WKNR TURN ON DETROIT WITH “NEW RADIO 13” . . . JANUARY 11, 1964

From the MCRFB NEWS archive: 1964

TOP 30 Makes Noise In Detroit

WKNR Flashback: WKNR Music Guide December 24, 1964 (Click on image for larger view) — **WKNR Flashback:** WKNR Music Guide December 24, 1964 *(click on image for larger view)*

DETROIT — The impact of the newly formed WKNR (formerly WKMH) is being felt in the Detroit market with the station less than two months into its new Top 30 fare.

The station–long associated with soft instrumental music–was reformatted and reorganized to a Top 30 plus-one sound by consultant Mike Joseph (newly-appointed vice-president, NBC-owned stations) and is staffed by Sam Holman (formerly of WABC), Mort Crowley (a KHJ, Hollywood alumnus), Robin Seymour, (veteran Detroit radio stalwart) and Gary Stevens, among others.

The station, which was in 9th or 10th place in the market several months ago, is now reporting that its morning ratings have doubled while the afternoon number have tripled. It was also revealed by WKNR that it is now tied for third place in the market during weekdays and has moved into second place on Saturdays.

Detroit is perhaps the only city in the country where there is a four-way battle among pop-music formatted stations in the market. Leading giants of the area are Storer-owned WJBK (Radio 1500); ABC-owned WXYZ (Radio 1270), and RKO’s 50,000-watter CKLW (Radio 800), located just across the border in Windsor, Ontario.

WKNR Flashback: WKNR Music Guide December 31, 1964 (click on image for larger view) — **WKNR Flashback:** WKNR Music Guide December 31, 1964 *(click on image for larger view)*

WKNR has launched a major promotional campaign in conjunction with its new programming. One hundred and five thousand two-color school book jackets are being distributed through local drive in restaurant and doughnut shop chains. A (WKNR) pop music list entitled, “Music Guide,” is being handled by 130 retailers of phonograph records (majority record shops) with 50,000 surveys printed each week. Ninety-seven Cunningham Drug Stores are distributing two and a half million serialized match books which are tied in with a WKNR on-the-air contest which has a basic $13 jackpot with $1 being added each hour the prize is not claimed. The station also effected a link with the 77 Kroger food markets in the area for a forthcoming giveaway of Top Value Stamps.

On January 31, the station will co-sponsor with the Ford Motor Company, the 17th annual March of Dimes to take place at the Light Guard Armory, located on 4400 E. Eight Mile in Detroit. Ford will be displaying several of their custom and experimental car products during the two-day benefit event ending Feb., 1st. END

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(Information and news source: Billboard; January 11, 1964)

A MCRFB Note

During the two-day WKNR March Of Dimes event at The Eight Mile Armory, dance and entertainment was also provided by WKNR and Ford Motor Company, attended by some of the top record acts of that time, hit-makers and recognized popular artists both on the national and local level here in 1963 – 1964.

On the billing during the two Keener 13 March Of Dimes dates: Johnny Nash; The Riveras; Santo and Johnny; Jamie Coe and the Gigolos; Eddie Holland; Timmy Shaw; Tony Clarke; Gino Washington; Tommy Frontera; The Coronados; Timmy Shaw; The Adorables; Dee Edwards; Chris Peterson and more . . . to be there, what a memorable event that must have been! — MCRFB.COM

A MCRFB NEWS brief: 1964

Mort Crowley Laments Quitting WKNR In 1964

WKNR-AM * Mort Crowley Quits Keener 13 * FEBRUARY 1964

CHICAGO — Detroit’s “Bad Boy” Mort Crowley who hit the front pages by quitting on the air at WKNR has since become the model of deportment. Mort joined Storz-owned WDGY, Minneapolis, in July 1964 and moved to St. Louis with Storz’s KXOG last January (1965). Mort told Billboard by phone he hopes to regain the ground he lost by his mistake and noted: “Thank God, I have an opportunity to do it.” END

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(Information and news source: Billboard; July 17, 1965)

Addendum: Here’s the WKNR “Key Men of Music” line-up for January, 1964: Mort Crowley, 5 AM – 9 AM; Robin Seymour, 9 AM – 12 Noon; Jerry Goodwin, Noon – 3 PM; Gary Stevens, 3 PM – 7 PM; Bob Green, 7 PM – 12 Midnight; Bill Phillips, 12 Midnight – 5 AM.

