USA Radio Museum – Where Radio History Lives On

A USA RADIO MUSEUM PRESENTATION: WMCA, GARY STEVENS, BACK ON THE RADIO! APRIL 1965

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USARM Note: The featured aircheck was Gary Steven’s very first show on WMCA, Wednesday, April 8, 1965.

Gary Stevens was one of the popular “Good Guys” on WMCA in New York City during the 1960s. He joined WMCA in April 1965 after leaving Detroit’s WKNR (Keener 13). Gary was known for his engaging personality and his 7-11 PM shift, where he played hit music and interacted with listeners. He was part of the team that made WMCA one of the top-rated radio stations in New York City during that era from the time of his arrival there, through the station’s formidable Top 40 years WMCA were still tops with teen listenership in 1965, 1966 and 1967.

When Gary Stevens joined WMCA in April of 1965, the station was already well-known for its “Good Guys” format. WMCA had established itself as one of New York City’s top radio stations, playing a tight rotation of the most popular songs of the day. The station was famous for its team approach, where all the DJs worked together to promote the music, the station, and the excitement of the era.

The “Good Guys” lineup at the time included Joe O’Brien, Harry Harrison, Jack Spector, Dan Daniel, B. Mitchel Reed, and Johnny Dark. Gary Stevens joined this team and quickly became a beloved part of the station.

WMCA was known for its energetic and engaging DJs, and it played a significant role in popularizing the Beatles in New York City (along with competitor WINS and Murray the K). WMCA’s Good Guys were also featured at both of the Beatles’ concerts at Shea Stadium on August 15, 1965, and August 23, 1966. The station was also a fierce competitor with Top 40 WABC, and it consistently ranked as one of the top-rated stations in the city during the mid-1960s.

Gary Stevens’ last show on WMCA was on September 18, 1968. After leaving WMCA, Gary Stevens (and his wife) moved to Europe, where he worked in radio in Sweden for a couple of years before eventually transitioning into radio management and executive roles.

WMCA was a top 40 station from late 1960 until 1970. This era, especially from 1963 through 1965 when the legendary B. Mitchell Reed was there, those years was considered the station’s glory days, as it reached the baby boomer generation at their teenage peak and achieved high ratings.

In 1970, WMCA transitioned from its successful “Good Guys” top 40 format to a full-time talk radio format called ‘Dial-Log Radio.’ This shift marked the end of the “Good Guys” era, but the station continued to thrive with the new format. WMCA featured a variety of talk shows, including sports talk with Jack Spector, conservative talk with Bob Grant, and overnight talk with “Long John” Nebel.

In the 1980s, Gary Stevens became the President and CEO of Doubleday Broadcasting, a company he helped grow significantly. Under his leadership, Doubleday Broadcasting expanded its radio station portfolio, including the purchase of WLLZ-FM in Detroit, formerly the Christian/religous-formatted station, WBFG. Gary Stevens was instrumental in transforming WLLZ into a successful classic rock station, which became known as “Detroit’s Wheels.”

Gary Stevens’ career in radio management and executive roles showcased his ability to build and manage successful radio properties, having left a lasting impact on the broadcasting industry, at the time, while Doubleday Broadcasting was under his CEO directorship and control.

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NEW! A special THANK YOU to John Troll (owner of this Stevens WMCA aircheck) and Ted Smucker, of Cassopolis, MI., for both having contributing this fabulous, Gary Stevens, WMCA 1965 audio memory. We’ve added this aircheck to the USA Radio Museum’s aircheck repository.

AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.

FOUR TOPS SPIN MAGIC OVERSEAS IN U.K. . . . NOVEMBER 26, 1966

The 4 Tops Act Takes U.K. by Storm

LONDON — Motown’s Four Tops took London by storm, Sunday, January 13 (Note: actual date was November 13, according to Adam White, U.K. Motown historian), with a memorable one-night-only performance at Brian Epstein’s Saville Theater.

The group gave two sold-out concerts before an audience that included John Lennon, Mick Jagger, Donovan, Jane Asher, Eric Burdon, Georgie Fame, and EMI chief Sir Joseph Lockwood.

