MCRFB (Billboard) News – Motor City Radio Flashbacks

BEATLEMANIA RETURNS AS ‘LET IT BE’ CLICKS . . . JUNE 6, 1970

‘McCartney’ LP Number One; Beatles’ Let It Be’ Album Leaps to Number Two, Just Two Weeks on Billboard

NEW YORK — Beatlemania — this time in the form of increased productivity from the group and individual members and in booming sales figures for Beatle product — is still alive and kicking. Beatles’ business manager, Allen Klein, revealed that 3.2 million copies of the group’s “Let It Be” album had been shipped in 13 days. At No. 2 on the Billboard album chart, this week, it jumped from 104 (May 31). Another Apple album, “McCartney,” by Paul McCartney, retains the top spot.

According to Klein, “Let It Be” is already the fourth best selling Beatle album. The list is headed by “Abbey Road” (about 5 million, said Klein), followed by their first ever U.S. album, “Meet the Beatles” (4.3 million) and “Hey Jude” (3.3 million). In fifth place, behind “Let It Be,” is “Sgt. Pepper,” usually regarded as the biggest Beatle seller (2.7 million).

Pointing out that “Abbey Road,” “Hey Jude” and “Let It Be” are all recent product, Klein sees this as justification for the present Apple method of operation. “Since January, Apple has, in effect, taken a unique position in the record business, having total control of and responsibility for the amount of product to be manufactured and shipped,” he said. “Apple is an independent record company using wholly owned distribution and marketing procedures of another major record company. Apple takes all the risks of obsolescence and returns.

“The best evidence of the success of this type of distribution is in the enormously high sales of ‘Hey Jude’ which sold more in total than ‘Sgt. Pepper.’ And this sold without the usual amount of airplay that a new Beatle album or single gets because there was nothing new in the album.

“‘Abbey Road’ was less of a miracle because it was new product and had much airplay. And ‘Let It Be’ had two top singles and a film to help it along.”

Capitol, United Artist Praised

Klein praised the resources of both Capitol and United Artists in contributing to the success of the “Let It Be” album. “We used Capitol’s manufacturing facilities to press 4 million-a million ahead, which is the risk that Apple takes. We drop shipped an initial 2.7 million, around 60 percent to major distributors and the rest to United Artist depots. We get daily information on key retail movement across the country so we know pretty quickly how things are shaping up.

“We have airplay in 40 percent of the country and with the film on release we managed to create the excitement of the release which is so important.

“We are now in a position of discussing what the potential sales of a Beatle album is, in a country of 200 million I don’t know — I reckon they should sell 20 million. But I do know that right now we have coordination. We are maximizing their potential.”

Klein has figures for other Beatle albums that were tied in — as is “Let It Be” –with films: “A Hard Day’s Night” (2.5 million), “Help” (1.5 million), “Magical Mystery Tour” (2 million) and “Yellow Submarine” (700,000).

Klein claims that the restructuring of Apple, freeing the Beatles from business duties, is the reason for the increased flow of material from the group. In the last 12 months the group has brought out five singles and three albums. Klein estimates the sales for that year at 13 million units in the U.S.

“This control they have in their own product is a spur to productivity,” he said. “The incentive to call their own shots means a lot. John Lennon finished ‘Instant Karma’ on a Friday and the record was in the shops the following Thursday. This is a great incentive to making records.”

Klein has reassurance for those surprised at the sales figures for the “Sgt. Pepper” album: “It is still selling a regular 50,000 copies a month. The Beatles catalog is also very strong. END

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Information, credit, and news source: Billboard June 6, 1970

**Allen Klein** with George Harrison, circa 1970.

MICHIGAN MOBILE RADIO BIG ON AUTO SOUND . . . MAY 14, 1966

Tape Player Installer Advertises Heavily in Weekly Ads on Local Radio in SE Michigan

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, 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 outlet. END

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Information, credit, and news source: Billboard May 14, 1966

WJBK AMENDS ITS FORMAT TO SOFT ROCK . . . MAY 14, 1966

Station Lightly Modify Current Format Geared to Attract Younger 18 plus Audience

DETROIT — WJBK, 50,000-watt outlet here, has launched a soft-rock format, giving the market four Hot 100 stations. Program director John M. Grubbs said the format is more “amended,” than changed. The new programming operation is being changed slowly, but should be complete by May 9.

Dick Boyer has been added to the air personality roster to handle all-night chores. Jerry Blocker, a Negro, formerly of WCAR, will handle the 7-midnight slot, accenting light commercial jazz.

