MCRFB (Billboard) News – Page 7 – Motor City Radio Flashbacks

NO. 1 DISK DOESN’T CARRY WEIGHT IT USED TO . . . FEBRUARY 8, 1964

Vinton Laments Chart-toppers Not As Demanded Today As Previous Years

HOLLYWOOD — The power of having the No. 1 record in the nation seems to have diminished, claims Bobby Vinton, whose disk of “There! I Said It Again” and before that “Blue Velvet” haven’t opened as many magic doors as would have been the case five years ago.

“I’ve talked to several other young performers,” Bobby told Billboard, “and they’ve come to the same conclusion. Times have changed and having the No. 1 record in the country just doesn’t excite television producers and night club owners anymore.”

Vinton, who has been with Epic three years, is currently developing his night club act but finds it frustrating not being able to crack prime time television as easily as the disk artists of five years ago were able to do.

Vinton says he’s been told that TV producers think of him as a rock and roll artist mainly because he’s hit the No. 1 position. “They don’t listen to radio stations which play my records so they have no idea what I sound like and they’ve got me pegged as a strictly teen artist.”

The 25-year -old vocalist theorizes that perhaps one of the reasons for the decline of the disk artist in importance to the TV producer is that the producers had enough of fast rising disk names who only had a sound on record and did not come across effectively on the screen. “These people probably feel they’ve learned a lesson and are staying away from record people.”

During Vinton’s career with Epic he has had three No.1 disks and three more in the top 20. Yet his national TV work has been limited to the Dick Clark, Steve Allen and Lawrence Welk shows.

Besides emphasizing that talent buyers aren’t listening to top 40 stations, Vinton says people in the music industry feel that when an artist has the No.1 record “he’s home.”

“You’re not,” he claims. In Vinton’s case he knows he has to change his teenage image if he wants to crack the few variety format shows available on TV.

Citing Jack Jones and Wayne Newton as two new performers who don’t have a teen image, Vinton wonders whether they too might have been pegged as rock and rollers had they hit the glamorous top spot on the charts. END

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Information and news source: Billboard; February 8, 1964

BEATLES’ TIFT IN COURT STILL BLAZING WILDLY . . . FEBRUARY 8, 1964

Capitol Records Claim Beatles Under Label’s Sole Ownership In Court

CHICAGO — The Beatles continued to generate their own peculiar brand of legal heat between Capitol, Vee Jay and Swan here last week.

An injunction issued in Circuit Court restraining Vee Jay from selling Beatles product is still in force. Vee Jay was denied a motion to dissolve the injunction by Judge Cornelius Harrington.

However, the Chicago-based recording company gave notice through its attorney Robert Downing that it had a right of appeal which it planned to exercise this week.

Meanwhile, a hearing on the merits of the case has been referred to a Master in Chancery, with a date not announced as of press time.

Also involved is a Capitol petition to have Vee Jay and M-S Distributing Company held in contempt of court for allegedly continuing to sell Beatles product.

The court denied M-S’ motion to be dismissed and ruled the Chicago distributorship had to answer the Capitol petition. This also will be done’ when the case is heard before the Master.

The legal maneuvering in the case has virtually matched the feverish excitement which the Beatles – oblivious to everything – are generating wherever they go.

At last Thursday’s hearing, counsel for Capitol, Vee Jay and M-S Distributing Company easily outnumbered the handful of spectators in the courtroom.

At one point, four teen-age girls entered quietly, evidently hoping to catch a glimpse of the mop-headed English four, but left after it became apparent this was an afternoon for serious matters only. END

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Information and news source: Billboard; February 8, 1964

RECORD BUSTERS: AND HERE COMES THE BEATLES ONE MORE TIME . . . FEBRUARY 8, 1964

British Chart-Toppers’ Fame and Popularity Spurs Rapid-Climb in U.S. Record Sales

LONDON — The Beatles are certain to establish Britain’s biggest ever selling single in the world with “I Want To Hold Your Hand.”

Home sales of 1,550,000 make it the biggest-ever seller in Britain (sales of “She Loves You” are less than 50,000 behind it here) and with American sales added to totals increasing rapidly in other parts, the record must top the Tornados’ three-million seller, “Telstar.”