The fantastic reception the Four Tops were accorded should assure Epstein of boom box-office takings when the group undertakes a nationwide tour of Britain for him in January.

As the group’s stage debut marked the launching of the Saville — previously a legit theater — as a London showcase for pop talent. Following unsuccessful stage venues including Ron Moody’s musical “Joey, Joey,” Epstein has announced that he will concentrate on staging the world’s top pop talents at his West End venue.

In the words of Decca’s promoter Tony Hall, who hosted Sunday’s show, Epstein plans to turn it into the Apollo of Shaftesbury Avenue. Little Richard is expected to give a one-nighter there later this year, and Epstein has scheduled a Christmas show starring Georgie Fame and Julie Felex.

The concert acclaim for the Tops sets the seal on their British chart success with “Reach Out (I’ll Be There),” which has climax a magnificent 1966 for Tamla-Motown here during time it has had up to six and seven acts simultaneously in the top 50 — a fantastic achievement for a U.S. label.

The Four Tops, Brian Epstein, back-stage press conference at the Saville Theater, London, November 13, 1966.

The Four Tops included three good renditions of non-Motown songs in their act, the Beatles’ “Michelle,” Tom Jones’ hit, “It’s Not Unusual,” and a great workout set on stage with “If I Had A Hammer.” They ran a number associated with their sound, “Baby, I Need Your Lovin,” and had to give two performances of “Reach Out.” They left their audience clapping, singing, and very happy — shouting, demanding more.

The quartet was backed by Bob Miller’s big pop band. Also on the bill was one of Epstein’s most professional acts, Cliff Beznett and the Rebel Rousers, whose strong act included their Beatles-penned British hit, “Got To Get You Into My Life,” and an Australian group called the Easybeats, currently scoring here with “Friday On My Mind.” END

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Credit, information and news source: Billboard, November 26, 1966

USARM Note: This post was previously published and archived by Motor City Radio Flashbacks on January 27, 2012

The Four Tops greets Beatles’ manager Brian Epstein, Tops UK promoter, with Del-Shannon at the Royal Albert Hall in London.

CLASSIC USA RADIO JINGLES! ST. LOUIS MARKET: KXOK RADIO 630

Audio digitally remastered by USA Radio Museum

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The Series 29 “Go Go” jingle package by PAMS, Inc. was issued to many radio station across the country in 1965.

The Series 29 “Go Go” jingle package by PAMS, Inc. was quite popular and influential in the mid-1960s. Here are some key points:

1. The package featured an all-male group with high soprano vocals and fast-paced, energetic backgrounds. The style was very much in line with the “au go go” craze, which was sweeping both Europe and America at the time.

2. The lyrics were designed to be catchy and reflect the vibrant, upbeat nature of the “au go go” movement. They often included phrases like “Go-Go with [Station Name]” and “Radio Au Go-Go”.

3. This package was used by many radio stations to create a lively and modern image. It helped stations connect with the youth culture of the time and was a significant part of radio advertising in the 1960s.

As featured in this presentation, KXOK 630 AM in St. Louis used the Series 29 “Go Go” jingle package, as well. Their version was quite unique because, unlike the standard all-male group vocals, KXOK’s jingles featured a mix of male and female vocals. This gave their jingles a distinctive sound compared to other stations using the same package.

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A USA RADIO MUSEUM PRESENTATION: KXOK, RAY OTIS, BACK ON THE RADIO! NOVEMBER 1964

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KXOK was a prominent radio station in St. Louis in the early-1960s. KXOK was known for its Top 40 format and was especially popular among teens and young adults. The station featured many well-known radio personalities, including Ray Otis.

Ray Otis, who arrived from WKMH in Dearborn, MI., became the station’s program director in 1962 at just 24. Otis recalls how KXOK came to be a magical place. He joined a station that had been initially launched by manager Bud Connell, and his mission was to guide it through its next phase. “There was magic at KXOK like no other place I’ve seen,” Otis says. “Everything just fell together. The synergy was incredible.” The station’s home was a small grove of trees at 1600 North Kings Highway, which it affectionately named “Radio Park.”

