Motor City Radio Flashbacks

Memories From the Soundtrack of Your Life

A DETROIT ROCK RADIO GREAT. BOB BAUER DIES AT 63

July 21st, 2017

WLLZ-FM BOB BAUER 1989 (Press Photo)


WLLZ-FM BOB BAUER, PD Director Jay Clark and WLLZ station promotions director Mike Isabella 1990 (Press Photo)


BOB BAUER. R.I.P.

Bob Bauer, longtime decades Detroit radio personality at radio stations WLLZ-FM, WCSX-FM, WABX-FM and others, has passed away, as reported by the Detroit Free Press, today.

Bob Bauer was 63.



THE STATE OF DETROIT RADIO: RESPONSE RATING; 1965

July 21st, 2017

DETROIT RADIO RESPONSE RATING Billboard July 17, 1965


DETROIT RADIO STATIONS BY FORMAT Billboard July 17, 1965


DETROIT RADIO STATIONS BY FORMAT Billboard July 17, 1965


DETROIT RADIO. THIS WEEK. JULY 1965

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THE GOLDEN WORLD’ OF A NEW DETROIT SOUND! 1965

July 21st, 2017

A GOLDEN WORLD BILLBOARD AD PAGE RIP: July 31, 1965




DRAKE TO GUIDE ALL RKO PROGRAMMING . . . JULY 15, 1967

July 20th, 2017

From the MCRFB NEWS archive: 1967

 

 

 

 

 


LOS ANGELES — RKO General Broadcasting has hired Bill Drake, its programming consultant for two Coast stations, for its remaining radio properties, according to reliable sources.

Drake, who currently guides the programming of top 40 stations KHJ locally and KFRC, San Francisco, will immediately take up the assignment to oversee and modify: CKLW, Detroit; WRKO, Boston; WOR-FM, New York; WGMS, Washington, D. C., and WHBQ Memphis.

Drake will initially concentrate on Detroit and Boston first. He has yet to visit and study the two markets, hence immediate personnel changes at the two stations is questionable.

Save for WTMS in the nation’s capital, all the stations are rockers, with WOR-FM an all stereo operation. Drake will also become involved at a later date with WOR-AM, the city’s leading all- conversation money and middle-of-the-road operation which apparently has been doing fairly well.’

Known for his “subliminal” approach to programming, whereby ingredients are strategically pieced within the broadcast hour. Drake will come up against WKNR in Detroit and both WBZ and WMEX in Boston. In Memphis he faces Plough’s WMPS plus a strong r &b operation -WDIA. END

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



SCOTTIE REGEN, TAKES “HERMAN” OVER TO MOTOWN!

July 20th, 2017


TAMLA MOTOWN Appreciation Society’s Margaret Phelps chaperones Stevie Wonder, Peter Noone outside Hitsville U.S.A. Friday, July 29, 1966


Friday, August 5, 1966

A DETROIT RADIO BACK-PAGE

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DETROIT FREE PRESS: ‘Herman Visits Motown Studio 

(Above WKNR related article is courtesy freep.com newspaper archive. Copyright 2017. Newspapers.com).


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Missed any of our previous ‘Detroit Radio Back-Pages‘ features? GO HERE.



P.D. ALWAYS PUT ON THE SPOT . . . OCTOBER 19, 1963

July 19th, 2017

From the MCRFB NEWS archive: 1963

The Bill Gavin Newsletter October 19, 1963

 

 

 

 

 

From the Desk of Bill Gavin  Billboard Contributing Editor

 

SAN FRANCISCO — The music director at a top 40 station in a large city holds his job largely by continuing to demonstrate his ability to select the new records that eventually become hits. Every week, when he makes his top pick or discovery, he puts his reputation on the line.

It occasionally happens that even after his station has been playing his pick of the week once an hour for a week, none of the local stores can report any significant sales on it. Should such a thing happen with any degree of regularity. his boss will start looking for a new music director.

