Category: MCRFB (Billboard) News

FOLK ROCK: AN ERUPTING NEW SOUND . . . AUGUST 21, 1965

From the MCRFB NEWS archive: 1965

Rock, Folk, and Protest Equals An Erupting New Sound

 

 

 

 

New York — Call it folk-rock, urban folk, protest music or rock with a message. It’s so new the trade lexicographers haven’t yet agreed on a name. But whatever it’s called, the new sound is selling — and selling big.

Here’s what’s happening. The traditional folk music and the folk-oriented pop product are still selling, but not nearly as much as a few years ago. The hard rock product is still the core of the singles market, but again, it’s not selling as well as it did a year ago. And the sound is not quite as hard today as it has been in recent past.

Fresh Urban Lyric

A hybrid, combining the best and instrumentation of rock music with the folk lyric — usually a fresh urban lyric, and combined with a lyric of protestation — is selling across the board.

Sonny and Cher with Bob Dylan in 1965 (click on image for larger view)

Among the leading exponents of this new form of music are Sonny and Cher, whose Atco record, “I Got You Babe,” hit the top of Billboard’s Hot 100 chart for the second week in a row. “All I Really Want To Do,” another single in the same vein, is on the charts with versions by Cher on Imperial and by the Byrds on Columbia. Two weeks ago, Sonny and Cher’s “Look At Us” album was released on Atco Records.

Also released were singles by Sonny on Atco, and Cher on Reprise. Bob Dylan, the Columbia artist influential in spearheading the “new” folk-rock sound, is also back on the charts with his latest single, “Like A Rolling Stone.”

Elektra, a traditional folk label, announced last week that its fall program would include a heavy dose of the rocking urban-folk product. This Week, Verve-Folkways, another traditional folk label, said it would branch into the folk-rock field this coming fall.

Sound And Message

Barry McGuire folk-rocked the charts with “Eve Of Destruction” in 1965

With many notable exceptions, folk music has been more concerned with the message and narration with the new sound. And rock music has been more concerned with the sound than the message.

The latest development has been is to take the rock sound and instrumentation and use folk-oriented lyrics. The singer or group has something to say. Until recently, the message would be delivered with a guitar with a plaintive voice. Now it’s delivered, often by a group, by hard rock instrumentation behind their lyrics, what they seem in trying to convey of their message.

A case in point is Barry McGuire’s “Eve Of Destruction,” released last week on Dunhill Records. The beat is solid, but the lyrics, aimed at teenagers (are adults listening?), deals with social disarrays at the present, such as the possibility of dropping a nuclear bomb somewhere on the planet, maybe during this lifetime.

Capitol Records recording artist Jody Miller circa 1964

Jody Miller’s “Home Of The Brave” on Capitol, which defends the rights of youngsters to dress as they see fit, is another of the protest genre that is served up with a rock-influenced beat.

Donovan, the British artist on Hickory Records with his current release on the charts, “Colours,” falls in that same category, along with a message of protestation.

The reconstituted Highwaymen, making their first ABC-Paramount album, have come out with a Bob Crewe produced rock sound, but the message remain in the traditional folk idiom.

The songs are plain enough. Traditional folk, while it will continue to serve it’s specialized market, and what has come to be considered rock music, is being influenced to a major degree by the wave of the new folk sound, evidently heard in lyric and in message with today’s ever-expanding music scene. END

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(Information and news source: Billboard; August 21, 1965)

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WKNR, WJR HITS BIG PAY DIRT . . . JULY 24, 1965

From the MCRFB NEWS archive: 1965

RADIO RESPONSE ROUNDUP                                                                        

WKNR, WJR Hitting Pay Dirt in Detroit, Thanks to Two Air Personalities

 

DETROIT — Two deejays — one in the Top 40 field and the other from a ‘middle-of-the-road’ easy music station, are basically responsible for the tremendous success of radio stations WKNR and WJR here in influencing the sales of records…. and may be largely responsible for the success of their respective radio stations in reaching a large audience.

J. P. McCarthy WJR circa 1965

WJR station manager James H. Quello, said that his good music station was proud of J. P. McCarthy. “He’s the number one radio personality in town. Everybody knows him and he’s in good part responsible… a major factor… in influencing the sale of LP’s in Detroit.”

