The Big 8 CKLW

Inside the Powerhouse That Rocked the Radio World

In the annals of radio history, few stations have left as indelible a mark as CKLW, “The Big 8.” Broadcasting from Windsor, Ontario, but capturing the hearts of listeners across the Detroit River and beyond, CKLW was a powerhouse that defined an era of radio excellence. As we reflect on this legendary station in 2025, its impact continues to resonate with broadcasters and music lovers alike.

The Birth of a Radio Giant

CKLW’s journey to becoming “The Big 8” began in 1967 when RKO General, the station’s parent company, brought in radio consultant Bill Drake. Drake and his team, led by program director Paul Drew, implemented the now-famous “Drake Format” at CKLW. This revolutionary approach streamlined programming, emphasizing a tight playlist of hit songs, dynamic jingles, and high-energy DJ performances.

The transformation was swift and dramatic. Within months of adopting the new format, CKLW rocketed to the number one spot in the Detroit ratings. But what made this achievement truly remarkable was the station’s ability to dominate not just one market, but several. At its peak, CKLW was the top-rated station in Detroit, Cleveland, and Toledo simultaneously – a feat almost unheard of in radio.

Behind the Mic: The Boss Jocks

Central to CKLW’s success was its roster of talented DJs, known as the “Boss Jocks.” These on-air personalities became local celebrities, their voices instantly recognizable to millions of listeners across the station’s vast coverage area. Names like Tom Shannon, Charlie Van Dyke, and Pat Holiday became synonymous with the Big 8 sound.

Tom Shannon, who joined CKLW in 1968, brought a smooth, polished delivery that perfectly complemented the station’s high-energy format. His deep voice and professional demeanor made him a favorite among listeners and advertisers alike. Shannon’s tenure at CKLW was marked by high ratings and numerous accolades, cementing his status as one of the station’s most iconic voices.

Charlie Van Dyke, another CKLW legend, arrived at the station in 1969. Known for his rich baritone and quick wit, Van Dyke quickly became a fan favorite. His ability to connect with listeners through the airwaves was unparalleled, and his on-air rapport with fellow jocks helped create a sense of camaraderie that listeners found irresistible.

Pat Holiday joined CKLW in 1970 and brought a youthful energy to the airwaves. His upbeat personality and enthusiasm for the music resonated with younger listeners, helping to broaden the station’s demographic appeal. Holiday’s time at CKLW was marked by innovative promotions and contests that kept listeners engaged and tuning in day after day.

One of the most memorable voices on CKLW was Ted “The Bear” Richards. Starting at the station in 1972, Richards was known for his smooth delivery and became one of the longest-running jocks on the Big 8, staying until the end of its Top 40 era in 1984. His deep, resonant voice and laid-back style provided a perfect contrast to the station’s high-energy format, making him a favorite among late-night listeners.

The Boss Jocks weren’t just playing records; they were crafting an experience. Each show opener was a carefully orchestrated performance designed to grab the listener’s attention. As one former DJ recalled, “We’d all try to outdo each other. No, ‘Hi…how you doing?’ stuff. It HAD to be larger than life. We’d all do our best to do some crazy or funny or amazing thing to set the tone for the rest of the show. Something mesmerizing.”

This commitment to entertainment extended beyond the airwaves. The Boss Jocks were fixtures at local events, from high school dances to major concerts. Their presence in the community helped solidify CKLW’s position as not just a radio station, but a cultural institution in the Detroit-Windsor area.

The 50,000-Watt Wonder

CKLW’s massive reach was due in large part to its powerful 50,000-watt signal. This impressive output allowed the station to blanket southern Ontario and more than a dozen U.S. states, making it a true regional powerhouse. The station’s signal was so strong that it could be heard as far away as Soviet Russia, according to some reports.

The station’s technical prowess wasn’t just about raw power. CKLW’s chief engineer, Ed Buterbaugh, was known for his “audio wizardry” that pushed the capabilities of the AM frequency. His techniques sonically separated CKLW from all others on the dial, giving it a distinctive sound that cut through the airwaves.

Buterbaugh’s innovations included the use of custom-designed audio processors that enhanced the station’s sound quality. He also implemented a unique antenna system that optimized CKLW’s signal coverage, ensuring that the Big 8 could be heard loud and clear across its vast broadcast area.

This technical excellence extended to the station’s production values. Everything about CKLW’s sound was tight and polished. The jingles, produced by the Johnny Mann Singers, became a signature element of the Big 8 sound. These short, high-energy musical bursts helped maintain the station’s frenetic pace and reinforced its brand identity.

The Johnny Mann jingles were more than just station identifiers; they were an integral part of CKLW’s sound. Carefully crafted to match the tempo and key of the songs they introduced, these jingles created seamless transitions that kept listeners engaged. The most famous of these jingles, “The Big 8 CKLW,” became so iconic that it was recognized across North America.

Behind the Scenes: The Unsung Heroes

While the Boss Jocks were the public face of CKLW, a team of dedicated professionals worked behind the scenes to keep the Big 8 running smoothly. The board operators, or “board ops,” played a crucial role in maintaining the station’s tight, fast-paced sound. These skilled technicians were responsible for cueing up records, playing commercials and jingles, and ensuring that every element of the broadcast flowed seamlessly.

Working as a board op at CKLW was no easy task. The Drake Format demanded precision timing and split-second reactions. Every element of the broadcast was carefully timed and produced to maintain a consistent, fast-paced flow. Board ops had to be constantly alert, ready to fire off the next element in the carefully choreographed sequence that made up the Big 8 sound.