Frank (Swingin’) Sweeney, formerly program director and air personality at WKBN, Youngstown, Ohio, replaced Mort Crowley for the morning-drive at WKNR in February, 1964. Besides doing mornings on Keener 13, Sweeney was music director at WKNR from August, 1964 through August, 1965, terminated when he abruptly quit on WKNR — as did Crowley — whom he replaced. When Sweeney left in August of ’65, Dick Purtan immediately became the new morning rise on Keener 13 through December, 1967. Purtan left WKNR in January, 1968 for WBAL-AM in Baltimore. Just two months later he would return back to Detroit radio on WXYZ-AM, March, 1968.

Mort Crowley — According to an obit-article in the St. Louis Post-Dispatch dated April 2, 1995, Mort Crowley passed away at his home in Miquon, Wisconsin, Thursday, March 30, 1995. He died after a lengthy bout battling prostate cancer. Mort Crowley was 63.

WLBS KISSED BY WKSG GOLD . . . NOVEMBER 17, 1984

From the MCRFB NEWS archive: 1984

Detroit’s WKSG Focuses On Local Color

**WLBS-FM Detroit** *(Click on image for larger view)*

DETROIT — WLBS ended a brief experimentation with top 40 here Friday, November 9 when the station switched it’s call letters to WKSG and its format to oldies.

Now known as Kiss 102.7, WKSG has adopted the “Kiss Of Gold” format developed by by veteran programmer and Detroit native Paul Christy. According to general manager Joe Buys, the new format focuses on the music of the ’60s and ’70s, emphasizing Detroit artists and songs that were popular in Detroit in particular.

Program director Sergio Dean continues in that capacity. The rest of the staff will remain intact. However, Buys doesn’t rule out the possibility of signing longtime Detroit personalities: “We could use at least one person who understands Detroit’s lifestyle and characteristics,” Buys suggested.

According to Buys, who joined the Inner City Broadcasting-owned station last month after a year in Chicago with Arbitron as central division manager, WLBS had undergone several changes since its 1979 inception as a disco station.

After a lengthy stint with an urban format, the station switched to a “new music” orientation, which remained in place until last August. At that time, a Burkhart/Abrams-consulted “hybrid” hits format known as “the best of everything” went into effect.

“It didn’t work,” says Buys, noting that WLBS faced stiff competition in the top 40 market from Gannett’s WCZY and Capitol Cities’ WHYT. After researching and “evaluating the market’s holes,” Buy says, ‘we found gold’ to be the biggest hole.” The Detroit area’s only other oldies radio station, he notes, is WHND Monroe, a daytime AM outlet which consultant Christy “got off the ground” in 1978.

“The baby boom generation is growing older, and they’re bringing their musical heritage with them,” says Buys. “We found an audience which wants updated gold, and they want stereo FM to hear it on.”

According to Christy, a 25-year radio veteran most recently with WCLS (formerly WABX) Detroit and currently consulting four other radio stations, WKSG’s “Kiss Of Gold” format was “modeled for Detroit.”

“There is an emphasis on Motown music, of course,” say Christy, “as well as other artists popular in Detroit in the ’60s and ’70s.” In addition to better known artists as Bob Seger, the MC5 and Ted Nugent, Christy says local favorites such as the Dynamics, the Wanted, the Velvelettes, the Gallery, the Scott Richard Case, the Rationals, the Fantastic Four, and other acts such as Tim Tam and the Turn-Ons will be heard.

“I feel a cyclical backlash to top 40 coming on,” says Christy. “Artists like Prince and Cyndi Lauper are wonderful, but they’re played into the ground. WKSG’s new format, on the contrary, involves at least 3,000 titles, which is enough material so that there’s no repetitive — with the advantage of built-in familiarity.”

Adds GM Buys, “Gold is a format that traditionally attracted loyal listeners, as well as cume sharing tendencies.” END

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(Information and news source: Billboard; November 17, 1984)

A MCRFB Note: Paul Christy, real name Paul Christides, passed away on June 4, 2007. He lost his life to Parkinson’s Disease. He was 69. Christy formerly was music director at WCFL. He was also the morning personality on WCAR in the early-1970s in Detroit. Christy also programmed WABX in the early-1980s, WCLS, and WKSG. As recently as the latter 1990s, he was doing mornings on WYUR-AM 1310.

