CKLW: THE BIG 8 LIFE AND TIMES OF BIG JIM EDWARDS

Motor City Radio Flashbacks logo (2015)A MCRFB.COM THREE PART SERIES

MEMORIES OF THE BIG 8 — Big Jim Edwards — PART 1

1967

 

 

 


“SURE, AND I’M THE EASTER BUNNY”

By JIM DAVIS


 

October of 1966, I was Assistant PD and Afternoon Drive on WTTO – Toledo, OH. “Wheeto in Toledo” succumbed to the desires of the owners’ wife for “softer music” and it was announced to the staff that WTTO would go “middle of the road.” Lesson learned: Never go to work for a radio station owned by a meat packing company.

So, the scramble began for those of us who loved Top 40 radio to keep the turntables spinning. My friend Ed Busch who had done mid-days on WTTO after Paul Drew canned him at CKLW suggested I might send a tape to Paul who was building a team at the Big 8. So, I took him up on the idea. Since I was playing the mellow sounds of Frank Sinatra and Nat King Cole, I could do nothing except “fake” at tape in the production room. I sent it up along with a resume to Paul Drew and kept my fingers crossed.

Big Jim Edwards, CKLW, 1967. (Click on image for largest view).
Big Jim Edwards, CKLW, 1967. (Click on image 2x for largest view)

It was a Saturday morning. My pilots’ logbook says it was October 21st, 1967. I was practicing touch and go takeoffs and landings at Ellington Aircraft Salvage in Toledo. Suddenly, the Piper Colt radio crackled with the voice of the owner Dick Ellington calling me. He said “I just got a call from your wife. She said it’s important and to land immediately.” So, I hurried from the sky to the little Field Base Operator where I borrowed the phone to call my wife Sylvia. She said “Jimmy, you’ll never believe what just happened.”  I said “What.” She said, “This guy called who said he was Paul Drew…. And I knew it wasn’t him so I said ‘and I’m the Easter Bunny’ and hung up.”

Then, his secretary Pat called back and said it was “Mr. Drew” and would I please hold. Paul (not the Easter Bunny) told Sylvia to have me call as soon as I got in. The call was hurriedly made.  Paul said: “I heard your tape….  You sounded fake.” (Paul never minced words). I told him it was a fake tape that I had fabricated in the production room. He said, “make another one today, and send it up to me via Greyhound and let me know when it will arrive.” My feet were light as I ran towards the Commodore Perry Motor Lodge to record what I hoped was my big break. The tape was hand carried to the bus terminal, and the call was made. Sunday afternoon the call came from Paul who asked if I could be in his office at 9:00 AM the next morning.

I couldn’t sleep that night. I was afraid of getting stuck in Customs. I was up by 5AM and on the road by 6. By 7:30 AM I was sitting in the lobby of CKLW on Riverside Drive in Windsor, Ontario. About 8:30, I met the receptionist, Rosalie Trombley who was to become the legendary “Rosalie” of Bob Seeger fame. Paul’s secretary Pat Brink came out every ½ hour to explain that Mr. Drew was busy but “he should be with you shortly.”  Then, in what appeared to be a streak of a fast moving locomotive, Paul appeared in the lobby and said, “come with me, we have to go to Motown.”  Paul had a Pontiac convertible that had a mobile phone in it.  I remember thinking how expensive those toys were in those days.  The conversation was fast paced.  Paul explained how CKLW had a bad reputation because it was Canadian.  He said “I don’t care what problem your station has; if it’s FM (not popular in those days), a day-timer, low powered, Canadian etc, if it sounds great people will listen to it.”

We pulled into the back lot of the old 12th street Motown studios. I stayed in the car. Paul went to the back door and knocked. In a brief moment a brown envelope appeared in Paul’s hands and we were back on the road headed back towards Windsor. Paul explained that he had a new Supremes “exclusive” which he would have for a minimum of 12 hours before the competition had the record.  It was exciting. The whirlwind that surrounded Paul was evident. On the way back in the car Paul told me: “I’m sharing these things because I assume you are coming to work for us.”  That was all I needed to hear.  My heart skipped a beat. I was being hired by the Big 8.

Paul said he wanted me for mid-days 12-3PM. He would change my name to “Big Jim Edwards” because there was already a “Jim Davis” in the market on WXYZ. He said “I want you to hit the air prepared, so give your two weeks notice, and then on Saturday and Sunday nights for the next two weekends I want you to do overnights on the Big 8 to get up to speed. He gave me some reading material, and I was out the door.