Under the direction of their producer, George Martin, the Beatles waxed the follow-up to “I Want To Hold Your Hand” at the Pathe Marconi Studios in Paris last week — there was not sufficient time for the group to record in London between the completion of their Paris stint and their departure for New York.

The new song is virtually certain to be one of those written by Beatles John Lennon and Paul McCartney (they write all the group’s material) for inclusion in the United Artists film which goes into production at the end of this month starring the Liverpool foursome.

During their Parisian sessions the Beatles also waxed “I Want To Hold Your Hand” in German.

Next week the Beatles make their U. S.concert debuts at Washington’s Uline Arena (Feb. 11) and New York’s Carnegie Hall (Feb. 12). George Martin, who will be in New York to record Shirley Bassey at the Carnegie Hall (Feb. 15) is still considering waxing an album with the Beatles there.

His decision will be literally last-minute for it is dependent on John and Paul having written sufficient new material for their act to make up an original LP — and they write their songs overnight.

Their staggering success in Britain continues — a paperback titled “Meet The Beatles” has become the hottest thing on the bookstalls and at lightning speed has become only the eighth paperback to notch up one million sales in this country. A leading manufacturer is having difficulty in keeping up with the demand for his latest line — Beatles wallpaper! END

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Information and news source: Billboard; February 8, 1964

Note: It bears noting this article was published by Billboard, Saturday, February 8. The eve of The Beatles first U.S. television appearance on CBS’ Ed Sullivan Show, Sunday night, February 9, 1964. Fifty-seven years ago.

NBC O&O RADIO STATIONS PREPARING TO MOVE AHEAD . . . JANUARY 18, 1964

NEW NBC RADIO VP MICHAEL JOSEPH SETS NEW DIRECTION FOR UNSUCCESSFUL FLAGSHIP STATIONS AND OPERATIONS

NEW YORK — Six of the nation’s top radio markets will be in for increased competition in the near future as the NBC-owned radio stations prepare to make a bid for a healthier and more sizable share of audience in their respective cities.

The most significant move made thus far by NBC to become more competitive in this area has been the hiring of former independent station consultant Michael Joseph (Billboard December 28) to guide and develop each station’s operations and programming through the newly created post of vice-president, NBC-owned radio stations. Seasoned observers have noted that Joseph’s title carries with it the significance that Messrs. Sarnoff, Kintner and Welpot (executive vice-president of the NBC o.&o.’s) are not only aware of the serious decline of their owned radio outlets, but the vital need to do something about it now.

Joseph has been doing much about radio stations for more than 13 years. He began his executive career as program director in 1950. Since then Mike has served in the various capacities of program director, national program director, and program consultant for 36 stations representing virtually every type of format on the books.

Working almost exclusively (90 per cent) with net affiliates, Joseph’s list of credits includes several “blue chip” broadcasting groups. Among them are: Capital Cities —where he worked with “good music” outlet WROW MIN Albany, and as vice-president at the highly successful WPRO, Providence; the ABC owned-and-operated radio stations, where he was instrumental in the modernizing and reforming of WABC, New York, he also acted as consultant to KQV, Pittsburgh, and WXYZ, Detroit — as well as all-talker KABC, Los Angeles.

Great Rise

Prior to the switch in 1960 inaugurated by Joseph, WABC was 11th in Gotham. It has since moved into first place (experiencing softening ratings during the past year with the emergence of WMCA into the top slot).

Transcontinent’s WGR Buffalo, also came under the station doctor’s soundscope in 1962 and early 1963. His most recent firecracker is WKNR (formerly WKMH) Detroit, which reportedly (see Billboard January 11) represents one of the most dynamic rating turn around in re-cent radio history.

Other chapters in the success story are WTAC, Flint, Mich; Capital Cities’ WKBW, Buffalo; Corinthian’s WISH (now WIFE), Indianapolis; WKBN, Youngs-town, and “good music” WEW, St. Louis.

“We want to and are going to progress to a point where the six NBC o.&o. radio stations are again pace-setters and leaders in an industry where the parent company enjoys an outstanding reputation,” said Joseph.

The new NBC exec intends to accomplish this seemingly monumental task by completely surveying, monitoring and personally working on the spot with management at WNBC, New York; WMAQ, Chicago; WRCV, Philadelphia; KNBR, San Francisco; WRG, Washington, and WJAS, Pittsburgh. It will be a “good” guessing game to foresee just what programming each will decide on.