According to Billboard’s Radio Response Rating Survey last week of the Detroit radio market — ranked the country’s fifth radio market — McCarthy was rated No. 1 in influencing radio listeners to purchase popular LPs. The station was rated first in the same category, but what makes it a unique situation is that the station gained strength to capture the top position since a similar Billboard survey of May 16, 1964, had placed WJR in second-place behind WCAR.

And the reason, according to Quello, is the power of McCarthy. McCarthy had been with the station at one time, then left WJR in Detroit to work for another radio station in San Francisco. He returned back to Detroit since the last Billboard survey. He’s so effective that WJR placed him on mornings in their 6:30 a.m. to 9:00 a.m. time-frame, and he returns for the 3:15 p.m. to 6:00 p.m. drive time. “After all, this is the motor city of the world… a big car place,” Quello went on to say. McCarthy features mostly MOR records, Quello said, “but we’re programming more contemporary music now, anything short of rock and roll.”

In influencing the sale of popular LP recordings, the major stations, in order, are WJR, WCAR, WWJ, and WJBK. WJR and WCAR has most of the power; in fact, WJR’s McCarthy had 52 per cent of the total points in Billboard’s survey, followed by WCAR deejay Joe Bacarella with 36 per cent overall.

WJR, incidentally, tied for second-place with WWJ in influencing the sale of conservative type records, was No. 1 in influencing the sale of classical records, and showed up fairly well as a power in influencing the sale of folk records as well.

Both Gain

Bob Green WKNR circa 1965

The top position in the sale of popular record singles was again captured by radio station WKNR and its popular disk-jockey, Bob Green. In fact, both station and deejay gained in strength. WKNR radio was rated at 33  per cent in May 16, 1964, but increased its influence to 44 per cent as of last week. Green increased two points to 30 per cent.

WKNR radio station manager Walter Patterson said the Top 40 station isn’t doing anything different, “but we are fortunate in accumulating listeners.” A recent Pulse study showed that the 24-hour Detroit station as reaching 292,900 separate households during a given day.

“We’re not cocky, but we watch our position closely and never let up,” Patterson said. While the station does believe in strong air-personalities, — “some are and some are not” — it also practices “playing more music and keeping talk to a minimum.” The station’s “sound” is very important,” Patterson said.

WKMH the former, now WKNR, featured a “middle-of-the-road” music format until November 1, 1963, when it went Top 40. “We’ve pulled the fastest turnaround of any station in the country,” Patterson said. “What’s happening is the more we go, the more we get.” The station plays the top 31 records and distributes 99,000 copies of the station’s own survey guide of featured songs and hits. Patterson also said the station has a “refrigerator full” of promotions and uses them as the need arises.

Also in the Top 40 market, radio station CKLW has increased its power in influencing the sales of records since the last Billboard survey. The market saw WJBK change format from Top 40, where it ranked No. 2 last May, to good music. In May 1964, it was No. 4; now it ranks second. Dave Shafer and Tom Shannon of CKLW now rank second and third behind WKNR’s Bob Green.

John Gordon, the program director of CKLW, received the Billboard nod as most co-operative in exposing new records.

Close in R&B Field

In the R&B field in the Detroit market, it was a close race, but WCHB radio came out on top in influencing record sales. WCHB had 49 per cent, WJLB had 44 per cent and FM station WGPR had 7 per cent. WJLB ranked first last May.

Ernie Durham WCHB
Ernie Durham WCHB

Bill Williams, program director at WCHB, attributed the station’s increase in influence to a “much tighter format that was launched in January.” The station also went 24-hours in April. Williams said deejays on WCHB are now faster with delivery than before. “We play 35 of the top-selling R&B records, interspersed with every third record with one we think is a good prospect for a potential hit-maker to climb-up the chart.” This has made the station very important in getting listeners to go out and buy more into the R&B product,” Williams said.

“This is a good R&B market, its the home of the Motown sound,” he said, adding that he liked to think of his market as the entire population of Detroit. WJLB, however, scored with the top disc-jockey — Ernie Durham — in the power of influencing record sales. In fact, Durham almost captured the whole thing with a 44 per cent influence in the Detroit R&B market. The second-place honors goes out to Le Baron Taylor of WCHB, who held the No. 2 spot at 27 per cent.

