Drake-Chenault Enterprises (originally American Independent Radio Inc.) was a radio syndication company that specialized in automation on FM radio stations. The company was founded in the late-1960s by radio programmer and deejay Bill Drake (1937–2008), and his business partner, Lester Eugene Chenault (1919–2010). Drake-Chenault was the predecessor of Jones Radio Networks with its syndicated satellite-delivered formats.

In the 1940s and 1950s, FM radio stations began to appear all over the US, generally alongside a sister AM station. Most stations held their FM license by simulcasting the programming of the AM sister station.

In the 1960s the FCC introduced a rule that prohibited owners of AM and FM stations from simulcasting in an attempt to increase variety of programming and generate FM listenership. The FM audience share at that time was very small. Since the AM and FM stations aired the same programming, there was little reason to listen to FM. The rule targeted major markets first and had a "roll-out" period of several years with a smaller percentage of simulcasting allowed each year and smaller markets coming under the rule.

When station operators chose what format to air on the FM stations, one of the objectives was not to compete with the AM station. During this time AM stations could target big audiences so stations could be categorized with broad definitions such as MOR, top 40 and country/western. So "counter-programming" the FM was simple. A broadcaster with a youth-targeted Top 40 AM station would likely target an older demographic on the sister FM, or vice versa if the AM was an older-targeted MOR station. Nearly every large market had a "progressive rock" album station, a forerunner to AOR, and a "beautiful" music station. Both approaches had some early success. The baby boomers gravitated to the better audio quality, fewer commercials and "hipness" of the free-form rock stations. Older FM listeners embraced the lush sounds and fewer commercials of beautiful music stations. Many offices and retail stores used the "beautiful" stations as free background music.

The station operators also wanted to be able to run the FM stations inexpensively. There wasn't the revenue from FM to support a "live" presentation with another staff of announcers. The result was the birth of automated equipment and the pre-recorded, syndicated format business.

The automation systems usually consisted of 3 or 4 reel-to-reel tape decks, playing 10.5" or 14" reels containing the music, and several tape cartridge decks for commercials, weather, promos (promotional announcements), etc. The early systems were "pre-computer" and simply sequenced pre-selected events that were triggered by an inaudible tone. Depending on the automation supplier and the quantity of tape decks, a system would cost $18,000-$30,000.

The early syndication format suppliers included Bonneville, Schulke, Triangle, IGM, TM, Drake-Chenault and others. Drake-Chenault (D-C) entered the business only to record music on tape for the RKO FM stations. D-C was a consultant for the RKO chain on the AM side and the aforementioned FCC rule was impacting the RKO FM stations. Music tapes were recorded at Gene Chenault's KYNO in Fresno, located on Barton Avenue. Under the name of Barton Industries in the late 60's, format syndication was born. The first format was Hitparade which aired on KHJ-FM in Los Angeles.

In the early 70s with AM and FM stations in all market sizes coming under the FCC rule and following the large market model, Drake-Chenault entered the radio syndication business in earnest, making taped formats available to non-RKO stations. Drake-Chenault syndication established a studio at 8399 Topanga Canyon Blvd. in Canoga Park, CA. Among the early format offerings were Classic Gold, created for KHJ-FM (which became KRTH), Solid Gold, Hitparade and Great American Country. The original 48-hour History of Rock and Roll, which had been created for KHJ, was made available nationwide, and was followed by other syndicated "special" programs.