Above article is courtesy freep.com newspaper archive. Copyright 2021. Newspapers.com
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“The listing of 30 records herein is the opinion of CKLW based on its survey of record sales, listener requests and CKLW’s judgement of the record’s appeal.”
PREVIEWED FOR THE WEEK OF FEBRUARY 6-13, 1967
The above CKLW chart was digitally restored by Motor City Radio Flashbacks
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— In MemoryofGeorge Griggs —
A SPECIAL THANK YOU
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A sincere, thank you, Mrs. Patti Griggs. This featured presentation would have not been possible without your generosity, dedication, and your continuous support.
Above CKLW music chart courtesy of Mrs. Patti Griggs and the George L. Griggs estate.
A CLASSIC BILLBOARD MOTOWN /TAMLA RECORDS AD PAGE RIP February 8, 1964
— MARY WELLS —
MOTOWN RECORDS 1962-1963
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“What’s Easy for Two Is Hard for One” (also known as “What’s Easy for Two Is So Hard for One“) is a song written and produced by Smokey Robinson and released as a single by singer Mary Wells for the Motown label.
Wells’s teaming with Robinson led to a succession of hit singles over the following two years. Their first collaboration, 1962’s “The One Who Really Loves You”, was Wells’s first hit, peaking at number 2 on the R&B chart and number 8 on the Hot 100. The song featured a calypso-styled soul production that defined Wells’s early hits. Motown released the similar-sounding “You Beat Me To The Punch” a few months later. The song became her first R&B number 1 single and peaked at number 9 on the pop chart.
The success of “You Beat Me to the Punch” helped to make Wells the first Motown star to be nominated for a Grammy Award when the song was nominated for Best Rock & Roll Recording in 1963.
Motor Town Revue newspaper ad, featuring Mary Wells November 10, 1963(click image 2x for largest view)
In late 1962, “Two Lovers” became Wells’s third consecutive single to hit the Top 10 of Billboard‘s Hot 100, peaking at number 7 and becoming her second number 1 hit on the R&B chart. This helped to make Wells the first female solo artist to have three consecutive Top 10 singles on the pop chart. The track sold over one million copies, and was awarded a gold disc.
Wells’s second album, also titled ‘The One Who Really Loves You’, was released in 1962 and peaked at number 8 on the pop albums chart, making the teenage singer a breakthrough star and giving her clout at Motown. Wells’s success at the label was recognized when she became a headliner during the first string of Motortown Revue concerts, starting in the fall of 1962. The singer showcased a rawer stage presence that contrasted with her softer R&B recordings.
The ‘First Lady of Motown’ 1962
Wells’s success continued in 1963 when she hit the Top 20 with the doo-wop ballad “Laughing Boy” and scored three additional Top 40 singles, “Your Old Standby”, “You Lost the Sweetest Boy”, and its A-side, “What’s Easy for Two Is So Hard for One”. “You Lost the Sweetest Boy” was one of the first hit singles composed by the successful Motown songwriting and producing trio of Holland–Dozier–Holland, though Robinson remained Wells’s primary producer.
Also in 1963, Wells recorded a session of successful B-sides that arguably became as well known as her hits, including “Operator”, “What Love Has Joined Together”, “Two Wrongs Don’t Make a Right” and “Old Love (Let’s Try It Again)”. Wells and Robinson also recorded a duet titled “I Want You ‘Round”, which would be re-recorded by Marvin Gaye and Kim Weston.
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Source: Mary Wells; Wikipedia
Above featured Billboard Motown ad digitally restored by Motor City Radio Flashbacks
“I WANT TO HOLD YOUR HAND” | THE BEATLES | CAPITOL 5112
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BILLBOARD HOT 100 TABULATED BY RECORDS RETAIL SALES AND RADIO AIRPLAY
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FEBRUARY 1 through MARCH 14, 1964
The Beatles’ debut single jumped to the number one spot in the U.S.A, this week on Billboard, for the week-ending February 1. This was the beginning of “Beatlemania” in America. The single, having debuted at #45 on January 18 two weeks previous, “I Want To Hold Your Hand” skyrocketed all the way to the top of the Billboard singles chart in just three weeks, 57 years ago, February 1964.