Interesting to note is that an FM station, WBRB-FM is now showing muscles in influencing the sales of country music records. The field is still dominated by country powerhouse WEXL, which still came up with 86 per cent of the total points, but it’s no longer a one-station field. WBRB showed up with a 14 per cent; it’s a new station since the last Billboard survey. Bill Samples, of WEXL, is still the No. 1 deejay in the motor town getting country music records sold. END

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(Information and news source: Billboard; July 24, 1965)

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SUPREMES NUMBER ONE . . . DECEMBER 19, 1964

From the MCRFB NEWS archive: 1964

SUPREMES ARE NO. 1 ON BILLBOARD; THIRD DISK IN A ROW

 

 

 

 

NEW YORK — Motown’s Supremes are living up to their title. The gal group captured the first place position on this week’s Billboard Hot 100 chart with their waxing of “Come See About Me.” This is the third No. 1 record in a row for the gals from Detroit, and they now represent the first femme group to achieve this status.

The Supremes ‘Where Did Our Love Go’ LP album; Motown Records; 1964. (Click on image for larger view)

To add to it all, Diana, Flo, and Mary have staged a turnabout on the British by invading their No. 1 position on their chart with “Baby Love,” the first American girl group to do so. The record also registers big here, having reached the No. 8 position on Billboard’s single listing and holding 15th place this week.

Their Motown albums have had the same response from record buyers. “Where Did Our Love Go,” formerly occupying the No. 1 position is No. 7 this week on Billboard’s LP chart with 14 weeks as a chart entry. Their most recent album release, “A Little Bit Of Liverpool,” has reached the 92 position this week after only a month on the chart. Indications are that the album should do as well as its predecessor.

“Baby Love,” also reached the chart pinnacle for four consecutive weeks. The Supremes have recently returned from a much-heralded tour in England and Europe. END

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(Information and news source: Billboard; December 19, 1964)

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EXCITEMENT IN R&B RADIO: WCHB 1440… JULY 2, 1966

From the MCRFB NEWS archive: 1966

WCHB Adds Own Excitement To Rhythm and Blues Format

 

 

 

WCHB Bell Broadcasting, Inc., 1966

DETROIT — R&B music is the most exciting music in the world now, believes WCHB program director Bill Curtis. That, plus a “lot of hard work,” is the foundation on which the R&B station has built its success.  Billboard’s latest Radio Response Ratings survey of this market, the fifth largest in the nation, showed the station as the major influence on sales of R&B records. Fifty per cent of the record dealers, distributors, one-stop operators, and local and national record executives voted in favor of the station over its competition in broadcasting in the Detroit area.

Detroit’s WCHB Super Soul Survey 40; March, 1966. (Click on image for larger view).

Although R&B music has grown increasingly so popular that Hot 100 stations are playing more and more of it, Curtis wasn’t worried. “We play more of it and we try to play it before they do. But it’s the most exciting music in the world right now, and nothing will ever take it’s place.”

The station has been responsible for giving many new R&B records that important initial exposure; in fact, the exposure has been so important that the power of the station has forced rock ‘n’ roll outlets in the city to play the records because of the sale created. An example is “Sunny” by Bobby Hebb, said Curtis. This was the flip side of a record, but during a listening session Curtis was impressed with the B side over the A side, “A Satisfied Mind.” “Just a fluke that I listened to it,” he said. “I don’t go around turning over a cat’s record.” But “Sunny,” which the station went on to play, went to No. 1 at local Hot 100 format stations.

Another record the R&B station broke in the market was “Open The Door To Your Heart” by Darryl Banks on the Detroit-based Revilot Records and Curtis predicted it would be “a big one.”

“I get a kick out of exposing a new recording product, helping it become a hit. At least you know you’re doing something worthwhile. Also, you get an indication of the power of your station and how much you can influence your listeners.” END

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(Information and news source: Billboard Magazine; July 2, 1966)

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FOUR TOPS’ ’67 CLUB SCENE . . . SEPTEMBER 23, 1967

From the MCRFB news archive: 1967

Room At The Top, Motown’s Own Four Tops Customizing Song Selections For Nightclub Acts

 

 

 

 

Hollywood — The Four Tops, who closed their first booking at the Cocoanut Grove with a live LP recording, have learned to custom-tailor their repertoire to suit the level of the room audience. Four years ago the Detroit quartet was still hustling around the “chitlin’ circuit.”

