RUSS FREEMAN (The Rippingtons) * The Girl With The Indigo Eyes * WVMV-FM
DAVE KOZ * You Make Me Smile * WVMV-FM
NORMAN BROWN * Third World * WVMV-FM
BOBBY CALDWELL * What You Won’t Do For Love * WVMV-FM
LEE RITENOUR * A Little Bumpin’ * WVMV-FM
KEIKO MATSUI * Bridge Over The Stars * WVMV-FM
EARL KLUG * Just You And Me * WVMV-FM
3RD FORCE * In The Full Moon Light * WVMV-FM
VENESSA WILLIAMS * The Sweetest Days * WVMV-FM
RAMSEY LEWIS * Les Fleurs * WVMV-FM
PETER WHITE * Romance Dance * WVMV-FM
BONEY JAMES * Lights Down Low * WVMV-FM
DAVE GRUSIN & LEE RITENOUR * Water To Drink * WVMV-FM
SADE * Kiss Of Life * WVMV-FM (Bonus Track)
BRIAN McKNIGHT * Anytime * WVMV-FM (Bonus Track)
A MCRFB NOTE
Detroit’s ‘Smooth Jazz’ WVMV premiered on 98.7 FM, December 1995. Detroit has since been without a ‘Smooth Jazz’ format on the FM dial since WVMV-FM last signed-off on October 9, 2009.
Throughout the 14-plus years WVMV was on the air, the station put out 12 ‘Smooth Jazz’ charity CDs. Motor City Radio Flashbacks has all of them, such as the premiere V98.7 CD Volume 1 (released 1998) featured today on MCRFB.COM.
Missed Detroit’s ‘Smooth Jazz’ on the radio? MCRFB.COM will be showcasing these classic WVMV charity CD’s on this website here from time-to-time. Stay tuned!
MOTOR CITY MOBILE OUTLET SETS SIGHTS ON STEREO 4-Track BOOM EXPANSION FOR AUTO, HOME MARKETS, 1966
DETROIT — An $1,800 investment about five years ago has grown into the flourishing Michigan Mobile Radio, Inc., which bills itself as the “world’s largest automotive sound specialist.”
The present 11,000 – square -foot installation handles the complete Muntz line of 4-track stereo tape cartridge players for car and home.
Jack Frankford, 27-year-old president of the corporation, estimates sales of about 500 units a month from the present 11,000-square-foot outlet, which does retailing and installations.
Michigan Mobile also carries the cartridge catalogs of ITCC and Muntz, and recently completed a deal with Motown Records to distribute Motown tapes in 4 -track cartridge. Frankford said the Motown arrangement means the label will sell and promote tapes as a separate item for the first time. The importance of Motown in the Detroit scene was evidenced by Frankford’s initial order of 1,500, followed by an additional 1,500 order.
Frankford, using the image of “Crazy Jack,” has relied heavily on radio advertising to spur business, buying 43 broadcast hours a week on stations in the Detroit area and nearby Canada. The idea is to hit the potential buyer via the car radio. The nickname was born as an ad lib, tailored by a local disk jockey. It was used by Frankford when he began operations in a former car wash of 2,400 square feet because he felt the Michigan Mobile name would sound too imposing for the relatively small operation. The firm’s present advertising agency developed the name further to personalize the corporation.
After going from car lot to car lot since the age of 16 repairing auto radios, Frankford opened his first outlet to sell car radios in 1960. Late that year the business was expanded to include citizen bands. In 1962 Motorola Vibrosonic sound units were added, with record players coming 18 months later, the A. R. C. (Automatic Record Changer) Electronics 45 r.p.m. machine. Late in 1964 and early the next year, cartridge players were added.
Michigan Mobile Radio also is involved in the distribution of cartridges to other dealers, both in and outside of Michigan. Frankford pointed out that the cartridge market was different from the record field, thus making it difficult for record distributors to hit major outlets in the automotive field, including service stations.