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“THERE! I’VE SAID IT AGAIN” | BOBBY VINTON | EPIC 9638
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BILLBOARD HOT 100 TABULATED BY RECORDS RETAIL SALES AND RADIO AIRPLAY
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JANUARY 4 through JANUARY 25, 1964
Bobby Vinton’s hit, “There! I’ve Said It Again” — just nine weeks overall on the chart on this date — shared four of those nine weeks on top at the number one position. A rapid HOT climb on Billboard!
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This official Record Review survey was tabulated overall by each record’s popularity and its appeal, sales, listener requests and record airplays based on the judgement of WJBK Radio 1500. (1964)
The above WJBK chart was digitally restored by Motor City Radio Flashbacks
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Previewed for the week of January 17-23, 1964
— In MemoryofGeorge Griggs —
A SPECIAL THANK YOU
_______________
A sincere, thank you, Mrs. Patti Griggs. This featured presentation would have not been possible without your generosity, dedication, and your continuous support.
Above WJBK music chart courtesy of Mrs. Patti Griggs and the George L. Griggs estate.
When this CKLW daytime coverage pattern card was published in the early-1980s, CKLW was picked up clearly as far off as Toledo and Cleveland (where it was consistently a highly rated station during its Top 40 days), Lansing, Michigan, and even the outskirts of Cincinnati, Ohio.
It has been reported the CKLW night-time reception was picked up (E.; S.; S. mid W.) as far off as Toronto/Oshawa, Ontario; Hartford, Connecticut; Pennsylvania; New York City; Little Rock; Des Moines, Iowa; and San Antonio, Texas.
By the late 1960s, it was reported that CKLW could be heard in at least 23 states and 4 Canadian provinces.
During CKLW’s Top 40 heyday, because of its nighttime directional pattern, the station was frequently heard in Scandinavia, but was often rendered unlistenable just a few hundred miles to the west and south of Detroit because of interference from the Juarez and/or Bonaire stations.
At one time, before end of 1970, with its massive 50,000 watts of transmitted power, the Windsor, Ontario 800 AM station was the third most listened to Top 40 radio station in all of North America. Behind WLS in Chicago and WABC in New York City.
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Records listed in BOLD FACE made the greatest upward rise from last week’s chart. CHECK SYMBOLS indicates new on chart this week. National Popularity based on sales data provided exclusively to Music Business by the nation’s largest retail chains, plus radio play and sales by standard retail outlets, one stops and racks.
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— JANUARY 16, 1965 —
MUSIC BUSINESS was previously a specialized magazine called “Country Music Reporter“, then evolved into “Music Reporter” in 1957, having transformed from a pure country publication into a mainstream music trade journal. It became Music Business by early 1964, assuming a new name. The weekly journal terminated publication immediately after the June 5, 1965 issue was published.
Above singles and albums charts courtesy of Music Business, as issued, for the week of January 16, 1965.
The above MB charts were digitally imaged and restored by Motor City Radio Flashbacks
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— “BROKEN DOWN IN TINY PIECES” by “CRASH” CRADDOCK —
44 YEARS AGO THIS WEEK
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THE BIG “DEE” RADIO 15
The Top 40 country hits as tabulated by WDEE for the week of January 10, 1977
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The above WDEE chart was digitally restored by Motor City Radio Flashbacks
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— In MemoryofGeorge Griggs —
A SPECIAL THANK YOU
_______________
A sincere, thank you, Mrs. Patti Griggs. This featured presentation would have not been possible without your generosity, dedication, and your continuous support.
Above WDEE country music chart courtesy of Mrs. Patti Griggs and the George L. Griggs estate.