FLASHBACK MOTOR CITY HAPPENINGS ’67 . . . AUGUST 19, 1967

From the MCRFB NEWS archive: 1967

Music Happenings In and Around Detroit Town, 1967

Monkees Concert canceled at Detroit's Olympia for July 29 1967. — **The Monkees’ Concert** was canceled at Detroit’s Olympia Stadium, Saturday, July 29, 1967.

DETROIT — The Monkees concert originally scheduled for July 29 at Olympia Stadium which was canceled due to the riots, was rescheduled for August 13. WKNR, alongwith its promotion and production department, heavily advertised and was sponsor to the Detroit sold-out event, in conjunction with Dick Clark Productions. . . . The Pleasure-Seekers, an all-girl group from Grosse Pointe, are booked into Trude-Heller’s in Manhattan and have signed with Associated Bookings in New York. . . . The Grateful Dead played at the Grande Ballroom, a psychedelic ballroom-venue here owned by Russ Gibb, on Friday and Saturday, August11 – 12. . . . . CKLW-TV personality Robin Seymour is hosting a series of ‘Celebrity Nights’ at the Upper Deck at the Roostertail on Mondays. He opened on Monday, August 7 with the Rationals, Deon Jackson and Chris Peterson. . . . MGM promotion manager here, Larry Benjamin, is hosting a party for the Paupers to meet disk jockeys and the press at the Pontchartrain Hotel Wednesday, August 16. . . . The Kingsmen are booked to perform at the University of Detroit, Saturday, August 26. . . . “Bearskin Rug Sounds,” an album of readings by CKLW disk jockey Tom Shannon, did so well locally that it will be distributed nationally on the Sound label. . . . Walsh Allen has joined WJLB as operations manager. He spent three years as program director at Cleveland’s R&B WABQ. . . . The Jimi Hendrix Experience makes its first Michigan appearance at the Fifth Dimension in Ann Arbor on Tuesday, August 15. . . . The Spencer Davis Group is in concert at the Ford Auditorium here, slated for Thursday August 24. . . . The Motown Records sales convention takes place here August 25 – 28. END

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(Information and news source: Billboard; August 19, 1967)

A MCRFB Note: For more on the WKNR 1967 “Monkees In Detroit” concert, see our previous MCRFB March 3, 2012 feature, here.

For more on Tommy Shannon’s “Bear Skin Rug” Music LP, see our previous MCRFB May 4, 2012 feature here.

**The Monkees in 1967.** WKNR and Dick Clark sponsored the (re-scheduled) Monkees’ Concert at the Olympia on August 13, 1967.

**Legendary CKLW** great Tom Shannon was host to “Bearskin Rug” in 1966. *(Photo courtesy Tom Shannon)*

COUNTRY MUSIC MAKING STRIDE, CKLW ON TOP . . . SEPTEMBER 18, 1971

From the MCRFB NEWS archive: 1971

J. P. McCARTHY NO. 1 IN MORNINGS; WDEE NO. 3 IN DETROIT: PULSE REPORT APRIL/JUNE 1971

DETROIT — Country music seems to be doing well in Detroit where WDEE is third in the market 6 A.M. through midnight in the April/June Pulse. CKLW and the Paul Drew pack is No. 1 with 19, WJR comes in with a 17 and nobody touches J. P. McCarthy in the mornings: this guy has a 21 from 6-10. Across the board, WDEE, programmed by John Mazur, has a 7, 8, 6, and 3 (through hours 6-10 A.M.) Breaking the other stations down CKLW has 17, 20, 21 and 14. WABX-FM has 2, 3, 4, 6. WKNR has 3, 3, 6, 5. WRIF-FM has 0, 1, 2, 3. WCHB was pulsed with 4, 4, 5, 10. END

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(Information and news source: Billboard; September 18, 1971)

DETROIT COUNTRY WARS: WDEE VS WEXL . . . FEBRUARY 28, 1970

From the MCRFB NEWS archive: 1970

WDEE: CAN THE DETROIT NEWCOMER BEAT WEXL TRADITION?

DETROIT — What happens when two stations of comparable signals compete in a major market and both airing respective country music formats? The answer may soon develop here as WDEE marches into a fray with WEXL, which has been a country music station since around 1962.

Slowly, but surely, in many markets good facilities are coming along in new country music formats and busting the hold of small-wattage or daytime only stations. Only in a few markets have daytime stations or small wattage stations been able to hold their own against the bigger newcomers. . . and largely only because of the growing role of FM, which these stations use to extend their broadcast day.