Community Service

“Among the things that may be needed,” says Joseph, “is a possible streamlining of operations, techniques, and approach to programming, whatever it may be at these stations in order to ensure greater profitability and utmost service to the community.

“We intend to keep pace with the times in the rapidly changing radio scene.

“We will continue to capitalize fully on the award-winning NBC News and public affairs programming,” Joseph emphasized.

Indeed NBC does have a proud heritage and a royal back-ground that well should be capitalized on by its stations. Among their many other assets (besides a hefty bankroll) is the location of the stations in the nation’s first 10 markets; four are 50,000 watters and two, 5,000 watters. In combination the six stations blanket the major population areas of the United States.

Few, Messrs. Sarnoff, Kintner, Welpot and Joseph included, expect such an important and enormous transformation to take place overnight. However, few can deny that the move forward is long overdue. Behold, the giant awakens! END

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Information and news source: Billboard; January 18, 1964

DETROIT DEALERS PLAY DOWN CHART VALUE IN SOUND-ALIKE MARKET . . . SEPTEMBER 3, 1966

From the MCRFB NEWS archive: 1966

Detroit Dealers Frown on Detroit Radio Music Chart Value; Not Used as ‘Guides’

DETROIT – While local record merchandisers claim that area radio “Top 40 charts” are highly inaccurate, they say that they are able to live with the situation because no one in the Motor City market uses radio charts as a buying guide.

This lack of direct chart influence on record sales, according to dealers, is due to the relatively high number of competing Big Beat radio stations in the area – all offering slightly different formats and none having a clearly dominant influence as taste-maker in the Detroit pop market.

Sam Press, co-owner of the Ross Music Shops in Detroit, said that “There are actually three influential rock stations – two here and one in Windsor, Canada, competing for the kids’ attention, plus two very strong R&B stations. You have to remember that because of Motown, R&B is a stronger product here than it might be in other markets. So what you have is kids constantly switching dials between all these stations and not being dominated by any of them. A ‘Keener’ (WKNR) chart might have some of the most popular songs in the area on it but it will invariably be late in listing a big English hit which the kids have been hearing on CKLW of Windsor, and will likewise be late in listing a hot R&B number that has been exposed by one of the other stations.”

“What this means,” he said, “is that teenagers choose the best of several stations. For this reason we don’t have to buy according to anybody’s chart. The independent dealers in this town wait until they start getting requests before they will order anything – except something by a very hot artist.”

Asked if his customers would not seek out a competitor who already had the hits in stock, Press said: “The racks are even slower in getting current singles out – we can move faster than our competition.”

Not Used as Guide

Lou Salesin, a 35-year veteran of the business who owns Mumford Music Shop, said that he also does not use “radio charts as buying guides. I must ignore WKNR and the other lists; they are inaccurate for a number of reasons. Some of these inaccuracies could he eliminated -and I would like to see that happen, just for the principle of the thing.”

Sol Margolis, owner of the Ross Music Stores, told Billboard: “I only order what I get calls for, plus a minimum of new releases by established artists. To my knowledge, no Detroit dealer uses radio charts as any kind of a buying guide. We know better than to trust what those sheets say.”

Another dealer, who did not wish to be identified, said that “you simply cannot believe what the radio charts list. The trouble is that there are too many pop records being released. I think the manufacturers are working on some sort of percentage planning. They just keep churning the records out, hoping that 5 per cent or so will make money for them.

“As far as local charts are concerned,” he added, “we often see a record that hasn’t been shipped already on the sheet. Other times, we see stations keeping numbers on the charts long after they have stopped selling. They do this, apparently because they got on a record too late, and then refuse to admit that their influence hasn’t been able to keep it a hot seller. There are many complicating factors, but the end result is inaccurate charts. All the dealers know this, and they depend on requests and their own experience in the business to tell them how to buy.”

Chet Kajeski, of Martin and Snyder, a one-stop in Detroit, told Billboard: “I find frequent discrepancies on the radio charts. As far as I am concerned, they hurt jukebox operators in the area. By failing to list, and expose on the air, what is a legitimate ‘adult’ hit, they can cut down play on the boxes. This happens with a record that sells very well in the area, deserves to be listed on the charts, but doesn’t get listed because the stations don’t feel it is in their format.” Because such a record does not get the additional push of air play, its life on a jukebox is sometimes shortened.