The Four Tops.

Today, the male vocalists are a top Motown act and a new find for such rooms as the Grove and New York’s Copa, Washington D.C.’s Shoreham, Cherry Hill, New Jersey’s Latin Casino, and Hollywood, Miami’s own Diplomat — all forthcoming bookings.

On recordings, the quartet sings the pop love songs of Eddie Holland-Brian Holland and Lamont Dozier. On stage, they dip into the Broadway and film repertoire for adult-oriented tunes which fit the Tops’ pleasant harmonies.

“We try to keep the composer’s beauty in the material,” explains Renaldo Benson, who along with Levi Stubbs, Jr., Lawrence Payton, and Abdul (Duke) Fakir formed the group thirteen-years ago.

During their Grove engagement the quartet included an Academy Award medley as its customizing salute to the film-oriented audience. Wade Marcus, the group’s musical director, along with Payton produced the live LP, for which Motown’s chief engineer was flown here for the special event.

The Four Tops circa 1966.

Benson, the “philosopher” in the group, feels that as a result of the Grove appearance, the group sought a wider musical scope in selections of other songs they were to perform. “For the last four years we’ve been playing rock concerts where sounds are really not that important. Here, we have to truly work to stimulate the audience.” Benson says they never “jive the audience” because they’ve been through the scuffling bit and appreciate the opportunity to work in the big time.

The Tops’ troupe numbers nine (including rhythm section) which involves a healthy weekly pay, but they are earning substantially more than their “chitlin’ circuits” salaries of from $1,000 to $1,500.

Two months ago the artists worked the Whisky A Go-Go on the Sunset Strip, where their repertoire was more tuned to their Motown singles hits. Their booking into the downtown prestige room here in Los Angeles was so soon after the Whiskey exposure, that it was a surprising bit of scheduling for the Tops.

 

When they play for colleges, the students ask for the single hits. This fall the quartet is planning a new act for the Ivy circuit, which also considerably pays better than the “chitlin'” clubs they frequented just five-years earlier.

The Tops now plan to begin producing records, which is a characteristic of the Motown operation where executives are artists, and where writers are the artists as well. END

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(Information and news source: Billboard; September 23, 1967)

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DARIN DOES ‘ROOSTERTAIL’ . . . SEPTEMBER 23, 1967

From the MCRFB NEWS archive: 1967

Darin Darling of Detroit in Nightclub Bow

 

 

 

 

DETROIT — Bobby Darin opened at the Roostertail on Thursday, September 21, with an act that had the club audience shouting for more with a standing ovation.

Bobby Darin.

Everything about Darin’s act is contemporary. Even when he does a standard like “I’ve Got You Under My Skin,” it has a big beat band arrangement. He isn’t bogged down by nostalgia but knows exactly what’s happening today with the music scene.

Darin put his heart into “Drown In My Own Tears,” and also his version of “The Work Song,” which added tremendous emotional impact, while mesmerizing the Detroit audience by his presence on stage.

Darin’s act paced beautifully as he wrapped up the evening playing on the piano, electrifying the crowd with a swinging version of “What’d I Say.” END

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A MCRFB Note: Lorraine Alterman also was the teen-editor for the Detroit Free Press’ ‘Teen Beat’ column which appeared in print in the daily newspaper then, every Friday, in 1966.

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(Information and news source: Billboard; September 23, 1967)

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R&B RISES ON THE AM RADIO DIAL . . . APRIL 29, 1967

From the MCRFB NEWS archive: 1967

R&B Radio Outlets Richer; Static Quo on DJ Dollars Dismal


 

 

 

NEW YORK — The current success of many R&B format radio stations across the nation “is not that all apparent at the deejay level,” according to Ronnie Roker, an executive at Mark II Records.

Mark II records is the label of Tag LTD. Productions, a firm headed by Magnificent Montague, former air-personality with KGFJ, Los Angeles, and Roker, formerly with Liberty Records. The label’s first release is “Precious Memories” by the Romeos, now No. 38 with a star on the R&B chart, and climbing also on the Hot 100 Chart in pop sales. Montague played congos and bongos on the record. The LP is due out soon featuring the group.