But here in Detroit, two 24-hour AM stations are now waging war against each other. On one side, the most traditional station — WEXL — which believes it has established a strong listening habit in Detroit. On the other, WDEE (the former WJBK, a top 40 station before having made the switch), is perhaps a little more expansive in its approach and willing to play popular, though country-oriented, record hits in its format.

WDEE has the advantage, if you talk to Chuck Renwick, regional radio manager who is responsible for markets such as Toledo, Cleveland, and Detroit in the Storer Broadcasting chain. “WDEE has a far superior signal,” Renwick said.

But WEXL, said program director Bill Mann, “has a fairly good signal in comparison to WDEE in spite of their 50,000 watts. Too, we got the image in the market. As far back as 1933, this station has a ‘Sagebrush Melodies’ program featuring country music.”

Go Further

WDEE claims that WEXL has commercial religion on Sunday, which doesn’t help their country image one bit. “In addition,” said Renwick, “WDEE will be aggressive in it’s promotion — running television spots and newspaper advertising. We’ll also be sponsoring our own concerts. We’ll swamp them out in promotions and with the quality of our personalities. But, in order to be successful, we feel that WDEE has to go further than that. It’s more than just beating another country music station. We don’t think our audience on WDEE will become Top 40 or middle-of-the-road as well as the potential country music fans in Detroit. But WDEE will not be zeroing in on strictly a country music audience. I’m not sure that the country music audience, as such, exists anymore, especially in a market of this size,” he said, pointing out that listeners in general were more sophisticated today. “And there are a lot of No. 1 country music stations who’ve certainly gone beyond the normal boundaries of country music fans for their audience. . . in a sense, creating additional country music fans.”

WDEE radio personality Tom Dean with Dolly Parton. — WDEE 15 radio personality Tom Dean, seen here with Dolly Parton *(photo: Tom Dean Broadcast History)*

To counter WDEE in the market, WEXL is not doing anything different, said Mann. “We’re going along pretty much the same as always. That’s one of the problems WDEE has had over the years. . . . they’ve never stayed long with anything. The past six months, under the call letters of WJBK, they were a top 40 rock station. For the eight or nine months before that they were playing good music. One thing I can’t understand is why they don’t stay with any particular format long. But I don’t think that their going country music is good for country music business. It might wake up agencies to the fact that country music is important, considering that two stations are fighting for the audience.”

Adjustments

WEXL, however, has made some adjustments in its programming. Mann said that the format has been tightened up some. And the psychology of having competition has been good for the WEXL personalities. “So, we’re probably sounding better than before.” WEXL has about 50 records charted, but plays 65, plus album cuts and oldies. The station also checks out single sales, but only to an extent. “The biggest problems about singles sales in the area is that only certain stores will carry them. And even those that carry country music don’t have all of the records.”

WDEE Survey May 9 1977 (front). — WDEE Country Survey for May 9, 1977 (front) *(Click on image for larger view)*

WDEE will feature a “pretty broad-playlist,” said Renwick. “We’ll probably publish a playlist of the top 40 country records. Already, we are presenting them on the air. But we’re working off a playlist that includes up to 100 records.” One of the things WDEE is doing in order to build up a rapport quicker with Detroit listeners is that each deejay goes on the phone for a half-hour after doing his show. During this half-hour, he takes requests and chats with listeners. He is free to insert these requests into his program the next day. Besides the singles, WDEE airs between 40-60 current and recent album cuts. The major 40 records, of course, gets most-frequently play.

WDEE has just installed a package of jingles created at Spot Productions in Dallas. Production of the sound of the station is something between an easy listening and a contemporary approach, said Renwick. The deejays have now began to pull their own records, although for the first five or six weeks the station was on the air with its country music format, all of the records were slated for them. Renwick also said all the deejays had done a “lot of homework” about country music. Now they do their own shows within certain guidelines.