“I don’t believe,” Kajeski added, “that many record dealers are affected by the charts in the Detroit area. By being inaccurate, these charts defeat their own purpose.” END

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Information and news source: Billboard; September 3, 1966

** A VIEWING TIP **

ON YOUR PC? Click on digitized WKNR or WXYZ image(s) 2x for largest print view.

ON YOUR MOBILE DEVICE? Tap over digitized WKNR or WXYZ chart image(s). Open to second window. “Stretch” across your device screen to magnify for larger print view.

THE GAVIN REPORT: WORDS TO THE WISE FOR THE BRASS . . . SEPTEMBER 7, 1963

From the MCRFB NEWS archive: 1963

The Bill Gavin Newsletter

September 7, 1963

Words to the Wise for the Brass

By BILL GAVIN
Billboard Contributing Editor

SAN FRANCISCO — “What about national promotion?” asks a local promo man. “You made a lot of sense in your column about distributor promotion, but some of our biggest headaches result from goofs by the big shot brass.” So writes one reader. Others have commented in kind, and some in considerable detail. In this open forum of critiques by qualified observers, I’ve drawn up an “indictment” of national promotion evils.

1. You send advance exclusives to one or two stations in my area. The other stations hold me responsible. Sometimes they refuse to get on your record. Sometimes they even blacklist all my new releases. These exclusives do you more harm than good. They do our distributorship nothing but
harm.

2. You supply new releases to every key station in my area before you send your distributor one single sample. You do this without letting us know that the record is coming. When the stations start calling us about the side, we don’t know anything about it. We don’t even know when stock will be available. This makes us look foolish in the eyes of the radio people. When stock is slow, following first air plays, we can’t supply dealer orders and we lose sales.

3. You start phoning us for reports on how a record is doing before we have even received it. You say you can’t understand why we don’t have it, because you’ve already have re- orders from Atlanta and Detroit. Then you finally realize that you’ve shipped the pressing parts by slow freight. You want us to break a hit all over the country at the same time, but you don’t co-ordinate your release dates for all areas at the some time.

4. You send us advance DJ’s with instructions to take them around to the stations on a certain date and not a minute sooner. Long before that date we start getting calls from the stations asking for the record. They tell us that it has already been released in other cities, and they’ve been getting reports on it. This makes us look bad – as if you considered this market unimportant. If other distributors don’t respect release dates, why should we?

5. You visit our city once or twice a year. You make the lunch and dinner route with all the key people on our list. Then you go hack to your office in New York – or Hollywood – and phone these guys as if they were bosom buddies. When we report that they aren’t playing one of your records, you claim that it’s our fault, because they’ve told you they would play ’em. Remember, we have to work with these people day after day. Don’t cut us down just because you have to prove that you’re a big shot.

6. You book promo tours for your new artists. Sometimes they’re so new, or so unimportant that hardly anybody has ever heard their names – let alone their records. You seem to think that if we take these people around to the stations, all the radio people will fall on their faces at meeting a real live recording “star.” Mister, forget it. They don’t. Most of them couldn’t care less. And if we don’t stand around waiting to take orders from the artist’s managers, you get a hot report on what poor promotion we’re doing.

7. You tell your big name artists that they’re expected to keep their appointments when they’re in our town. We’ve set up interviews and press conferences for some of them, and they never show. Why send them around unless they’ll work and co-operate in their own promotion? And another thing, tell them that if they’re going to be in our area we should at least know about it in advance.

8. You offer special prizes or bonuses if we’ll break a record for you-or even get it picked on a key station. Maybe you expect us to spend some of that loot buttering up a top DJ. Forget it. Our promo expense account is big enough, and it’s legit. Let’s keep it that way.

9. You could do something. Once in a while we might break a big record for you. Or we might do a special job in building up one of our artists. Then it’s nice to hear you give us credit – especially in your reports to the trade press. It’s good to hear a thank you once in a while, after all the other comments we get.