When this aircheck was recorded, Ray Otis was heard weekdays on KXOK in St. Louis from 3 p.m. to 7 p.m.

According to the stlmediahistory.org website, KXOK was owned by Todd Storz, part of his network of AM stations known for their rock and roll formats. Thanks to station veteran Dick Ulett, we list an array of names that defined KXOK:

Mort Crowley, Danny Dark, Ron Riley, Peter Martin, Robert R. Lynn, Bob Shea, David D. Rogers, Dan Allison, Johnny Rabbitt, Don “Stinkey” Shafer, Richard Ward Fatherly, Nick Charles, Bruno J. Grunion, William A. Hopkins, Big Ears Bernard, Steven B. Stevens, Bobby Shannon, Delcia Corlew, Chickenman, News at 55, Radio Park, and the station’s slogan, “The station with the happy difference.”

The station’s building sat across from the old Parkmoor, housed in a converted old house with the studios added on. The house’s front room served as the reception area, and the rest was used for storage. Out front, facing Kingshighway, stood the green 3-foot-tall letters “KXOK,” a remnant from its previous location at the Star-Times Building downtown.

Ray Otis was at KXOK from 1962 to 1970, when he left for New York’s WNEW. Later in 1970, Otis returned back to Detroit for WCAR.

USARM Note: Most of the above information was provided by the St. Louis Media History website.

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NEW! A special THANK YOU to Mark Yurko, of Langhorne, PA., for this KXOK aircheck contribution for our USA Radio Museum repository. Featured here, we’ve archived this 1964 WXOK audio memory into our aircheck collection.

AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.

’60S RADIO JINGLES: RICHARD H. ULLMAN TOPS IN 1963 . . . APRIL 27, 1963

Peter Frank Is King Of The Jingle; Richard H. Ullman, Inc., Reps WKMH in Dearborn, MI.

HOLLYWOOD — One of the most perplexing problems facing radio station management is how to come up with and perpetuate a distinctive “sound”. . . one which will set his station apart from the others.

This problem is particularly acute in the multiple-station market where there are several stations programming the same type of music.

During the past decade radio stations have been mushrooming by the hundreds with no apparent slowdown — until the most recent FCC freeze.

The result of this uncontrolled “growth” to cite just a few examples are: Portland, Oregon — the 28th radio market with 11 metropolitan outlets, and Denver, Colorado — the 26th radio market with 16 AM metropolitan outlets.

The newcomers to a market were the first to implement their programming and promotion with jingles on a large scale. The custom-made jingle packages soon became “the thing” for the driving rock and roller seeking to make its niche with a Top 40 sound in their respective market.

Today, jingles are virtually being used by every radio station — no matter what the format or operation is to facilitate in attaining that all-elusive distinctive radio “sound. One of the people greatly responsible for the overall acceptance of radio jungles is Peter Frank, president of Richard H. Ullman, Inc., a “senior-statesman” of radio station services and musical sales messages in advertisement and commercials.

Richard H. Ullman, Inc., boasts providing the industry’s most complete service to stations and advertisers. Their “Ullmanac” of sound numbers 40 different packages ranging in price — according to type and market size — from $360 to $31,000.

The Ullman station services are categorized under four main packages: “Big Sound,” “Dimensional,” “Formatic,” and “SOP!” Offered within these four groups are production and programming aids such as “Calendar Girl,” 365 musical jingles giving the exact date, day and month with a musical pad for time and temperature — all personalized with the station’s call letters; “City Songs,” a salute to the station’s city or town with a specially written song, words and music included. Also made available is printed sheet music of the city song with the station’s call letters emblazoned thereon along with a 45 record — featuring an instrumental and vocal version — in a color sleeve with the lyrics printed on the back.

Even More

And there’s more: “The Exciters,” “Golden Era,” (a compilation of take-offs with emphasis drawn on the “big band” sound), “Happy Holidays,” “Hip” (top tunes intros, based on Billboard’s “Hot 100”), “Indelible ID’s,” . . . just to name a few.