That Saturday night, I drove to Detroit from Toledo. I had bought a new purple shirt and a tie for my “audition.” I was following the legendary Tom Shannon who I knew from Buffalo as a listener to WKBW while I was growing up. Paul met me at the station bundled up in a large fur coat and carrying a battery operated Zenith Trans-Oceanic radio.

Paul Drew, Program Director, CKLW, 1967.
Paul Drew, Program Director, CKLW, 1967.

The air studio was known as AB-3 (Announce Booth). It was a large horse-shoe shaped desk with a TV station mike boom which held an Electro-Voice 666 microphone. Brush Clevite earphones screamed the rock and roll (and are the reason I have trouble hearing out of my right ear now). When it was time for me to take to the airwaves, Paul sat across from me with a set of earphones listening to the off air product. There was a definite tension in the air. As I punched on the mike button for my first words on CKLW, I noticed that my hands were shaking like a leaf.

It didn’t take me long to make my first mistake. In fact, it was only 7 minutes. I back-sold the song and gave the time-check and my name and then went into the spot block. Paul took off his headphone and said “You forgot the call letters.  You may have lost us valuable listeners. I want you to instruct your engineer to play the same record again, play the same spot again, and see if you can remember to say the call letters this time. Try to never do that again.” I was on edge for the rest of the night. There was no more conversation. Paul simply said “tell your engineer to play a more music fast to fast jingle and record number 1234.” That was it. I was absolutely sure that this would be my last night on the Big 8.

6AM arrived very slowly. I was tired. Paul and I packed it up and left AB-3. As I went for the door he said, “That was the best first effort I’ve heard so far.” I had a reprieve until the next night. I had three more overnight “trials” before I hit the airwaves full-time on November 6th, 1967. I started on the same day as another Big 8 employee started in the newsroom. His name was Gary Mack. However, that name was deemed not authoritative enough, and so, he took his Uncles’ name – Byron McGreggor.

A month later, the station aired the Christmas Wish promotion. My Christmas Wish had come true. I was a Big 8 jock!

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 (First of 3 parts, to be continued; Part 2 — Tuesday, July 21, 2015)


CKLW BIG 30 (MCRFB Cropped Top)


A MCRFB Note: Jim Edwards, CKLW

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Motor City Radio Flashbacks recently heard from Jim Davis (July 9, 2015), the former Big 8 jock known as ‘Big Jim’ Edwards on CKLW. A special ‘THANK YOU’ goes out to Jim Davis for sharing his Big 8 recollections with us — today — exclusively here on MCRFB.COM. The first of a three part series, we will publish the second part of Jim Davis’ CKLW memoirs he authored, entitled, “1968-1969,” next Tuesday, July 21, 2015.

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ALSO: Another CKLW aircheck feature going up tomorrow on MCRFB.COM — ‘CKLW-AM Back On The Radio With: Jim Edwards!’ (November, 1967)


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CKLW-AM BACK ON THE RADIO WITH: TOM CLAY!

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CKLW HEARD 24/7 ON MOTOR CITY RADIO FLASHBACKS

MCRFB AIRCHECKS: CKLW-AM * Last Show; June,’64 * TOM CLAY

TOM CLAY’S LAST SHOW ON CKLW

 

While this 1964 CKLW Tom Clay aircheck is less than stellar in its audio presentation, MCRFB feels this aircheck is significantly historic in content as it was recorded June 18 and June 19, 1964, the 19th having been Tom Clay’s last show heard on CKLW radio in Detroit. In this aircheck, Tom Clay talks about the Beatles, reads letters from CKLW listeners, mentions Terry Knight (formerly WJBK; his eventual replacement at CKLW) and also Clay talks about his tribute to JFK, commenting on his recording of “Six White Horses.”

Also in this feature today Tom Clay is heard firing off a few words towards a Detroit newspaper daily as well, for bringing up whatever role (as the daily implied in print) he was accused having played during the payola scandal earlier in his Detroit radio career, while a disk jockey at WJBK in the late-1950s. Tom Clay’s last day on CKLW was on a Friday, June 19, 1964. 51-years ago.

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For more on Tom Clay archived on Motor City Radio Flashbacks to date, GO HERE.