10. You blame us when your records don’t sell in our market. You seem to think that we can tell the local stations what to program. But when you do get the important picks and the hit breakers here, you give all the credit to one of our local deejays. After all, we’re on your side. Let’s work together!

So there you have a complete indictment of national record promoters by their colleagues on the local scene. Not all the complaints apply to any one national man, of course. There are some national men who set fine examples of team work. It’s a difficult job, whose importance is emphasized as much by its shortcomings as by its successes. END

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Information and news source: Billboard; September 7, 1963

FLASHBACKS: MOTOR CITY MUSIC HAPPENINGS, ’67! . . . SEPTEMBER 2, 1967

The MCRFB NEWS archive: 1967

Billboard; September 2, 1967

DETROIT — (September 2) — Bang recording artist Van Morrison visited Detroit on promotion Friday and Saturday (August 18 -19) . . . The Merry-Go-Round were in Detroit Monday (August 21) to do some promotional work . . . Talent playing at the Michigan State Fair which began Friday (August 25) and runs through Monday (September 4) included Sergio Mendes and Brasil ’66; Diana Ross and the Supremes; Buddy Greco with Buddy Rich and the King Cousins; the New Vaudeville Band; the Rationals, Question Mark and the Mysterians, and the Sandpipers . . . Ted Lucas of the Misty Wizards sold a song to Jay and the Techniques and it may be their next single. Lucas wrote the Wizards’ current Reprise single “It’s Love” . . . Bobby Darin opens at the Roostertail on Sept. 7.

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Information and news source: Billboard; September 2, 1967

**Question Mark & The Mysterians.** One of the many acts billed for the Michigan State Fair, at the fairgrounds in Detroit, August and September, 53 years ago.

**Detroit Free Press** **Sunday, August 27, 1967** *(click on ad 2x for largest PC view; tap on image and stretch ad on your mobile device for detailed view).*

CHANGES BIG NAMES POLICY: MOTOWN GOES OUTSIDE TO GET TALENT . . . SEPTEMBER 4, 1965

From the MCRFB NEWS archives: 1965

Motown Records Expands Into Big Name Artists Repertoire; Finds UK Expansion Abroad

DETROIT — The Tamla-Motown organization recently reversed its general policy of creating its own big names and has been adding standard acts to its roster, including Billy Eckstine, Tony Martin and Connie Haines. Other big names – most of whom haven’t had hit records in some time – are expected to be added to the fold.

Taking care of Motown business. Smokey Robinson and Barney Ales circa 1965.

“One of the reasons these artists haven’t had hit product lately, “Vice-President and Sales Manager Barney Ales said, “is that they haven’t been recorded with an appeal to the record-buying public. We want to give them our sound.”

The “Detroit Sound” has been tremendously successful; the firm’s batting average is the envy of the record industry. As of this week, President Berry Gordy Jr. can point to 9 singles on Billboard’s Hot 100 chart (another just dropped off last week) and four of these were in the top 20. Two weeks ago, the firm had 12 singles on the chart. The label also now has seven LP’s in the top of the chart. “Where Did Our Love Go,” by the Supremes, has been on the LP chart 51 weeks.

What makes all of this fantastic, however, is that the firm released very few singles so far this year – only 32, according to Phil Jones, marketing and research director. “Five of these records were million-sellers,” he said. “Ninety per cent hit the charts.”

Five singles turned out by Gordy reached No. 1 on the Hot 100. These included three by the Supremes, one by the Four Tops and one by the Temptations. Jones said that “I Can’t Help Myself” by the Four Tops sold a million and a half records. “But we have 10 or 12 artists that constantly have hits,” Jones said. “I feel we’ve made more artists than any other label.”

It was felt that with the present splurge of signings, which included Jack Soo, the Lewis Sisters and Barbara McNair, the firm was branching into more album product. Jones said that Tamla-Motown first intended to give these new signings a hit single. “They seem to be able to sell albums better that way.

“We’ve been putting out a limited number of albums -12 or so this year. Out of that, 10 have been on the charts and seven are still on,” Jones said. “All of these albums have proper timing – the artists are hot. I don’t consider it any sense to turn out catalog product; it’s too difficult to compete with the budget lines.