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WJBK had tried a Hot 100 format before, but in August 1964, switched back to good music. The station is now injecting current Hot 100 Chart singles of non-raucous nature.

“What we’re looking for is the uptempo, but not specific, teen tunes,” Grubbs said. As an example, the station was playing last week, “Monday Monday” by the Mamas and the Papas. “Sloop John B” by the Beach Boys, “Secret Agent Man” by Johnny Rivers, “Daydream” by the Lovin’ Spoonful, “I’m So Lonesome I Could Cry,” by B. J. Thomas and the Triumphs, “Rainy Day Women,” by Bob Dylan and “How Does That Grab You, Darlin’, ” by Nancy Sinatra. Album cuts with bright appeal are also being played.

“We’re trying to create a hip sound for the 18 and-up age bracket,” Grubbs said, “and we’re getting a good reaction.” Last July the station placed fourth in Billboard’s Radio Response Rating survey for influencing sales of albums in the market. There are presently three Hot 100 stations in the market besides WJBK. WKNR, CKLW, and WXYZ. WJBK just recently upped its daytime power to 50,000 watts from 10,000; the station hopes to soon add to its nighttime directional pattern with the increased wattage power. END

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Information, credit, and news source: Billboard May 14, 1966

MONKEES THE TOP BANANA GLOBALLY . . . FEBRUARY 11, 1967

Hot Popularity Fuels Monkees’ Recordings Across Europe and Beyond

NEW YORK — The Monkees are swinging to the top on a global scale. Their Colgems releases, which are distributed by RCA Victor, are following the phenomenal sales pattern set in the U. S. in such foreign countries as England, Holland, Sweden, Belgium, Norway, Germany Canada, Japan, Australia and the Philippines.

In the U.S., the Monkees’ two album releases, “More Of The Monkees” and “The Monkees,” which holds the one and two spots in Billboard’s best-selling popular LP chart this week, have sold in excess of three million copies. Their two single releases, “Last Train To Clarksville” and “I’m A Believer,” have sold more than 5,000,000 copies.

In England, “I’m A Believer,” has passed the 600,000 sales mark, and their first album, “Monkees,” is selling at a fast-sales clip. The first single release, “Last Train To Clarksville,” which failed to stimulate much interest in its initial round, is now beginning to perk up in sales.

“I’m A Believer” is No. 1 in Holland and Sweden; in the Top 10 in Belgium and Norway; a run-away seller in Canada; in the Top 10 in Japan and Australia, and starting to move up in Germany and the Philippines.

Victor also reports that the Stereo-8 version of the Monkees LP is a fast moving item, and that “More Of The Monkees” is scheduled for Stereo-8 cartridge release later this month. END

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Information, credit, and news source: Billboard; February 11, 1967

The Monkees, 1966 (Credit: Keystone/Getty Images)

McKENZIE BOWS OUT IN ‘FORMULA RADIO’ PROTEST . . . MARCH 16, 1959

Radio Veteran No Longer Finds Place Nor Pleasure on the Dial at 1270

DETROIT — Veteran deejay Ed McKenzie resigned from station WXYZ here last week in protest of the station’s “formula radio” programming policy.

Detroit radio’s two biggest names, Ed McKenzie, Robin Seymour in the late-1950s.

Rallying to McKenzie’s side was his long-time competitor and another veteran Detroit spinner, Robin Seymour, of WKMH who came out strongly last week for McKenzie and against “formula radio.” Seymour stated: “It’s a crime and a shame when one of the true deejays – one of the men who made the jockey a major factor in broadcasting – has to bow to the dictates of a program director.”

Although Seymour and McKenzie – two of Detroit’s key deejays – have vied for audience ratings for the past 11 years (they occupied the same afternoon time slot) Seymour said they have remained friends — their friendship dating back to the time McKenzie gave Seymour his first radio job at WJBK here.

Seymour has asked McKenzie to appear on his WKMH show this week to discuss the whole formula radio situation and his reasons for leaving WXYZ. Seymour said they will explore the jockey’s need for freedom of programming and speculate on whether the advent of “formula radio” has anything to do with the fact that no new name deejay (other than Dick Clark) has come up from the ranks in recent years.

Seymour said his station, WKMH, is now the only major Detroit station operating on a non-formula programming policy. The outlet did adopt a non – rock and roll format last year, but Seymour said the management dropped the policy last January, and pert record programming back in the deejays’ hands. As a result, the jock said WKMH’s ratings are already showing a small rating climb – the first rating increase for the station in some time.