One annoying circumstance arises occasionally: a few weeks after a pick has been heavily played and yet has sold little or nothing in the market, it looms up in other cities and becomes a national hit. This is pretty frustrating. Why can’t the first station to spot a record’s potential break it for a hit?

BECAUSE IN MOST CASES, the record isn’t in the stores. The dealers get customer calls but don’t have it. Sometimes they’ll try to order it from the distributor and find that he hasn’t stocked it. By the time it finally reaches its destination at the retailer point of sale, there may be no further demand for it. The station may have dropped it entirely, figuring that it was a
bomb.

This kicks back at the station, too, in the form of listener displeasure. Those who have tried to buy the record, in the belief that it must be important, have their enthusiasm dampened when they find that it isn’t available in the stores.
Their confidence in the station is shaken. It’s unfortunate all the way around. Everybody loses.

Who gets blamed? Everybody. The retailer should keep up with what is being picked for air play, and he should have the new items in stock. The distributor should have stock on the floor, ready to move it out to the stores at the first sign of action. The music director should make certain of the record’s immediate availability before he picks it. At least, that’s the way everyone involved tries to evade the responsibility by blaming someone else.

A closer liaison between the station and the distributor can avoid such situations. Some of the nation’s most successful music directors always check with the distributor before picking a record. When will stock he available? If the station goes on the record, will the distributor order it? Will he guarantee an initial allocation to key retailers?

IT HAPPENS OCCASIONALLY that two or three versions of a record will appear almost simultaneously. Which label gets the pick? It is not always the version with the better sound. It is often the version whose distributor is known
to be alert and aggressive, and who can be depended upon to get it on the dealers’ shelves.

This doesn’t necessarily mean that the distributor must guarantee 100 per cent. It should be enough – and usually is – that he will back up the station’s confidence in his product by making it quickly available to the dealers if they need it.

Most important distributors follow this kind of a policy. It is hard to understand why all do not. It is a weakness more often encountered in factory owned or controlled branches, where stock is controlled by the national brass, who estimate which of their weekly releases are most likely to be in demand. In such cases, the decision of an important station to pick a left field possibility – something that is not considered by the bosses to be a top plug item – is occasionally ignored by the local branch manager.

Station music directors are becoming more discriminating with picks in relations to practical sales prospects in a local market. It is a trend that merits serious consideration by record people, in improving their coordination between promotion and sales. END

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 (Information and news source: Billboard; October 19, 1963)



50TH! TALKIN’ ‘BOUT MY GENERATION: TOP HITS OF ’67!

July 19th, 2017


THE MONKEES * COLGEMS * 1967

50TH! TALKIN’ ‘BOUT MY GENERATION: TOP HITS OF ’67!

July 19th, 2017


THE MONKEES * COLGEMS * 1967

MISS TEEN DETROIT, 1964! JO JO SHUTTY MACGREGOR

July 18th, 2017

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DETROIT FREE PRESS | Thursday, October 15, 1964



DETROIT FREE PRESS | Monday, October 19, 1964



DETROIT FREE PRESS | Friday, February 4, 1966



The nation’s first female (CKLW) helicopter traffic reporter Jo Jo Shutty 1971



DETROIT PRESS PHOTOS: JO-JO SHUTTY MACGREGOR!

July 18th, 2017

Jo Jo Shutty, age 16. ‘Miss Teenage Detroit’ 1964. The initial photo caption read, “Jo Jo Shutty, she broke the mold!” (Press Photo; 1964)


Jo Jo Shutty, 17, a Youth Safety Spokesperson for Lincoln Mercury Division, pictured here with Ned Aberly, 17, the 1964 National Teenage Safe Driving Road-E-O winner. (Press Photo; 1965)


Byron MacGregor and Jo Jo Shutty MacGregor (Press Photo; 1995)



Motor City Radio Flashbacks

Memories From the Soundtrack of Your Life