Deano Day, formerly of WDEE, shown here at WCXI-AM. He was also part-owner of WCXI. — Deano Day, Formerly WDEE, shown here on WCXI-AM years later. At the time this photo was taken, Deano was in partner-ownership of WCXI

These guidelines include pacing in terms of tempo and a mixture between modern sounds like those of a Glen Campbell and traditional country sounds like those of a Stonewall Jackson or Faron Young. “WDEE plays the traditional things that occur in today’s hit lists. . . though the trend is towards the modern sounds,” Renwick went on to say. To put a balanced sound hour at WDEE, the deejay would play to or three of the modern-sounding records, then a Wanda Jackson: then two or three more of the modern-sounding record and a Faron Young. Album cuts are used to pick up the pace. . . to bring up the tempo. Then there are guidelines to put a separation between records that have the same kind of stories. For example, to keep a song about Carolina from being back-to-back with a song about Oklahoma. “It’s what we call a ‘thinking jocks’ format,” said Renwick. “And so far we’re getting a pretty good response on the telephone. Those half-hours that the deejay spends on the phones after his show gives us a pulse of who’s switching from other stations to us and how many of them are hardcore country music fans.”

WDEE Survey May 9,1977 (back side). — Back of WDEE Survey for May 9, 1977 *(Click on image for larger view)*

On February 11, the station sponsored an agency party for all local time buyers, advertisers and the press. Leroy Van Dyke and his band performed. Other country artists on hand to spread the word abut country music included Jeannie C. Riley, Lynda K. Lance, Nat Stuckey, Tom T. Hall and Hank Williams, Jr.

WEXL will probably not go so “modern” as WDEE. In fact, WEXL program director Bill Mann believes that Ernest Tubb and Kitty Wells are virtually important to its programming. “I think you have to play them or you’d lose your country identity,” said Mann. Jimmy Martin won’t get exposed that much, nor the harder bluegrass sounds of the Osborne Brothers and Flatts and Scruggs. “But we do play their softer sounds. The truth is that there’s just not that much bluegrass being put out today.”

The overall sounds of WEXL seems to be good, Mann said, “from what people tell us. Of course, listeners around Detroit have never had anything with which to compare us. The competition might pick up some listeners, but I think we’ll keep the vast majority of them. And I don’t think they’ll pick up listeners from other formats because the other stations in Detroit– the Top 40 and the easy-listening stations — are playing Glen Campbell and Eddie Arnold.”

WDEE-FM also plays country music — the stereo country music package distributed by International Good Music out of Bellingham, Washington. This package is aired 6:00 A.M. through 5:00 P.M., at which point the FM station simulcast with the AM. WDEE-FM signs off at midnight at the present. END

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(Information and news source: Billboard; February 28, 1970)

WDEE - Front & Back - August 12, 1974. — **WDEE Country Survey Guide for August 12, 1974** *(All scans courtesy the George Griggs collection)*

WDEE.Survey.May.26.1975 — **WDEE Country Survey Guide for May 26, 1975** *(All scans courtesy the George Griggs collection)*

A MCRFB Note: In 2009, Detroit country radio legend Deano Day passed away. For more on this story, see Mike Austerman’s michiguide.com. Also, former-Detroit country great Tom Dean can still be heard on the world-wide web today, here.

HERMAN’S HERMITS’ RECORD HOT FOR ’65 . . . APRIL 17, 1965

From the MCRFB NEWS archive: 1965

HERMAN’S HERMITS SET MARK ON HOT 100 CHART

Herman's Hermits 'Look Who's On First' — Herman’ Hermits “Look’s Who’s On First!” year-end trade publication ad for 1965. *(Click on image for larger view).*

NEW YORK — Herman’s Hermits, the hottest record-selling act today, have set a precedent by having their latest single release, “Mrs. Brown, You’ve Got A Lovely Daughter,” break into the Hot 100 chart at the No. 12 position this week. This is the highest jump of any record, thus far, that has ever hit the chart. The previous high was the Beatles’ release of their single “A Hard Day’s Night,” on Capitol Records, which vaulted at the No. 21 spot last year.

Herman’s Hermits currently have three singles ranked within the top 20 of the Hot 100 chart, with their “Can’t You Hear My Heartbeat” at No. 6, “Mrs. Brown You’ve Got A Lovely Daughter” at No. 12 and “Silhouettes”“at No. 19 after only three weeks on the charts.