“What we’re doing is signing people with talent that will fit in with material we’ve already got on hand. Our success can be attributed in part to the great producers we have working for us. For instance, the songwriting and producing team of Brian Holland, Eddie Holland and Lamont Dozier have turned out six or seven releases this year, of which four have reached the No. 1 position on the chart and two or three reached the top 10.”

Smokey Robinson, the lead singer with the Miracles, also writes and produces, and Jones said that product director (and Motown producer, songwriter) Mickey Stevenson “has also come up with quite a few hits.”

The label recently expanded overseas, and Jones and Ales left Sunday (Aug. 23) to meet with EMI officials in England to discuss establishing closer ties and more effective marketing for the label. “What we hope to do,” Jones said, “is make all of our artists as successful in England as the Supremes are there.” END

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Information and news source: Billboard; September 4, 1965

PRESLEY FACES TOUGHEST CHALLENGE IN LAS VEGAS . . . AUGUST 9, 1969

From the MCRFB NEWS archive: 1969

Las Vegas Booked By Elvis, Star Shines Brilliantly on ‘International’ Stage

LAS VEGAS — The greatest rocker of them all came and met one of his toughest audiences at the International Hotel showroom.

**Elvis Presley** opens at the International Hotel. Las Vegas, July 31, 1969

Elvis Presley, making his first personal appearance since a 1962 charity benefit at Memphis, rocked through such famous hits as “Hound Dog,” “Don’t Be Cruel,” “One Night,” and his latest million-selling message song, “In the Ghetto,” to an invitation-only dinner show last Thursday night, July 31. Presley will play the International through Aug. 28. He will be followed by singer Nancy Sinatra.

It was probably Elvis’ toughest musical challenge since he rocked out of the South with long sideburns, rotating pelvis and a banged up guitar. It was Elvis and the Country Cats. Then bouncing through songs like “That’s All Right, Mama,” “Blue Moon of Kentucky,” and later with his “Hound Dog,” “Blue Suede Shoes,” “Good Rockin’ Tonight,” and “Don’t Be Cruel.”

But it was not the Elvis with the rough edges of the middle 1950s, on stage Thursday.

It was a polished, confident and talented artist, knowing exactly what he was going to do and when. But, it was the Elvis of the past as he “Put the feeling into the songs, and let the vibrations of the music have their say, swinging hips, revolving pelvis and moving shoulders.”

Elvis worked the show with five musicians from Los Angeles who sometimes record on his California sessions. The rhythm section included Larry Muhoberac, piano; James Burton, John Wilkinson, guitars; Ronnie Tutt, drums, and Jerry Scher, electric bass. Muhoberac played with Elvis at his last personal appearance in Memphis.

Elvis is also backed up by the 30-piece International Hotel staff band conducted by Bobby Morris, who for 15 years played drums for Tony Martin.

The Sweet Inspirations opened the show with “How High the Moon.” Comedian Sammy Shore followed. Elvis closed his show with the Sweet Inspirations and Imperials backing him during his 40- minute show.

There was standing room only at the show which was by invitation only. The International publicity staff reports Elvis’ 29 -day stay already has each show reserved for 80 percent capacity. “It is one of the biggest advance reservations requests I have ever heard of,” said Pat O’Neal of the publicity staff.

Elvis does not plan to keep his shows the same. He has between 50 and 80 songs he will work with during the International stay.

Before Elvis opened, he had thousands of telegrams wishing him a success from HIS world-wide fans from the U.K., Germany, Norway, New Zealand, France and the 50 states.

“Elvis has worked extremely hard for his show. But then he is one of the most dedicated entertainers I have ever been associated with,” said his eagle-eyed manager, Col. Tom Parker, who enjoyed his stay working over the roulette tables, and putting everything together for the show.

Ironically, Elvis will be challenged by Elvis, during his International stay. His NBC-TV special, shown last Dec. 3, will hit the network Aug. 17.

On hand for Elvis’ opening was his father, Vernon; stepmother, Dee Presley; Sam Phillips, who discovered Elvis and had him on his Sun label before selling to RCA Victor for $43,000; Felton Jarvis, Elvis’ record producer; Knox and Jerry Phillips, Sam’s sons; real estate broker Ira Sachs and Victor executive Harry Kingsley. END

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By James D. Kingsly

— Information and news source: Billboard; August 9, 1969 —