Peter Frank’s organization has available a series of 15 personalized musical productions designed for the promotion of the “softer sell” broadcaster. Another series entitled “Velvet Touch” is programmed in stereo for FM-stereo band operations.

“You’ve got to keep ahead on the trends in this exciting business to be successful,” says Peter Frank.

Frank’s organization in Hollywood, Dallas and New York keeps ahead with a concept called “Telstar.” Of primary importance these days are the country and western formatted stations; Ullman also provides of their product in a C&W service package for them as well.

Among the many new services in the organization featured is Ullman’s acquisition of world-wide distribution rights to Gordon McLendon’s “The Old Scotsman’s Scrapbook,” a total of 316 five-minute vignettes featuring an actual recording of a history-making event, speech or statement.

Demand Up

“There has been an increasing demand form our subscribers for help in how best to utilize the production and programming aids we sell them. This year we’ve added a broadcasting and consulting division,” Frank remarked.

In a business complicated with many varied formulas for pricing, the station manager and program director is frequently shaken by the jingle jungle.

Frank is adamant in his criticism of the fly-by-nighters that have invaded the field and has, in his terms, created a plethora of confusion in who would best represent a client’s interest in any given market.

“Untold damage has been done to the many legitimate jingle producers by some sellers of radio and musical jingles who establish prices and make deals that run from the sublime to the ridiculous. Extremely few businesses can have their products so loosely and variably priced. I can list a dozen ‘here-today-gone-tomorrow’ operations. . . one-shot, no follow-up people that would only take their money and not be heard from again,” Frank stressed.

Frank, whose motto is “Caveat Emptor” (let The Buyer Beware) is sure of the product turned out guaranteed by his producers in the studios here, also elsewhere in New York and in Dallas, while naming Bill Bell and Will Scott under the management of Morton J. Wagner. Meanwhile, Frank invites the buyer to check around. Ultimately, he will expect they’ll eventually will choose Richard H. Ullman, Inc., a division of the Peter Frank Organization. END

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SOURCE: Information, credit, and news source: Billboard April 27, 1963

USARM Note: This post was previously published and archived by Motor City Radio Flashbacks on August 6, 2012

CLASSIC USA RADIO JINGLES! DETROIT MARKET: WKMH RADIO 1310

Audio digitally remastered by USA Radio Museum

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WKMH 1310 in Dearborn, Michigan, was launched on December 29, 1946, by Fred Knorr, William McCoy, and Harvey Hanson. Initially, it operated during daytime hours with 2,000 watts of power at 1540 kilocycles on the AM radio dial.

In the late 1940s, Robin Seymour joined WKMH and became a significant figure in its programming. By 1955, he was known for his engaging style and for being one of the first DJs to ask listeners for their opinions on new records. And he became one of the first disk jockeys in the Motor City to heavily play rhythm and blues recordings on his show. Seymour’s show, “Bobbin’ with Robin,” quickly gained popularity.

On October 31, 1963, WKMH changed its call letters to WKNR and rebranded as “Keener 13”. This change marked a significant shift in the station’s format and approach, leading to a rapid rise in popularity. WKNR became known for its tight playlist, creative promotions, and energetic announcers, making it one of the most popular stations in Detroit during the 1960s.

PAMS (Production, Advertising, Merchandising Service) in Dallas provided jingles for WKMH during the period of 1960-1961. PAMS was known for creating memorable and catchy jingles for many radio stations across the United States during the 1960s. These jingles played a significant role in establishing the station’s identity and enhancing its appeal to listeners.

The presented 1961 WKMH jingle package is from the PAMS designated Series 18.

In 1961, PAMS also released the “Series 18” custom series, also known as the “Sonosational” package. This was notable for being the first jingle package to utilize the Sonovox, a (voice altering) device that made any sound/voice source seem to be speaking or singing. It was quite innovative for its time and added a unique touch to the jingles.