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WHEN CKLW-AM AND TOM CLAY PARTED WAYS: 1964

Motor City Radio Flashbacks logoFrom the MCRFB news archives: 1964

Clay, CKLW Split ‘Amiable’

Post previously featured on MCRFB: February 15, 2012

 

 

 

Tom Clay (MCRFB ENLARGED 2)DETROIT — The departure of featured deejay Tom Clay from CKLW last week was as an “amiable termination” based on Clay’s decision to quit because he was not able to spin his own records, and was not based on any difference of programming, as reported elsewhere.

Clay felt he was not doing enough on his show when not allowed to play the records himself, but John Gordon, CKLW’s program director, told Billboard that present contracts with both the engineers and AFTRA prohibit this practice at the station.

Last week the Tom Clay show was replaced by the Terry Knight show, Monday through Friday, 7 to 11 p.m. and 1 to 6 p.m. on Sundays. Knight comes from WTRX, Flint, where he had a similar show and was formerly a deejay on WJBKEND

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

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CKLW ‘BIG 8′ MOTOR CITY TOP 30 HITS: THIS WEEK, ’68!

CKLW June 25, 1968 MCRFB (Inside)

CKLW TOP 30 HITS TABULATED BY LOCAL RETAIL SALES AND NATIONAL RADIO AIRPLAY

CKLW TOP 30 HITS * Hugh Masekela * CKLW (No. 02) 06/25/68
CKLW June 25, 1968 MCRFB (HEADER CROPPED)

CKLW TOP 30 HITS * Sergio Mendes & Brasil ’66 * CKLW (No. 14) 06/25/68
CKLW June 25, 1968 MCRFB (HEADER CROPPED)

CKLW TOP 30 HITS * Johnny Cash * CKLW (No. 16) 06/25/68
CKLW June 25, 1968 MCRFB (HEADER CROPPED)

CKLW TOP 30 HITS * The Vogues * CKLW (No. 21) 06/25/68
CKLW June 25, 1968 MCRFB (HEADER CROPPED)

CKLW TOP 30 HITS * Wilmer Alexander & The Dukes * CKLW (No. 28) 06/25/68

CKLW TOP 30 HITS TABULATED BY LOCAL RETAIL SALES AND NATIONAL RADIO AIRPLAY

 A MCRFB VIEWING TIP: To fully appreciate this CKLW RADIO 800 June 25, 1968 chart feature click on image 2x and open to second window. Click image anytime to return to NORMAL image size.

(Click your server’s back button to return to MCRFB home page).


MCRFB has every song selection on this CKLW playlist archived in it’s music library. All FIVE featured song titles randomly were selected for your listening enjoyment here.

CKLW June 25, 1968 (MCRFB Lower Bottom Tag

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THE OFFICIAL CKLW RADIO 80 SURVEY: THIS WEEK 1964

CKLW 061664 CKLW(MCRFB)

CKLW SURVEY TOP 50 HITS COMPILED BY LOCAL RETAIL SALES AND RADIO AIRPLAY
“THE CK GREAT EIGHT” * The Chartbusters * CKLW (No. 4) 06/16/64

 

CKLW 061664 CKLW(MCRFB HEADER CROPPED)

“AS THEY SHOW ON EIGHT-O” * Jamie Coe * CKLW (No.15) 06/16/64

 

CKLW 061664 CKLW(MCRFB HEADER CROPPED)

“READY TO GO ON EIGHT O” * Patty & The Emblems * CKLW (06/16/64)

 

CKLW 061664 CKLW(MCRFB HEADER CROPPED)

“CK’S PLUS PLAYS” * Louis Armstrong * CKLW (06/16/64)

A CKLW RADIO 80 ‘CK SURVEY. AN RKO GENERAL STATION

CKLW SURVEY TOP 50 HITS COMPILED BY LOCAL RETAIL SALES AND RADIO AIRPLAY

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A MCRFB VIEWING TIP: To fully appreciate this CKLW RADIO 80 June 16, 1964 chart feature click on image 2x and open to second window. Click image anytime to return to NORMAL image size.

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CKLW 061664 CKLW(MCRFB HEADER CROPPED)

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PAUL DREW: SHORTER DISKS BRING LONGER PLAYLISTS . . . . SEPTEMBER 7, 1974

Motor City Radio Flashbacks logo (2015)From the MCRFB news archive: 1974

 

 

 

 

 

 

LOS ANGELES — If the recording industry will shorten records, Paul Drew, national program director for the powerful RKO General chain of Top 40 operations coast-to-coast, claims his stations will feature longer playlists.