Frankford said there were now three distinct markets, records, 8-track cartridges and 4-track cartridges. He conceded he couldn’t supply record dealers, who work through their record distributors, but he said he supplies an inventory of cartridge product to non-record outlets. END
(Information and news source: Billboard; May 14, 1966)
BILLBOARD HOT 100 TABULATED BY RECORDS RETAIL SALES AND RADIO AIRPLAY
BILLBOARD SONG NUMBER 01 IN U.S.A.* Bobby Goldsboro * 05/11/68
BILLBOARD SONG NUMBER 02 IN U.S.A.* Archie Bell & The Drells * 05/11/68
BILLBOARD SONG NUMBER 04 IN U.S.A.* Hugo Montenegro Orchestra * 05/11/68
BILLBOARD SONG NUMBER 05 IN U.S.A.* Box Tops * 05/11/68
BILLBOARD SONG NUMBER 06 IN U.S.A.* Young Rascals * 05/11/68
BILLBOARD SONG NUMBER 07 IN U.S.A.* The Intruders * 05/11/68
BILLBOARD SONG NUMBER 09 IN U.S.A.* Simon & Garfunkel * 05/11/68
BILLBOARD SONG NUMBER 10 IN U.S.A.* The Beatles * 05/11/68
BILLBOARD SONG NUMBER 11 IN U.S.A.* The Troggs * 05/11/68
BILLBOARD SONG NUMBER 12 IN U.S.A.* James Brown & The Flames * 05/11/68
BILLBOARD SONG NUMBER 17 IN U.S.A.* Georgie Fame * 05/11/68
BILLBOARD SONG NUMBER 18 IN U.S.A.* Sweet Inspirations * 05/11/68
BILLBOARD SONG NUMBER 19 IN U.S.A.* Dionne Warwick * 05/11/68
BILLBOARD SONG NUMBER 21 IN U.S.A.* Sly & The Family Stone * 05/11/68
BILLBOARD SONG NUMBER 22 IN U.S.A.* Tommy James & Shondells * 05/11/68
BILLBOARD SONG NUMBER 23 IN U.S.A.* Willie Mitchell * 05/11/68
BILLBOARD SONG NUMBER 25 IN U.S.A.* Aretha Franklin * 05/11/68
BILLBOARD SONG NUMBER 26 IN U.S.A.* Gene & Debbe * 05/11/68
BILLBOARD SONG NUMBER 29 IN U.S.A.* New Colony Six * 05/11/68
BILLBOARD SONG NUMBER 31 IN U.S.A.* Manfred Mann * 05/11/68
BILLBOARD SONG NUMBER 35 IN U.S.A.* Otis Redding * 05/11/68
BILLBOARD SONG NUMBER 38 IN U.S.A.* Simon & Garfunkel * 05/11/68
BILLBOARD SONG NUMBER 39 IN U.S.A.* The Doors * 05/11/68
BILLBOARD SONG NUMBER 42 IN U.S.A.* O. C. Smith * 05/11/68
BILLBOARD SONG NUMBER 45 IN U.S.A.* Spanky & Our Gang * 05/11/68
BILLBOARD SONG NUMBER 47 IN U.S.A.* The Monkees * 05/11/68
BILLBOARD SONG NUMBER 50 IN U.S.A.* Raymond Lefevre Orchestra * 05/11/68
BILLBOARD SONG NUMBER 61 IN U.S.A.* People * 05/11/68
BILLBOARD SONG NUMBER 62 IN U.S.A.* Ohio Express * 05/11/68
BILLBOARD SONG NUMBER 64 IN U.S.A.* Robert John * 05/11/68
BILLBOARD SONG NUMBER 77 IN U.S.A.* Sergio Mendes & Brasil ’66 * 05/11/68
BILLBOARD SONG NUMBER 81 IN U.S.A.* Paul Mauriat Orchestra * 05/11/68
BILLBOARD HOT 100 TABULATED BY RECORDS RETAIL SALES AND RADIO AIRPLAY
A MCRFB VIEWING TIP
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These were the record singles you bought in 1968. Many went on to become the most popular radio airplays heard on AM radio in Detroit, May 1968, on Top 40 CKLW and WKNR, newly-formatted adult pop-contemporary WXYZ and conservative album-oriented, easy-listening WJR, WJBK and WCAR.
Tracks listed for this 05/11/68 chart feature randomly were selected by the author.