The record got its start on R&B stations; among those that helped boost it were WVON, Chicago; WWIN and WEBB in Baltimore; WABQ and WJMO in Cleveland; KGFJ in Los Angeles, KATZ in St. Louis, and WJLB and WCHB in Detroit. It was WQV in Pittsburgh, Roker said, that swung the record into the pop field and did so much to promote record sales.

Format Operation

R&B stations — practically all major ones — have gone to a format operation, Roker said. “Format lessens the amount of new records exposed, although the number of records exposed on R&B radio stations far surpass that on pop stations.  Its much easier to get a record started in the R&B field, though not as easy as five years ago. Today, you have to put out a good record to get it played.  There are very few bad records — or even mediocre ones — played on any R&B station.”

ERNIE DURHAM WJLB 1964

The tight formats now being used by R&B stations have really helped them, Roker felt. “It has been responsible for higher ratings of these stations in the general market, bringing them more business and higher advertising rates.” But this hasn’t helped most deejays, he said; their salaries haven’t been increased or, at least, it’s “not that apparent.” Roker said he felt deejays should share in the growth of the stations through higher salaries, “but whether they will is a different matter.” END

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(Information and news source: Billboard Magazine; April 29, 1967)

Addendum: Here are two *rare* airchecks of Detroit’s own R&B Grandmaster himself, “Frantic” Ernie Durham, as he was 10 years earlier on R&B WBBC-AM in Flint, Michigan, in 1957 and in 1958.

From the MCRFB Aircheck Library, featuring:

WBBC-AM Ernie Durham: Ernie Durham – WBBC – Flint – November 1957.mp3

WBBC-AM Ernie Durham: Ernie Durham – WBBC – Flint – November 1958.mp3

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FLASHBACK MOTOR CITY HAPPENINGS . . . JUNE 24, 1967

 

From the MCRFB NEWS archive: 1967

Music Happenings In and Around Detroit Town, 1967

 

 

 

 

The Who played two shows June 14 at an Ann Arbor teenage club, The Fifth Dimension, before heading over to the Monterey Pop Festival…. Capitol artists Sadler and Young booked into the Roostertail for two weeks, beginning June 26, to be followed by another Capitol artist Peggy Lee, the week of July 10…. Cedar Point Amusement Park in Sandusky, Ohio, had a Martin and Howard Day, June 11, in honor of the morning disc jockey team on WXYZ 1270 in Detroit…. Only the least expensive seats ($5.50, $4.50) are left for Frank Sinatra’s July 9 Cobo Hall Arena appearance.

Volt recording artists Otis Redding and the Bar-Kays to appear at Expo ’67, July 3-4…. Deon Jackson begins a two-week tour of Army bases beginning June 30…. Martha Reeves and the Vandellas recorded a live album at the 20 Grand Club June 6-8…. English female vocalist Kelly Michaels has been signed by Ollie McLaughlin. A release on his Karen label is due shortly…. The Supremes made their debut at the Coconut Grove in Los Angeles June 13…. The Herman’s Hermits tour with the Who and the Blues Magoos were signed for the Atwood Stadium in Flint, August 23.

Charles D. Fitz, vice-president and general manager of WXYZ Radio and President of the Michigan Association of Broadcasters, presided at the MAB sponsored Fifth Annual Congressional Dinner in Washington. John E. Campbell, vice-president and general manager of WXYZ-TV and WXYZ editorial director, Joe Vaughn, also attended the dinner for Michigan congressional representatives…. Baby Jane Holzer was in Detroit to promote her new Atco single “Rapunzel.” She did the Robin Seymour CKLW-TV show…. WKBD-TV, Channel 50, Detroit, will carry “Upbeat” from Cleveland on Saturday mornings at 9:30 beginning July 1…. The Monkees will be in Detroit at Olympia Stadium on July 29. The Olympia concert event will be sponsored by WKNR…. Capitol Records hosted a party for Lou Rawls after his sellout concert at Masonic Auditorium in Detroit recently. END

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(Information and news source: Billboard Magazine: June 24, 1967)

WHEN THE WHO PERFORMED SOUTHFIELD HIGH IN 1967!