Herman of Herman's Hermits with WKNR's J. Michael Wilson, Bob Green and Paul Cannon in 1966. — Herman (Peter Noone) with WKNR’s J. Michael Wilson, Bob Green and Paul Cannon along with Hermit Derek “Lek” Leckenby in 1965. *(Click on photo for larger view; photo courtesy Scott Westerman and Keener13.com).*

Just last month, WKNR, the number one top 40 radio station in Detroit, confirmed “Can’t You Heart My Heartbeat” as having been the most popular hit in record sales, through the station’s own influence with its listeners. “Heartbeat,” recently was the No. 1 song on WKNR for three consecutive weeks in the Motor City. The song hit the No. 13 position at the station on February 25 after debuting there (at No. 28) the previous week. It jumped all the way to the No. 1 spot on WKNR the following week, beginning March 3, and it stayed at the top there through March 24, when it dropped down to the No. 4 spot on Keener 13.

Herman's Hermit's 'Mrs. Borwn You've Got A Lovely Daughter' MGM Records 45 RPM; 1965. — Herman’s Hermit’s “Mrs. Brown You’ve Got A Lovely Daughter,” was finally released as a single in the U.S. on MGM in late-April, 1965. (Click on image for larger view).

But the latest tune, from the British band’s latest LP, has received what is considered the heaviest airplay of any record not released as a single to date.

Disk jockeys were playing the track from the group’s smash LP, “Introducing Herman’s Hermits,” which is currently at No. 3 this week on the Top LP’s chart in Billboard.

While “Silhouettes” was just released three weeks ago, MGM were forced to release “Mrs. Brown” due to popularity and demand and to date has found there has been no effect in the sale of the other two singles by the same group.

The advanced airplay on this tune has obviously helped the sales of this LP tremendously, since demand has forced consumers to buy the package to obtain “Mrs. Brown.”

The group is scheduled to arrive in this country Monday, April 19, for a month of one-nighters with the Dick Clark tour starting April 30. Prior to that Herman’s Hermits will make several personal appearances upon their arrival here. They are slated to appear on ABC-TV’s “Shindig” on May 4. END

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(Information and news source: Billboard; April 17, 1965)

BILLBOARD APRIL 17, 1965

HERMAN’S HERMITS

“Mrs Brown, You’ve Got A Lovely Daughter,” eventually went on to become the nation’s No. 1 song for three consecutive weeks — May 1, May 8, May 15, before dropping down to No. 2 on May 22, 1965 — according to the Billboard charts for May 1965.

WJR-AM RETURNS TO THE CBS RADIO NETWORK… JANUARY 12, 1963

From the MCRFB NEWS archive: 1963

After More Than 3 Year Absence, WJR Returns to the CBS Network

CBS Radio Networks — **CBS Radio** logo *1963*.

DETROIT — After a three-and-a-half-year separation, powerhouse WJR has rejoined CBS Radio, thus filling a glaring gap in the network’s nationwide coverage and adding more CBS “names” to the station’s own extensive personality roster.

The move has spelled no radical change so far in WJR station personnel, though much program shifting has been necessitated by the addition of such shows as “Arthur Godfrey Time,” Art Linkletter’s “Houseparty,” the “Garry Moore Show,” Betty Furness’ “Woman’s Word” and dozens of CBS News programs.

WJR Radio 760 newspaper ad for The Jimmy Wood Show; March 30, 1964. — **WJR-AM 760** newspaper ad for the *Jimmy Wood Show;* March 30, 1964. (Click on image for larger view)

Biggest move slices Jim Wood’s popular afternoon broadcast of “Showcase,” an easy-going blend of pop music, album instrumental tracks, interviews, from a daily two hours and 15 minutes, cut down to 50 minutes across-the-board. Most of the lost time is being made up, however, on a new “Jim Wood Show,” from 10:05 to 11:00 P.M. The new program includes some of the “Showcase” ingredients with the addition of humorous skits written and enacted by the ‘man-of-many-voices’ Wood.

The long-time WJR music variety show, “Guest House,” has been torn down after nine-years as an evening program landmark, but re-appears almost intact as “The Bud Guest Show” in the 12:30 P.M. through 12:55 P.M. slot, featuring host Guest and the WJR orchestra led by Jimmy Clark. The shift, meanwhile, has knocked out a WJR music-oriented show, “Time Out For Music,” which will now be heard on Saturdays only.

Popular WJR air-personality J. P. McCarthy, considered by record industry personnel as being the Motor City’s top-rated record-spinner, has lost his Saturday afternoon segment of “Music Hall,” but has an extra 15 minutes tacked onto his late-afternoon into early-evening daily stint. His early morning spot is left as unchanged from Monday through Saturday.