The WXYZ “formula,” (featuring the Top 40 singles) was adopted by the station about a year ago, and WXYZ vice president in charge of radio, Hal Neal opined “Our interpretation of formula radio is that it is a step forward.”

McKenzie on the other hand expressed his opinion that this “formula” did not jibe with his interpretation of radio as “being intimate and friendly.” He stated that his ratings were dropping since the “formula policy” has gone into effect and that he would sooner “dig ditches or sell hot dogs” than go back to formula radio because “I can’t do something I don’t believe in.”

The radio station disagreed with McKenzie’s use of bird calls on the air and his “on the air” comment on office typing and the programming. The station also found themselves in disagreement with McKenzie about their new policy to boost the station on his programs, which the jockey termed `unnecessary.”

McKenzie’s 3 p.m. to 6.15 p.m. spot is being taken over by Mickey Shorr, who will have another replacement for his own Night Train program. Reportedly making between $60,000 and $80,000 a year in his 29th year with radio. McKenzie was Jack the Bellboy at WJBK before he changed to WXYZ radio in 1952. END

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Information, credit and news source: Billboard, March 16, 1959

Ella Fitzgerald guests on WXYZ with Ed McKenzie, circa 1954.

RADIO’S STEREO FM’S HOTTEST MARKETS IN U.S., ’63 . . . JUNE 29, 1963

Projected One Million Stereo FM Receivers Will Be Sold, 1963

NEW YORK — FM STEREO’S HOTTEST MARKETS. One million stereo receivers will be sold this year. Not bad for for a medium which celebrated it’s second birthday this month.

About 730,000 of the anticipated 1.4 million American-made radio-phonographs will be equipped for FM stereo reception; another 130,000 of 280,000 TV-radio-phonograph combinations will have it. Add at least another 100,000 for table-model FM stereo radios and FM-stereo equipped imports of various types, plus another 50,000 or so component tuners, and you have well over a million sets going to the public this year. (The radio-photo and TV-radio-phono estimates were made by the Electronics Industries Association; other estimates tabulated by Billboard).

FM stereo is a valuable adjunct to a phonograph. It vastly increases the consumer’s enjoyment — and the dealer’s profits. It can be sold easily with a good demonstration. The same is true of FM stereo table radio.

THERE ARE NOW 228 FM stereo stations in the U.S., and about 10 in Canada. FM stereo can truly be called a nationwide medium today. The American stations are located in 209 cities in 44 States plus the District of Columbia and Puerto Rico. FM stereo signals can be received in every one of the top 50 U. S. metropolitan market areas — and in many, many less populated areas.

FM stereo is far hotter in some areas than others, of course. In these “hot” areas, every radio-phono sold should contain FM stereo. FM listeners are subject to a constant barrage of FM-stereo talk on their favorite stations, and this talk can be converted to sales with a little effort.

These are FM stereo’s hottest cities (not necessarily in order): Los Angeles, San Francisco, Chicago, Detroit, Philadelphia, Houston, Seattle. Each one of these cities has at least 5 FM stations broadcasting in stereo. Detroit has six. Los Angeles and Seattle will soon add their sixth. San Francisco, long reputed to be the hottest FM-stereo town of all, probably deserves this reputation. With five stations already broadcasting in stereo, three more have purchased stereocasting equipment and presumably will soon begin stereo, to make San Francisco the nation’s first eight-stereo-station city.

The second-hottest group of stereo cities (in order of number of stereocasting stations) consists of San Diego, Miami (with a fifth station due to begin soon), Boston, Dallas-Ft. Worth also expecting No. 5 on the air soon). Each of these cities currently has four FM stereo program sources.

Three-stereo-stations areas are Washington; Minneapolis-St. Paul; Cleveland; Eugene-Springfield, Oregon; Madison and Milwaukee, Wisconsin.

There are at least 18 cities where listeners have a choice of two FM stereo stations. Geographically, they’re scattered from border-to-border and coast-to-coast. They are Phoenix, Birmingham, Fresno and Sacramento, California; Atlanta; Honolulu; Cedar Rapids, Iowa; Grand Rapids, Michigan; New York; St. Louis; Greensboro, North Carolina; Oklahoma City and Tulsa, Oklahoma; Portland, Oregon; Pittsburgh, Providence, Norfolk, Nashville.

There’s no particular pattern of geographic location or city size in the spread of FM stereo. In many cases, a good, well-operated FM stereo station (such as San Francisco’s KPEN) will build an audience and inspire its competitors to “go stereo.”

A typical home entertainment unit, FM stereo phonograph console, 1963.

