WCHB-FM TOP JAZZ ‘SALESMAN’ IN DETROIT . . . NOVEMBER 11, 1967

Motor City Radio Flashbacks logoFrom the MCRFB NEWS archive: 1967

On The FM Band — WCHB Reaches Out To Jazz

 

 

 

 

1967 WCHB 1440 Line-Up (Detroit)
Detroit WCHB 1440 Line-Up 1967 (Click on image 2x for largest PC view).

DETROIT — “WCHB-FM “sells the hell out of jazz,” said Jack Millman, of Music Merchants, a leading distributor. WCHB-FM’s play of the “Groovin’ ” cut from the “Hip Hugger” album by Booker T. & The M.G.s. on Stax Records sold more than 20,000 albums in a month, Millman said, “and forced out the single. The first day the single was released, we moved 18,000 copies.”

Jack Springer is one of the most powerful air personalities on the station, “but all contribute. All go their own way,” said Millman. “That station made Hugh Masekela in Detroit. When Masekela appeared at the Baker’s Keyboard Lounge, you couldn’t get near the place. I went by the club on a Sunday afternoon and there was a huge line outside.”

The station is now breaking a Cadet Records album called ‘Groovin’ With The Soulful Strings,’ he said. “Burning Spear” will likely be released as a single as a result of airplay of this album. The station is also giving Marlena Shaw, a Cadet artist, a big push with her “Go Away Little Boy,” has sold extremely well in the market because of WCHB-FM.

“The station does so well because the deejays are individuals playing good music,” Millman said. “The station may not show up on audience surveys, but I couldn’t care less. They sell products, and that’s all what counts.”

He said that Music Merchants advertises records on the station because of it’s tremendous impact on the public. “We don’t have to advertise, but we’re doing very successfully with it. Our accounts are now asking what we’re going to advertise next so they could get it in stock.” The radio advertising is followed by displays and personal contacts with retailers. Music Merchants has advertised product on radio for some time and has long-term contracts with CKLW calling for 30 spots a week and WCHB-FM. The distributing firm has its own advertising agency. END

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(Information and news source: Billboard; November 11, 1967)

WCHB-AM 1440 ‘DETROIT SOUL NEWS’ July, 1967

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’50S: THE ‘PAYOLA’ SCANDAL PROBE . . . NOVEMBER 30, 1959

Motor City Radio Flashbacks logoFrom the MCRFB NEWS archive: 1959

 

An Editorial | November 30, 1959

 

 

L A M E ,    H A L T    A N D    B L I N D

 

N E W   Y O R K   D I S T R I C T   A T T O R N E Y  Hogan and the Oren Harris Committee are boldly pursuing their investigations of the payola mess. This is all for the good, and may ultimately mean a better record and broadcasting industry — with cleaner business ethics and a fairer shake for the consumer.

Let us, however, urge the investigators to use utmost care in examining the evidence — in sifting the wheat from the chaff.

Many frustrated music men — out of step with current song and recording trends, see in the present goings-on a chance to a position of eminence. The ranks of the frustrated include artists, songwriters, publishers and record manufacturers — many of whom sigh for the good old days, blame their plight on rock and roll and construe that “rock ‘ n’ roll” is an outgrowth of payola.

Billboard November 30, 1959
Billboard November 30, 1959

T H E   C A N C E R   O F   P A Y O L A  cannot be pinned on rock and roll. Payola was rampart in the music business during the vaudeville era of the 1920s and the band era of the 1930s and 1940s. It did not affect major song trends then, and likewise, it is seen to have little effect in the 1950s.

The trend-setters are the Elvis Presleys, the Johnny Cashes, the Fats Dominoes, the Johnny Mathises, the Bobby Darins, etc. Artists of this stature make their mark despite payola. They make it because they reach kids with 98 cents in their pockets. They are the better arbiter.

Typical of the wild “evidence” being bandied about currently is the daily newspaper story about singer Don Anthony “whose record of ‘Careless’ became a hit on his own label, Barbizon Records . . . .”

Anthony made need police protection, as he claims, but his recording of ‘Careless’ never became a hit. Quite the contrary, all evidence indicates it was a complete bomb.

O T H E R    S I M I L A R L Y   W I L D   A N D  irresponsible pieces of “evidence” are lightly to come to light.

It would be highly unfair, and would do the record industry a great disservice, if irresponsible allegations by embittered has-beens were taken seriously by the investigators or the press.

There are many talented, creative peoplein the music business; there are many who are incompetent or no longer attuned; there are many who are, simply stated, evil.

The probers should aim carefully. A buckshot blast may do general and irreparable damage while missing the specific target: PAYOLA. END

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(Information and news source: Billboard; November 30, 1959)

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