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A USA RADIO MUSEUM PRESENTATION: KHJ, TOM MAULE, BACK ON THE RADIO! OCTOBER 1967

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Tom Maule was a notable personality at 93 KHJ during the late 1960s, known for his distinctive voice and his role as a nighttime DJ in the midst of the station’s dominant “Boss Radio” era.

Arrival at KHJ

Maule joined KHJ in June 1967 and was immediately placed in a prime evening slot, broadcasting from 9:00 PM to midnight. This was a time when the station was at the height of its popularity, and KHJ was known for its energetic Top 40 format. Maule’s arrival at the station was part of the ongoing expansion of KHJ’s on-air talent, which included well-known personalities like Robert W. Morgan, The Real Don Steele, and Charlie Tuna. His show was aimed at the younger audience that KHJ targeted, playing the latest hits and connecting with listeners through his engaging voice and style.

Tom Maule’s Radio Style and Legacy

Maule was known for his lively personality and smooth delivery, which was a great fit for the high-energy Boss Radio format. The fast-paced, tightly formatted broadcasts were designed to keep listeners engaged, and Maule’s evening show was no exception. The show featured not only music but also Maule’s own commentary, humorous observations, and interactions with listeners. His ability to connect with the audience during the night hours made his show popular among young people in Los Angeles.

Though not as famous as some of the bigger KHJ personalities like Robert W. Morgan or The Real Don Steele, Maule still gained a strong following. His voice became familiar to many listeners, and he contributed to the station’s reputation for cutting-edge entertainment and music during the late ’60s. KHJ’s evening slots were crucial in maintaining the station’s dominance, and Tom Maule was an important part of that success.

Later Career

Tom Maule’s time at KHJ didn’t extend far beyond the late 1960s, as the landscape of radio was shifting in the early 1970s. However, his impact on the station was felt during the period he worked there. After leaving KHJ, Maule continued to work in radio, though not to the same level of prominence he had achieved in Los Angeles. Like many radio personalities of that era, his career reflected the changing tastes and shifts in the broadcasting industry.

Later, Tom Maule became a prominent TV weatherman in the Fresno area. Maule passed away in 1993.

Though his time on KHJ was relatively short, Tom Maule is remembered as one of the voices that helped shape the station’s iconic sound during a golden age of Los Angeles radio. His contributions to the station’s late-night programming remain a part of KHJ’s rich history.

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NEW! A special THANK YOU to the 93khjcreator.spring.com for contributing this 1965 KHJ aircheck, which is also now available on their site. We’ve added this aircheck to the USA Radio Museum’s aircheck repository.

AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.

A USA RADIO MUSEUM PRESENTATION: CKLW, DAVE SHAFER, BACK ON THE RADIO! FEBRUARY 1965

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Dave Shafer was a prominent radio personality in the Windsor/Detroit market, best known for his work at CKLW 800, one of the most influential radio stations in North America during the 1960s.

Dave Shafer began his career in radio in the 1950s, working in various markets before joining CKLW in the early 1960s. CKLW, located in Windsor, Ontario, served the Detroit area as well, and by the mid-1960s, it had become a powerhouse in Top 40 radio. The station’s reach and influence across both sides of the U.S.-Canada border made it one of the most important broadcasters in the region.

Having tapped early-on radio aspirations during his high school days, Dave Shafer left Dover, Delaware for Detroit in 1961. He landed his first radio job as music librarian at WJBK. Shafer eventually found his way behind the microphone – in studio – as the new “Jack the Bellboy” by the following year in 1962. And thus began Dave’s storied, three-decade broadcasting career in Detroit radio. Including stops at WCAR, WOMC, WCZY, along with a 11-year run at CKLW radio in Windsor, Ontario, in the 1960s and 1970s.

CKLW Morning Show

In 1963, Dave Shafer, a.k.a. as “Jack the Bellboy’ while at WJBK, made the leap across the Detroit River for RKO General CKLW in Canada. He became a key figure at CKLW, hosting the highly popular morning show. His friendly, energetic delivery and ability to connect with listeners made him a beloved personality in the area. His morning show was known for its lively presentation, including the latest pop music, news, and often humorous commentary. His presence helped set the tone for the station’s success, as CKLW had a major impact on shaping the Top 40 format in the region.