THE NO. 1 HOTTEST R&B SINGLE IN AMERICA * The Temptations
THE NO. 2 HOTTEST R&B SINGLE IN AMERICA * Joe Tex
THE NO. 3 HOTTEST R&B SINGLE IN AMERICA * Wilson Pickett
THE NO. 4 HOTTEST R&B SINGLE IN AMERICA * The Poets
THE NO. 5 HOTTEST R&B SINGLE IN AMERICA * Otis Redding
DETROIT ‘TOP 5’ WJLB WCHB
Many of these records were the most popular radio plays heard on Detroit’s two R&B stations on the AM dial at the time, WCHB 1440and WJLB 1400, week-ending 04/23/66.
WKNR Sets News Sights on Like-minded Creative Personalities; Communicate ‘Newer’ Music Format, Regain Station Appeal, Audience
DETROIT — WKNR, once a powerhouseTop 40 station here, begins the long road back Monday (May 4) with a “personality” concept, a tight playlist, and a new set of jingles that PAMS intends to market under the name “The Sherwood Series,” after the new WKNR national program director.
The new image of the station is being guided by general manager Frank Maruca:Lee Sherwood, who has become nationalprogram director of the budding chain that recently purchased WKNR; and WKNR program director Skip Broussard.
WKNR was, several years ago, the No. 1 young adult station in the market, then lost out to CKLW, a Drake -consulted station. Now, however, CKLW is having to trend more toward a Canadianaudience in spite of the fact its signal booms into several major U.S. cities. There had been rumors that WCAR might go rock, but these have failed to materialize and the station is still easy listening in nature.
To fill the gap being created, Lee Sherwood and Skip Broussard hope to develop “a new kind of Top 40 radio.”
The playlist will vary in length-sometimes as long as 38 records. “This is not a lot of records, as compared to the old days of Top 40 radio, but it’s a substantial list for a major market radio station of today,” Sherwood said. “WKNR will, however, be a little morefavorable to new records than it has been in the past. In fact, by the second week we’ve been on the air with our new motif, we will have totally wiped out the bad image this station has had so long.
Ron Sherwood, music director, will be listening to all new product, along with Skip Broussard. Broussard has already installed the same research techniques he used in Knoxville and had initiated in Memphis – not just finding out what records are being sold in Detroit, but who’s buying them.
As for the deejays, WKNR will ask them “to use their brains,” Sherwood said. “The time has come . .when we’re in the business of communicating, but no one is. I’ve listened to many, many tapes in recent weeks, but none of the deejays have been able to say anything. Within the framework of the format, there will be times when the WKNR air personality will be encouraged to communicate with the audience.”
The key factor with creating the new imageof the station, Sherwood felt, will be the new jingles. “The jingles hasn’t changed since it was introduced on radio -it’s featured a big band sound or a jazz -favored small band.Bill Drake came along and wanted to get more music on the air, so he exploited the acapella jingle; you never had to change them.
“But I got to looking around andI noticed what advertisers were doing. They create a ‘feeling’ for a product as well as selling it.” He referred to the “think young” concept of Pepsi andthe “real thing” concept of Coke. “The jingles I’ve just cut at PAMS are similar . . . they’re a life-style.You’ll get a feeling of our station like no other station has ever tried to establish, a certain charisma, an instant emotion response,” he said.
One of the lyrics of the jingles reads: “You’ll never be lonely again – WKNR.”
“When has any radio station told that to a listener?” Sherwood asked. “I think these jingles will revolutionize the radio industry.”
WKNR has been tightening up thebasics over the past weeks, he said. “May 4 just heralds the frosting on the cake.”
Select Records
Air personalities are being allowed to select their own records from a basic playlist. Guidelines prevent theplaying of two records back-to-back by females, two soul records, two bubblegum records.
The main drive at WKNR will be to establish something different andrefreshing and good. Sherwood was prettydejected with radio in general. “There are not more than a dozen good stations around the country. We’re one of the few industries whodon’t have an art form … there should be art form in radio, but there’s not.
“I hope we can encourage youngpeople to come along and create. This stealing from each other has got to stop.Every station sounds just like another radio station. It sure saves a lot of trouble stealing programming ideas and promotions from somewhere else . . . but it doesn’t help our business. There must be a hundred Somebody W. Morgans in the nation…. I’ve heard more Don Steeles than you could believe. It’s crazy that stealing stations would even steal the names.”END
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Information and news source:Billboard; May 9, 1970