NEW YORK, YOU WILL NOTE, is rather far down on the list. The city has never been a trail-blazing town in home entertainment. New York’s FM stereo boom may come soon, however, as at least three more stations are preparing to start stereocasting. For serious music lovers, who are now served with some stereo by WQXR-FM, there will be New York’s municipal station WNYC-FM, which hopes to eventually stereocast all of its live concert broadcasts, and ABC’s WABC-FM, which will program separately from its AM affiliate, presumably serious music. For those who prefer lighter music, the popular WPAT-FM will supplement WTFM. now programming stereo 24 hours daily.

NEXT STEREO CITIES. Between 50 and 75 more FM stations will begin stereocasting between now and the end of 1963. These are expected to open up more new markets for stereo equipment sales.

Among the upcoming new FM stereo market areas where stations are now equipping themselves to start stereo broadcasting: Mobile, Alabama; Tucson, Arizona; Boulder, Colorado; Columbus, Georgia; Boise, Idaho; Champaign, Illinois; Louisville; St. Joseph, Missouri; Los Alamos, New Mexico; Dover, Springfield, and Toledo, Ohio; Warren and York, Pennsylvania; Seneca, South Carolina; Greenville, Johnson City and Lebanon, Tennessee; Lubbock and Midland, Texas; Bellingham, Washington; Eau Claire, Green Bay and Wausau, Wisconsin; Cheyenne, Wyoming; Aguadilla and Isabele, Puerto Rico.

If your business is located in or near any of these cities, its not too early to prepare for the advent of FM stereo. Your customers should be told that FM stereo is coming, and advised to be ready for it. You should be ready for it, too., with an adequate supply of FM-stereo-equipped instruments., and armed with knowledge of what it’s all about. END

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Information, credit and news source: Billboard, June 29, 1963

BILL GAVIN REPORT | DJ’s MORAL FORCE IN COMMUNITY . . . DECEMBER 21, 1963

The Bill Gavin Newsletter / December 21, 1963

By BILL GAVIN
Billboard Contributing Editor

DURING THE DAYS that followed President Kennedy’s death, I was privileged to talk with many people in radio, in many different cities. Without exception, they expressed shock, grief and even shame that such a thing could happen in the United States of America. Many spoke with pride of the manner in which their stations responded to the tragic events and of the loyal, unselfish cooperation of their program staffs.

All stations, of course, abandoned their regular formats of popular records, substituting different kinds of serious music. All advertising was canceled until the morning of Tuesday, November 26. Even after that date, many stations were cautiously slow in returning to their full complement of current hit records. In a few cases, it was reported that even though the regular playlist was once more in effect, disk jockeys simply would not program the more raucous sounds. The entire response of American radio during those difficult days was a mark of innate good taste and respect for listeners’ feelings on the part of radio people.

**WJBK RADIO 15 RECORD REVIEW** November 29, 1963

THE QUESTION has been asked by many – and answered by none: Will the sobering reflections of our national tragedy bring about a new trend in programming? Some things are fairly certain: shock wears off; memories of sorrow grow dim; time erodes the sharp edges of a newly aroused national con- science. It is a part of living that there should be music and laughter and entertainment. No one would want it otherwise. Radio Influences youth network television, and radio is doing an excellent job of presenting and explaining the world’s problems and our concern with them.

Unfortunately, very little of the networks’ news and commentaries ever reach the school age population. The majority of the teens and pre-teens prefers listening to pop radio. Pop records are its entertainment and disk jockeys are its heroes.

**Manhattan New Yorkers** listening in to the news out of Dallas from an open car’s radio. Friday afternoon, November 22, 1963.

THERE ARE DISK JOCKEYS who claim to “identify” with teenagers. What some of them mean is that they accept and condone teen attitudes and behavior: What is implied is often the disk jockey’s apparent approval of the lowest common denominator of juvenile morality. The radio jock is the acknowledged leader in the field of records for youth; he too often neglects his opportunities to lead in the direction of more enduring values. Many radio stations, with their well -publicized “personalities,” are held in far higher esteem by their young listeners than are their schools, their churches, or even their homes.

It is time, I think, for such prestige to be used to reinforce, rather than to ignore, the basic values of human living. Isn’t it time that radio stood for something besides competition and profit?

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Information, credit and news source (as published): Billboard December 21, 1963

WGPR STATION ON THE MOVE, HAS 36 REMOTES A WEEK . . . JULY 17, 1965

WGPR Making Waves in Detroit with Increased Remote Broadcasting

DETROIT — A radio station that’s “kinda movin’ ” gets listeners and WGPR-FM is a station constantly on the move. Floyd M. Jones (aka Sporty J), station manager, said the station is “No. 1 among FM stations and No. 3 among stations – period.”

