to serve and identify its primary location. KISN routinely tried to hide its Vancouver roots to masquerade as a pure Portland station. They would deceptively announce things like "Portland weather on the 20s... and Vancouver weather at the top of the hour," which resulted in a major $2,000 FCC fine in 1962. 
    4. Skulduggery and Political Scandals
    The beginning of the end for KISN kicked off in May 1966 due to a bitter local radio war. A rival station, KGAR, opened its own street-level window studio directly across the street from the KISN Corner. To Burden's horror, KISN’s star morning DJ, Paul Oscar Anderson, abruptly quit his show and walked across the street to spin records for the rival station instead.
    Burden immediately sued Anderson for violating a non-compete clause. In retaliation, an angry Anderson went straight to the FCC and blew the whistle on Burden's corporate practices. Anderson revealed that Burden was actively using KISN's newsroom and airwaves to illegally manipulate and fix local political campaigns—specifically favoring Mark Hatfield's 1966 run for the U.S. Senate. 
    The FCC launched a massive investigation that expanded to Burden's other stations across the country (including KOIL in Omaha and WIFE in Indianapolis). They uncovered a pattern of illegal corporate campaign contributions, slanted news coverage, and widespread regulatory non-compliance. 
    5. The Fatal Blow (September 1, 1976)
    After a grueling, decade-long legal battle in federal courts, the FCC delivered the ultimate corporate death penalty: they completely refused to renew the broadcast licenses for all of Star Stations' properties. 
    On September 1, 1976, the final appeals were officially rejected. To avoid massive media spectacles and crowds gathering at the Burnside street windows, the FCC forced KISN to spend its final hours broadcasting directly from its isolated transmitter site on NE 158th Avenue.
    As noted previously, Dave "Records" Stone anchored the microphone for the final broadcast. Just after midnight on September 2, 1976, he read the final sign-off message. A brief clip of Diana Ross & The Supremes' "Someday We'll Be Together" cut through the speakers, and the transmitter was shut down permanently, ending 37 years of local broadcast history on the 910 AM frequency. 
Dave currently is active in preserving local music and broadcasting history online. He frequently contributes to regional Pacific Northwest history forums and radio appreciation groups, and he archives vintage photographs, memorabilia, and broadcast stories from the golden era of Portland radio. 
While he is no longer doing a regular live terrestrial broadcast, his work as a music historian and local archivist continues to keep the memory of the "KISN Good Guys" alive for generations of radio fans. 
Dave "Records" Stone is directly responsible for the spark that created the new KISN-LP 95.1 FM station. 
While day-to-day operations of the current physical low-power FM broadcast are handled by a dedicated team of tech producers and archivists, the new station essentially exists because of Stone's digital blueprint. 
⚡ The Blueprint: GoodGuyRadio.com
In 2010, Dave Stone and a small nucleus of trusted companions—including "Dirty Dave the Record Slave" and technician Scott Young—officially launched an ambitious internet stream at GoodGuyRadio.com.
“The new KISN featured the voices of some of the original station's more popular personalities,”
and utilized Dirty Dave’s monstrous music library to simulate the non-stop, fast-paced aura of the 1960s Top 40 format. 
📻 Passing the Torch to 95.1 FM
Stone ran that online stream for over two years. When the technical overhead and music licensing costs eventually forced the stream to shut down in August 2014, the team didn't want the momentum to die. 
Scott Young took the concept and “contacted Ken Seymour of the Western Oregon Radio Club (WORC) to explore opportunities for joining forces to resurrect KISN radio.”
The WORC had a brand-new FCC construction permit for a low-power FM dial at 95.1 FM. They took the playlist style, the historical assets, and the branding that Dave Stone had laid the groundwork for online and transferred them directly into the physical radio transmitter. 
Today, while Dave Stone enjoys retirement and contributes to history forums, his closest partners—specifically "Dirty Dave the Record Slave" acting as the program manager and music curator—keep KISN-LP 95.1 FM on the air, using the exact site name (goodguyradio.com) that Stone launched years ago.
Now you know why this show, which almost nobody heard of or remembers, is a show you need for your collection to treasure and keep for the ages.  It is a genuine rarity.
Here are specific details about the show.
Referencing Google AI,
"This show is a rare and valuable piece of radio history! The 2003 syndicated series  was officially titled "Forgotten Oldies" (also sometimes cataloged or distributed as the Dave "Records" Stone Forgotten Oldies Show). 
This show represents a fascinating, brief chapter where Dave Stone attempted to take the distinct curation style he perfected in the Pacific Northwest and export it to a national market.
Details regarding the production, style, and legacy of those 2003 shows include:
📻 The Genesis of the Show
By 2003, terrestrial "Oldies" radio stations across the United States had drastically narrowed their playlists. Major corporate syndicators were forcing stations to play only the safest, highest-testing top-40 hits from the 1960s and 70s.
Frustrated by this trend, Dave Stone, along with his production crew and "Dirty Dave the Record Slave," decided to bypass the corporate gatekeepers. They launched a weekly, self-syndicated show aimed at reclaiming the airwaves for the “lost songs of rock.”
🎶 Format and Curation
Instead of spinning the same rotation of The Beatles, The Beach Boys, or Motown A-sides, the core chemistry of the show was unearthing "forgotten 45s"—genuine chart hits that had completely disappeared from modern radio rotation.
A typical episode  features:
  • Deep Cuts & B-Sides: The playlist prioritized songs that had short shelf-lives on the national charts but retained deep nostalgic value. 
  • Historical Trivia: True to his "Records" moniker, Dave Stone filled the breaks with deep-dive context, encyclopedic artist background, and release details about obscure physical vinyl pressings.
  • Vintage Vibe: The program utilized the classic, upbeat pacing, audio compression, and jingle packages reminiscent of the original KISN Top 40 "Boss Jock" era.
📉 The Realities of Independent Syndication
Launching a national radio show independently is highly risky, as “syndication venture is difficult and risky and usually was done through the biggest national players like United Stations or Westwood One.”
Because Stone and his small crew did not have the massive corporate infrastructure, marketing budgets, or sales teams of those major networks, they had to pitch the show station-by-station. They successfully cleared the show on about 15 to 20 stations at its peak. 
While it was highly praised by vinyl collectors and radio purists for playing music no other syndicated program would touch, the sheer logistical overhead and lack of national advertising revenue became unsustainable. After exactly one year of production, Dave Stone pulled the plug on the venture. 
💿 The Rarity of The Collection
Because the show only ran for a year and bypassed major networks, very few physical masters or digital copies survived. Most of the stations that aired the show either threw away the distribution discs or recorded over the cds once production ceased. This collection is a preserved time capsule of an elite music historian doing what he loved most.
The fact that  these  are on original broadcast CDs makes the collection incredibly special. In the early 2000s, syndicated radio shows were typically mailed out to affiliate stations on weekly compact discs, complete with printed cue sheets that told the local board operators exactly when to insert local commercials.
Because most radio stations threw these away or recycled the jewel cases after airing them, a complete or large set of these physical CDs is an extremely rare archival treasure for radio history.
Given that this is listed on September 1, 2026—exactly 50 years to the day since Dave "Records" Stone signed off the original KISN-AM airwaves in 1976—it is an incredible time to preserve this part of his legacy
This collection is the holy grail for a collector! Having the official office copies paired perfectly with the original cue sheets means it isn't just a piece of radio broadcast history, it is the master blueprint of that entire syndication run."