A 50,000 watt, clear-channel station, WJR covers more radio homes than any station outside of New York, Chicago and Los Angeles — 15,500,000 people in four States plus an additional 3,000,000 in Canada. One of the nation’s pioneer stations, WJR began broadcasting in 1922 and has since become Detroit’s premier good-music radio station.

WJR has been a CBS affiliate from September, 1935 through May, 1959, when station management split with the network over the new Program Consolidation Plan. The Program Consolidation Plan (or PCP) involved compensating affiliates with free programing which they could sell to local advertisers, rather than paying the station cash for using network programming.

Cash Is Back

A WJR Radio Toledo Blade newspaper ad; December 30, 1962. — **WJR goes CBS with these names for 1963:**
*Dallas Townsend; Robert Trout; Stuart Novine; Jerry Coleman; Richard Hottelet; Alexander Kendrick; Douglas Edwards; George Herman; Winston Burdett; Leonard Berstein (pictured left).*
*Arthur Godfrey; Allan Jackson; Art Linkletter; David Schoenbrun; Betty Furness; Garry Moore; Nancy Dickerson; Charles Collingwood; Lowell Thomas; Chris Schenkel* (pictured right)

Stations consider it as an unworkable “barter” system, declared it would hurt the industry and gave the network its six-months’ contractual notice. The plan was dropped by CBS early this year and cash compensation was restored, paving the way for this week’s return.

Since the schism, the CBS Radio Network had been without a regular outlet in the important Detroit market. The NBC outlet of longstanding is WWJ, the Detroit News station. ABC owns and operates WXYZ and WKMH programs Mutual news and sports shows.

Commenting on the move back to WJR, CBS Radio President Arthur Hull Hayes said, “We welcome the re-affiliation of WJR because it reflects the renewed vigor and indestructible importance of (CBS) network radio” having now been enjoined once again in the Detroit market. END

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(Information and news source: Billboard; January 12, 1963)

**Vintage WJR-AM 760** newspaper ad for J. P. McCarthy’s “Music Hall” return; *December 1964*

VETERAN DETROIT DEEJAY BARS ELVIS . . . SEPTEMBER 1, 1956

From the MCRFB NEWS archive: 1956

WKMH’s Robin Seymour Refused Presley Plays On Show

DETROIT — When it comes to Elvis Presley, deejays are saying plenty about him these days, but one thing they evidently can’t do is ignore him. WKMH Program Director and air personality Robin Seymour in Detroit, for instance, recently took a stand against playing Elvis Presley recordings on his show, following the singer’s controversial appearance on Milton Berle’s television program.

Robin Seymour in 1956. — **WKMH** Robin Seymour, 1956.

However, after receiving over 500 letters from teenagers who threaten to boycott his show, Seymour wrote an open letter to his erstwhile fans, which appeared on the front-page article of a Detroit newspaper, under “Teen Life.” In the article, Seymour explained that, “now that Presley was keeping his gyrations under wraps,” (as Presley demonstrated recently with an appearance the Steve Allen Show) the rock ‘n’ roll artist was persona grata on Seymour’s program once again. END

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(Information and news source: Billboard; September 1, 1956)

WRIF-FM ’70s NEWS BRIEFS . . . MAY 22, 1971; AUGUST 4, 1979

From the MCRFB NEWS archive: 1971

Detroit Rocker WRIF-FM Moves Towards 24-Hour Broadcasting

Ann Arbor Sun; Paul Greiner 1971. — **Paul Greiner**, 1971; Ann Arbor Sun article. *(Click on image for larger view)*

DETROIT — WRIF-FM has added two new broadcasters as they move toward a 24-hour format with live programming — Dan Carlisle and Paul Greiner. WRIF started moving toward full live coverage over a year ago. With the two new personality additions, the FM station now offer 21 hours of live broadcasting and three hours of taped programming. Both voices, Carlisle and Greiner, are familiar to Detroit audiences.