WGPR (Floyd M. Jones) Disc Jockey Lounge billing, mid-1960s. *(Click on ad for largest PC view; or tap image, stretch image across MOBILE device screen for detailed view).*

Probably the strongest example of how this station moves, however, is a countdown of its remotes – 36 a week. Jones handles a two-hour daily, three – hour Saturday evening jazz record show from the Disk Jockey Lounge. Dan (Bull Frog) Harrison does an rhythm and blues record show from the Chit Chat Lounge. DJ Larry Dixon may handle a random remote broadcast, but nothing steady at the moment; however, he does have a weekly record hop.

The 50,000-watt FM station broadcasts about 20 hours a day covering a radius of 75 miles. One reason for the tremendous success enjoyed by the station, Jones said, is that some 87 per cent of Detroit’s Negro element has FM radios. “But it’s more than that. We’re creating the image here that FM is more than just a background medium. We’re putting out a new sound.”

While the station programs record shows for Detroit populace such as Greeks, Italians, Polish and Mexican, the main portion of each day is used with rhythm and blues programs – a total of three programs a day for a total of seven hours. Jazz takes up about four hours each day. Gospel music is played early in the morning. Sunday is devoted to remote broadcasts most of the day from local churches. The station employs about 40 people. Bob Longwell is the station’s general manager.

Another reason the station is moving, according to Jones, is that programming and air personalities aims at three important and large audience segments. “I take care of the jazz fans,” Jones said. “Larry Dixon is a teen-oriented personality. And Bullfrog is for the rhythm and blues fans.” END

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Information, credit, and news source: Billboard, July 17, 1965

SEE FOUR-WAY DETROIT [RADIO] BATTLE . . . NOVEMBER 16, 1963

WKMH Becomes Former at New Radio WKNR

DETROIT — A four-way battle is shaping up in this market with the immediate changeover in programming at WKMH.

**WKNR NEW RADIO 13** personality DJ lineup. November 1963

The Dearborn-based 5,000-watter has introduced a new set of calls, WKNR, several new airmen, and a radical switch from the soft sound in music to a “30 plus 1” format. Detroit will be one of the few markets where severe competition is taking place among three or more pop music stations.

The Knorr-owned outlet has been under the program doctoring of consultant Mike Joseph for many months. Soft standards had been the path for more than a year. WKMH (Now WKNR) was once the major pop music outlet in the market. Today a major fight is developing between the new WKNR, RKO’s 50,000-watter, CKLW (which recently added Tom Clay in the late p.m. slot to help accentuate their positive pop sound), WJBK, Storer-owned swinger, and WXYZ, the ABC-owned pop-rater.

Mort Crowley (KHJ defector) broadcasts 5 to 9 a.m. followed by the Motor City’s famous Robin Seymour in the 9 to noon slot. Jim Sanders is handling the noon to 3 shift with Gary Stevens hosting the 3 to 7 p.m. segment. Bob Green goes up to midnight and Bill Phillips holds the fort as the all-nighter. END

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Information, credit and news source: Billboard, November 16, 1963

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MOTOWN MONDAY | MOTOWN OUT OF KING SUIT . . . OCTOBER 19, 1963

Dr. King Attorney Retracts Infringement Suit Against Motown Records

DETROIT — Involvement of Motown Record Corporation in a multi-defendant infringement suit lodged last week by the Rev. Dr. Martin Luther King was an error, and the company’s name has now been dropped from the suit, according to Motown spokesmen.

According to officials of Motown, King and the record company’s president, Berry Gordy Jr., are close friends and that when King’s attorney, Clarence Jones, filed the suit, he was not aware of this and of previous agreements made between the two men, and added the name of Motown to those of the other defendants, Mr. Maestro, Inc., and 20th Century-Fox Records.

The action stems from the alleged unauthorized use on records of King’s recitation, “I Have a Dream,” used at various integration rallies, on which he says he obtained a copyright.

The Motown use of the recitation appeared on an LP of a mass meeting and rally earlier this year in Detroit. Motown says it will soon issue another LP, titled “The Great March On Washington”. END

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Information, credit and news source: Billboard, October 19, 1963

A MCRFB Note: For a more in-depth publication relating as close to this October 1963 Billboard story, read this TIME article dated February 20, 2020, HERE

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The Motown Records ad featured below (published in Billboard 10/12/1963) was digitally restored by Motor City Radio Flashbacks.