Influence and Legacy

Shafer’s work at CKLW made him one of the prominent voices of Detroit and Windsor radio during the 1960s. CKLW was known for its fast-paced “Boss Radio” format, popularized by the likes of Bill Drake and station programmer Paul Drew, and Dave Shafer was one of the voices that kept listeners tuned in every morning. His ability to entertain and inform made him a central figure in the lives of many local listeners. CKLW’s success during this period was largely due to its combination of top-notch personalities, including Shafer and Tom Shannon, and its cutting-edge approach to radio.

Later Career and Impact

Though his career took him to other stations over the years, he is most fondly remembered for his role at CKLW. Even after his departure from the station, Shafer remained a respected figure in the world of broadcasting, contributing to the evolution of radio in the Detroit area.

Having long retired from the broadcasting profession and living in Florida, Dave passed away on May 7, 2006, at the age of 73.

Today, Dave Shafer is remembered as a key part of CKLW’s golden era during the 1960s, an era that shaped the future of Top 40 radio in North America. His influence as a morning personality on CKLW continues to be celebrated by those who remember the station’s heyday.

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NEW! A special THANK YOU to Mark Yurko, of Langhorne, PA., for this CKLW aircheck contribution for our USA Radio Museum repository. Featured here, we’ve archived this 1965 CKLW audio memory into our aircheck collection.

AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.

A USA RADIO MUSEUM PRESENTATION: ROBERT W. MORGAN BACK ON KHJ RADIO, MAY 1965!

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Robert W. Morgan was a beloved radio personality, known for his work as the morning show host on 93 KHJ in Los Angeles during the 1960s and 1970s. He was one of the key figures in shaping the “Boss Radio” format, a highly influential and dynamic style that became synonymous with the station during its heyday. Morgan was known for his engaging and energetic personality, often incorporating humor and a friendly, approachable style into his broadcasts.

The station’s programming included extensive music playlists, a strong emphasis on top 40 hits, and catchy jingles (the famous “Boss Radio” jingle became iconic). The sound was edgy, fun, and fast-moving, with DJs like Robert W. Morgan, The Real Don Steele, and Charlie Tuna becoming beloved figures on the airwaves.

While station programmer Ron Jacobs was indeed a key figure in radio consulting during this era and went on to become a successful radio executive (founding Jacobs Media, a leading consulting firm), it was Bill Drake who is most closely associated with the creation of the Boss Radio format at KHJ.

Robert W., as he was also known as, it was his voice and presence that made him a favorite among listeners, helping KHJ become a top-rated station. Morgan’s influence extended beyond just his radio career, as he became a key figure in the pop culture of Los Angeles at the time. He worked with the station for many years before eventually moving into a career in music and voice-over work.

Morgan passed away in 1998, but he left behind a lasting legacy in the world of radio, particularly in the history of Los Angeles radio broadcasting.

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AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.

Note: A radio re-creation produced by KHJ PD Ron Jacobs, this recording was pressed on vinyl LP and was released by Increase Records in 1970.

HAPPY NEW YEAR, 2025! A 1973 WDRQ TOP DETROIT 93 SONG CHART SURVEY

**WDRQ FM 1973 TOP 93** (plus1) Detroit Song Hits [A]

**WDRQ FM 1973 TOP 93** (plus1) Detroit Song Hits [B]

The Detroit WDRQ Top 93 singles as was tabulated, listed and published by WDRQ, December 1973.

From Jim Hampton and I, wishing you a season filled with warmth, laughter, and the joy of new beginnings. May this Holiday season bring you peace, happiness, and wonderful memories to carry into the New Year.

This featured 1973 WDRQ chart were digitally re-imaged and restored by USA Radio Museum.

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A sincere, thank you, Mrs. Patti Griggs. This featured presentation would have not been possible without your generosity, dedication, and your continuous support.

Above WDRQ music guide courtesy of Mrs. Patti Griggs and the George L. Griggs estate.

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