 

A MCRFB Note: This picture (above; below) was taken when the Who performed at the Southfield High School auditorium, Wednesday, November 22, 1967. Opening for the headlining British group were two local Detroit bands. The Unrelated Segments and The Amboy Dukes. Tickets were $3.00 dollars at the door.

For more on this incredible 1967 SHS event, click here to former CKLW and WKNR alumnus Pat St. John’s personal website. Pat will recount his personal involvement in this little-known event (with the Who) in this amazing Detroit rock ‘n’ roll back-story!

A ticket stub to The Who performance at Southfield High, 1967. (Photo credit; thanks: Judy Evans, Facebook. (used here by permission).
A ticket stub to The Who performance at Southfield High, 1967. (Photo credit; thanks: Judy Evans, Facebook (used here by her permission)

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CKLW-TV 9 ADDS TEEN SHOW . . . JULY 31, 1965

A MCRFB NEWS brief: 1965

CKLW-TV Bows Show for Teens

 

 

 

DETROIT — A Canadian TV station, CKLW-TV, which also serves Detroit, has kicked-off an hour daily variety show for teenagers called ‘Swingin’ Summertime.’ Host of the show, which features both live and taped segments, is Robin Seymour. 

Among the artists appearing on the first show were the Rolling Stones, Gene Pitney, Dwayne Hickman, Paul Anka, Deborah Walley and Harry Belafonte. The show is telecast live before a teen audience at the CKLW television studios in Windsor, Ontario. END

 

 

(Information and news source: Billboard; July 31, 1965)

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IN DETROIT IT’S ‘SWINGIN’ TIME’ CKLW 9 . . . APRIL 2, 1966

From the MCRFB news archives:

Bandstand TV Scene Bears Watching — The Detroit Scene

 

 

 

CKLW-TV host Robin Seymour host “Swingin’ Time,” 1965.

HOLLYWOOD — Teen-age bandstand TV shows come and go–and a couple of important ones met their demise during the past few months — but over-all they seem more popular than ever. Especially at the local level. A quick check of some of the nation’s major bandstand shows found them not only doing well from the advertising sponsorship angle, but in audience ratings.

“Shebang,” for instance, has been sold out the past few months and has a waiting line of advertisers, said producer Bob Burnett. And, though the Los Angeles show is no longer in syndication, it reaches a minimum of more than 4 million daily via CATV distribution throughout Southern California.

The Everly Brothers appearance on “Swingin’ Time” in 1965.

Among those national bandstand shows that became drop-outs were ABC-TV’s network “Shindig” show. “Shivaree” dropped out of syndication, but the producers are working on a new format to have it back in syndication next month. The show is now seen in the Los Angeles area.

For the national shows, formats tell the story. A local show can usually do quite well because, as talent-coordinator Art Cervi of “Swingin’ Time” in Detroit puts it, “From the local standpoint, you got a raison d’etre because you’re hitting the people–the kids–who can and do appear on the show. You have an audience participation factor that let’s people identify with you.” The Detroit show out pulls national shows in the market, said Cervi.

The Detroit Scene

“Swingin’ Time” on CKLW-TV, Detroit, is an hour bandstand show during weekdays and the Saturday hour show concentrated on featuring record artists.  But so many artists are now seeking to be on the show that talent-coordinator Cervi is using them on weekdays too.

Mitch Ryder & the Detroit Wheels guest-appeared on “Swingin’ Time” in 1966.

Sponsorship for the show is good. The show is supporting itself and “it looks like its going to do much better,” Cervi said. “I think there’s room for a show like this in every big market. The only trouble some shows run into in various markets is that the markets are saturated with such shows. But we’re doing so well locally that Robin Seymour has given up his radio shows to concentrate on “Swingin’ Time.”

Cervi said his show reaches 85 to 90,000 homes a weekday and around 125 to 130,000 homes during the Saturday show. END

(Information and news source: Billboard; April 2, 1966)

A MCRFB Note: Here’s several videos of ‘Swingin’ Time,’ hosted by Robin Seymour on CKLW-TV 9 in the 1960s. A young Johnny Rivers and Bob Seger enhances as highlights as they appeared on the show. The complete shows features the Supremes and the Rationals when they first appeared on the popular Detroit/Windsor TV dance show.

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