“I can guarantee that playlists will get longer if the records are shorter,” he says.

Drew set a off a storm a week ago when he was accused of stating that his stations would limit records to those less than there-and-a-half minutes long.

Paul Drew, national program director for RKO General stations, including CKLW-AM.
Paul Drew, national program director for RKO General stations, including CKLW-AM.

But Drew said the original idea came from Herb McCord, general manager of CKLW in Detroit. McCord admits the idea jelled during meetings at the recent seventh annual Billboard Radio Programming Forum in New York. McCord and his programmer Bill Hennes had long discussions with Drew, who still consults CKLW-AM, regarding working and reworking a programming “clock.”

“It has gotten to the point where the Top 40 format clock doesn’t work anymore because of the lengths of records today,” McCord says.

“I’m not making any declaration that we won’t play any record over three-and-a-half minutes long, but if it’s longer it’ll have to be like the second of Christ.”

McCord points out that records by Elton John and other artists of similar stature would, of course, be considered for airplay regardless of length, but “one of the factors we will weigh heavily in regards to the exposure of new records is the length.”

“If the record industry wants exposure of new records on CKLW-AM, particularly product by new and coming artists, they’ll have to make the records shorter,” he says.

Paul Drew, interviewed personally, says he thinks the long record is creating a vicious circle and mentions the rotation pattern used by most RKO General stations; to wit, the longer the records, the less chance of playing more records. He also points out that “Bill Drake cleaned up Top 40 radio nine years ago when he reduced the commercial load at KHJ-AM. We’re not playing any more commercials now than KHJ-AM did nine years ago. Yet, because the records are longer, people think we are.

“Another problem involved is that the cost of radio time has not kept pace with inflationary trends across the nation. Radio today is a damn good buy! We cannot, however, reduce commercials any further.”

Thus, it must be the music that must be flexible.

“I don’t say that recording artists have to go back to the old way of records . . . back when the Beach Boys released records 2:15 minutes long and when the early Beatles had short records.

“And I would encourage artists to continue making long album cuts. But the singles that go on jukeboxes and on the radio should be shorter.”

Drew said that Mick Jagger told him last week that henceforth the B sides of his singles would not be available on any of his albums. Elton John is doing the same thing. (A phone call to MCA Records reveal that John has had the last few B sides exclusively to his singles. Bad Company is doing the same thing now).

Obviously, Drew says these artists are working to help the singles industry . . . “here’s a novel way to rejuvenate singles sales and I think it’s a great idea.”

Drew thinks a 3:30 limit on singles is realistic. “Most program directors of Top 40 stations will tell you that their hot clocks are hinged to a three minute record.

CKLW Big 30 (cropped).“I’ve been asking people in the record industry for a long, long time to please make shorter records. Obviously, if a given record is four minutes long and is a hit, we’ll play it. But we don’t let the air personalities run our radio stations and for those record companies who say they have no control over their artists and its not their fault how long the records are, I would think the economics of the record business would entail them having a say about the length of records.”

Herb McCord claims that today that there’s hardly room for 10 records an hour. “Five years ago, we used to play 20 records in an hour. Logically, if records average four minutes long each and you have 48 minutes an hour for music, you can only play 12 an hour. If the records average three minute each, you can play 16 an hour, leaving twelve minutes for commercials.

“The playlist is being forced shorter and shorter by the longer records and it’s not our fault.

“Now if a ‘Hey Jude’ comes out, obviously we will play it. But length of records will be a factor in determining whether they get aired on CKLW-AM or not.”

And CKLW-AM will be strongly reluctant to editing records personally. “Who’s CKLW-AM to chop down an Elton John (record)? We just won’t do it.”

Not every radio change is adverse to the longer record nor willing to make definite “not play” statements about long records.

For instance, Rochelle Staab, national music director of Bartell Radio, says that length won’t be a factor. “You just have to make exceptions all the time. For instance, there’s a five minute record out now. You can’t construct a radio station around a three minute record. You’re there to serve the public, not to serve a hot clock.” And the public deserves to hear hit records regardless of the length, she says. END

(Information and news source: Billboard; September 7, 1974).

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