Author: Jim Feliciano

From the MCRFB news archive: 1971

CKLW Says Rhythm Is Not Included

 

 

 

 

 

TORONTO — A loophole in the Canadian content legislation has arisen, centered on the Windsor radio station, CKLW, which is located on the Canadian side of the Detroit River and is a top rated radio station in Detroit, Toledo and Cleveland.

The station has been playing several U.S. soul records recorded by U.S. producers which have been submitted as Canadian content material although the rhythm tracks were laid down at Toronto studios. Overdubbing and mixing were done in the United States.

In the Canadian content legislation, launched in January by the CRTC, the country’s broadcast governing body, a station is required to broadcast 30 per cent of all musical composition in at least one of four categories — instrumentation and lyrics were principally performed by a Canadian, music composed by a Canadian, lyric written by a Canadian and the live performance was wholly recorded in Canada.

The last category is the section that raises the controversy. CKLW vice president of programming, Alden Diehl, said that, in his opinion, the R&B disks programmed were legitimate Canadian product.

Navin Grant, chairman of the Maple Leaf System, which picks product for radio play, had this to say, “I personally would have a lot of questions about whether such performances are Canadian or not. We certainly wouldn’t review them on the MLS although they have not been submitted.

“We could do with some more definition on some of these points from the CRTC.”

CKLW programmed the Janis Joplin single, “Men And Bobby McGee,” as Canadian content because members of the back-up group, Full Tilt Boogie Band, were born in Canada.

However, the CRTC reportedly does not consider two members of a back-up group as principal performers. END.

 

(Information and news source: Billboard; June 19, 1971).

From the MCRFB news archive: 1984

Windsor FM Outlet to Easy Listening, AM to Nostalgia; 45 Cut from Staff

 

 

 

 

 

DETROIT — While no official word had been released at press time, the rumblings across the river in Windsor, Ontario have changes — and plenty of them — coming from CKLW/CFXX.

Word is that 45 of the station’s 75 employees are no longer with the border outlets, which are set to be switching formats, including longtime music director Rosalie Tromley, who had served in that capacity since CKLW’s influential heyday in the ’60s.

The moves come on the heels of two developments: CKLW/CFXX’s sale from Baton Rouge Broadcasting to CUC Ltd. (Billboard, September 22), and the subsequent announcement from the Canadian Radio-Television & Telecommunications Commission that it would be flexible in the handling of the stations in Windsor.

The CRTC regulations, involving such areas as format restrictions and Canadian content requirements, were long held responsible by many observers for CKLW’s faltering ratings. The CRTC’s rigid guidelines, including the banning of Top 40 on FM, were said to have led in part to Baton’s sale.

Prior to that transaction, Baton had planned to take nostalgia-formatted CFXX in a Top 40 direction as “The Foxx,” only to reassess those plans when assured the license would be in jeopardy.

With the lifting of the restrictions, it was assumed that plans for that switch would again be underway. But the surprising word amidst the flurry of firings had the FM nostalgia  programming moving to to the AM operation (now transitioned from top 40 to AC), with CFXX-FM adopting a compatible easy-listening approach. END.

(Information and news source: Billboard; October 27, 1984).

From the MRCFB news archive: 1985

Switch To Nostalgia Format Boosts CKLW’s Ratings

 

 

 

 

 

DETROIT — The rapid rise of CKLW-AM Windsor from a .8 rating to a 5.2 in six months may be perceived by competing stations as an example of the “flash in the pan” syndrome that has affected other nostalgia outlets. However, CKLW operations manager Dave Shafer insists, “We have a lot of plans to ensure it sustains itself.”

Baton Broadcasting sold CKLW-AM-FM to present owner Keith Campbell in January, after the struggling AC outlet had sunk to a .8 in the Fall Arbitron book. “The police radio-band had more action,” jokes Shafer.

Campbell switch formats to Al Ham’s “Music Of Your Life,” and results were immediately apparent in the Winter book 4.0 rating. With the Spring’s book 5.2, Shafer notes, “That’s an increase of over 600% in just six months.”

Shafer attributes some of CKLW’s success to the fact that the 50,000-watt AM reaches 18 states and two provinces. and that its big band format is the first in the market “since WCAR 35 years ago.”

In addition, Shafer credits the station’s somewhat altered approach to “Music Of Your Life,” adding further, “We’ve done some things different than Al Ham,” he notes. “We’ve added more cuts; our repertoire is more varied than normal.”

Another factor contributing to CKLW’s popularity, says Shafer, is a staff of well-know top 40 deejays, among them Jim Davis, formerly of Detroit stations WXYZ, WJR and WOMC: Bob Charleson; previously with Detroit’s WWJ and WCAR; and Dave Prince, who had served on WXYZ as well as Los Angeles outlets KISS and KHJ.

Competing stations such as beautiful music WJOI and all-news WXYT have felt the effect of CKLW’s rise, but their respective program directors, says they’re not concerned. At WJOI, which went from a 9.8 fall rating to 6.1 in the spring, PD Steve VanOort says, “They’re taking some of our older audience, but this isn’t a competitive format. There’s nothing we will do or can do. We’re not going to start programming Big Band music.

“We do go after the same audience,” VanOort continues, “but easy listening, because its more contemporary, has a younger audience.  Sure, we’ve been affected in the older demos, but our 25-54 numbers haven’t changed all that much.”

WXYT program director John Harper concurs. “They’ve only affected our 55-plus numbers,” he says. WXYT went from a 4.6 in the fall to a 3.4 in the spring.

“Across the country,” Harper says, “the big band format has a tradition of a meteoric rise and fall.” CKLW’s success, he says, could be considered distressing, “but its only 55-plus numbers.”

CKLW’s Shafer disagrees. “Our listeners average age, according gto our research firm, is 40-49, and I think it’s actually 44. And these people aren’t old or dead. They’re the biggest buying public out there.”

Shafer claims it usually take a year and a half to achieve this kind of growth, but notes that “people are still finding us.” We receive an average of 350 letters a day.” END.

(Information and news source: Billboard; August 10, 1985).