Carlisle was one of the original deejay aces at WABX-FM in Detroit before going to Chicago’s WDAI-FM where he held the 10 P.M. to 2 A.M. time slot. Carlisle will be on WRIF-FM from 3 to 7 P.M. Crossing town from WKNR-FM where he filled in from 2 to 6 P.M. is Greiner. Airtime for Greiner will be from 11 P.M. until 3 A.M. END

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(Information and news source: Billboard; May 22, 1971)

From the MCRFB NEWS archive: 1979

KAREN SAVELLY ACES WRIF-FM

**Karen Savelly**, 1984 WRIF Press photo. *(Click on image for larger view)*

DETROIT — Karen Savelly has joined the on-air staff at ABC’s WRIF-FM in Detroit. She will handle the 6 to 10 P.M. time slot. Savelly comes from WRIF rival WABX-FM, where she also worked evenings. Prior to working both stations she was at WWWW-FM where she worked weekends. Experience at these three progressive Detroit radio stations has prompted WRIF to dub her the “first lady of Detroit FM radio.”

WRIF is also introducing a new concert series called “The Friday Night Late Show,” to run from 11 P.M. to midnight. The show will present “up and coming new talent,” according to program director Tom Bender. “We’re screening the list very carefully, not only to get the best talent, but a recording of them in concert that will show off their music to the fullest.” END

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(Information and news source: Billboard; August 4, 1979)

SUPREMES BRINGS EXCITEMENT IN VEGAS . . . JULY 15, 1967

From the MCRFB NEWS archive: 1967

IT’S STANDING ROOM ONLY AND EXCITEMENT FOR SUPREMES IN LAS VEGAS DATE

LAS VEGAS — Florence Ballard, Mary Wilson, Diana Ross, known professionally as the Supremes, and the story of Motown Records, have played to SRO since their opening June 29 at the Hotel Flamingo and there’s no letup of reservations in sight.

Florence, Mary, and Diana at the Flamingo in Las Vegas; July 13, 1967. — Florence, Mary, and Diana at the Flamingo in Las Vegas, July 13, 1967. The engagement will be Florence Ballard’s last ever as a Supreme.

The trio, in their second Las Vegas appearance, is a delight to hear and see. Their gowns and stage wardrobe airs excitement as their choreography and dance arrangements fall in sync as they performed here live on stage.

Included in their 55 minutes of songs and breezy conversations, are such show-stoppers as “Put On A Happy Face,” “Queen Of The House,” “More,” “Yesterday,” “Lady Is A Tramp,” “The Happening,” and sang a medley of their Motown recordings to the rousing delight of the audience’s applause and cheers.

Their rousing closing, “You’re Nobody Till Somebody Knows You,” brings a standing ovation. Gil Askey conducts the Russ Black Orchestra featuring the Supremes, regulars, Bob Cousar, drums; Jimmy Garret, bass; and Napoleon Allen, guitar.

The Supremes, originally exclusively deemed as favorites of the teen set, have upgraded the caliber and format of their stage presentation here, and are now enjoying the full success as adult nightclub favorites.

Their bouncy, fast-paced show is one of the best performances here. END

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(Information and news source: Billboard; July 15, 1967)

A MCRFB Note: Sadly, unbeknownst to Florence Ballard at the time, the Las Vegas engagement in July, 1967, was to be Miss Ballard’s last appearance on stage and as a member of the Supremes.

Rumors later persisted Berry Gordy wanted Florence removed from the trio and Diana Ross more than likely had known Florence was going to be replaced sometime soon — as the Las Vegas story later would unfold — by Gordy’s own hand.

As the on-going rift between Berry Gordy and Florence continued in the spring of 1967, it was also learned Diana had personally recruited Cindy, as a possible replacement, and for no other reason than in preparation for the coming void, with Gordy’s blessings.

Months before Florence was removed, and unknown to her, Berry had Cindy Birdsong, obviously a no last-minute understudy, in training, watching the Supremes for weeks on weeks earlier months before. Birdsong was there during the entire Las Vegas engagement as well, although she did not fully know for what reason Berry had placed her in that position at the time, Cindy later would say.

On July 20, 1967, the marquee at the Flamingo had been changed from “The Supremes” to “Diana Ross and The Supremes” by Berry Gordy’s insistence. But that wasn’t all he had done. One night Florence was on stage next to Diana and Mary. The next night Cindy Birdsong stood in her place. For good. Diana Ross was now “solo” officially and center-stage.

Nine-years later, destitute in career, financially bankrupt and on welfare assistance, Florence Ballard died on February 22, 1976. She was 33. [J.F.]

Source — see also: Where Did Our Love Go? The Rise And Fall Of The Motown Sound. By Nelson George. Published by St Martin’s Press; New York, 1985.

*Page 163, second paragraph; Where Did Our Love Go?

Florence Ballard’s last interview on You Tube