One former board op, who started at CKLW in 1974, recalled the pressure and excitement of working at the legendary station. “The energy in that control room was electric. You had to be on your toes every second of your shift. One mistake, one missed cue, and you’d throw off the entire flow of the station. But when you got it right, when everything clicked, it was like conducting a symphony. There was nothing else like it in radio.”

The production team at CKLW was equally crucial to the station’s success. Led by production director Chuck Morgan, this team was responsible for creating the commercials, station promos, and other elements that filled the spaces between songs. Morgan’s innovative production techniques, including the use of multi-track recording and sophisticated sound effects, set new standards for radio production.

20/20 News: Information at the Speed of Sound

Another key element of CKLW’s success was its innovative approach to news broadcasting. The station’s “20/20 News” was so-called because it was delivered at 20 minutes after the hour and 20 minutes before the hour. This scheduling allowed CKLW to be playing music while other stations were airing newscasts at the top of the hour or on the quarter-hour.

But it wasn’t just the timing that set CKLW’s news apart. The station’s newscasters delivered stories in a rapid-fire, excited manner that matched the energy of the music programming. Led by news directors like Dick Smyth and later Byron MacGregor, the 20/20 News team developed a distinctive style that became as much a part of CKLW’s identity as its music.

Dick Smyth, who joined CKLW in 1968, was instrumental in shaping the station’s news approach. His aggressive, no-holds-barred style of reporting set the tone for the 20/20 News. Smyth wasn’t afraid to tackle controversial topics or challenge authority figures, earning him a reputation as a fierce journalist and cementing CKLW’s position as a serious news source despite its Top 40 format.

Byron MacGregor took over as news director in 1969 and further refined the 20/20 News format. Under his leadership, the newscasts became even more tightly formatted, with each story delivered in a punchy, attention-grabbing style. MacGregor himself became a local celebrity, known for his deep voice and dramatic delivery.

The news writing was tight and punchy, with an emphasis on vivid imagery and dramatic delivery. Newscasters like Grant Hudson, Joe Donovan, and Mark Dailey became known for their ability to make even routine stories sound exciting. The “blood and guts” style that developed under MacGregor’s leadership didn’t shy away from the gory details of crime stories, adding to the newscast’s gripping nature.

A unique feature of the 20/20 newscasts was the incessant clacking of the teletype in the background. This sound effect, which continued even after real teletypes had been phased out, gave the newscasts a sense of urgency and immediacy that listeners found compelling.

 

The Music that Made the Big 8

At its core, CKLW was about the music. The station’s tight playlist, focusing on the biggest hits of the day, was curated by music director Rosalie Trombley. Known as “the girl with the golden ear,” Trombley had an uncanny ability to pick hit records before they became hits.

Trombley’s influence extended far beyond CKLW’s broadcast area. Record companies and artists would court her favor, knowing that airplay on the Big 8 could make or break a song. She was particularly known for her support of R&B and soul music, helping to break numerous Motown acts to wider audiences.

One of Trombley’s most famous discoveries was Bob Seger. She recognized the potential in Seger’s music and gave him heavy airplay on CKLW, helping to launch his career. Seger later immortalized Trombley in his song “Rosalie,” a tribute to her influence on the music industry.

The Big 8’s music mix was more than just a collection of popular songs. It was a carefully crafted blend designed to appeal to a wide range of listeners. Trombley consciously made an effort to choose the right mix of R&B, soul, and pop to create a station that would appeal equally to black and white listeners. This integrated approach earned CKLW the nickname “the blackest white station in America” and is credited by some with helping to bring Detroiters closer together in racial harmony, especially after the riots of July 1967.

Promotions and Contests: Engaging the Audience

CKLW was known for its innovative and often outrageous promotions and contests. These events helped to create a strong bond between the station and its listeners, while also generating significant publicity. Some of the most memorable promotions included giving away houses, cars, and large cash prizes.

One popular contest was the “Big 8 Money Machine,” which had listeners racing to payphones to call in and win cash prizes. The promotion created a frenzy across the city, with people lining up at payphones hoping to be the lucky caller. The excitement generated by these contests helped to cement CKLW’s position as the go-to station for entertainment and excitement.

Another memorable promotion was the “CKLW Supercar,” a custom-designed vehicle that made appearances at events throughout the Detroit-Windsor area. The car, adorned with the CKLW logo and equipped with a powerful sound system, became a symbol of the station’s larger-than-life presence in the community.

The station also organized massive concerts featuring top acts of the day. These events, often held at large venues like Cobo Hall in Detroit, brought thousands of fans together and reinforced CKLW’s connection to the music industry. Acts like The Who, Led Zeppelin, and The Rolling Stones all performed at CKLW-sponsored concerts, further cementing the station’s reputation as the premier source for rock and pop music in the region.

The Legacy of the Big 8

While the heyday of CKLW as a Top 40 powerhouse came to an end in the mid-1980s, its impact on the radio industry has been long-lasting. Many of the programming principles developed during the Big 8 era continue to influence radio formats today. The emphasis on tight playlists, consistent branding, and strategic placement of non-music elements remains a cornerstone of successful radio programming.

The Big 8 also left an indelible mark on popular culture. The sound of CKLW has become synonymous with the music and lifestyle of the late 1960s and 1970s. This nostalgia factor has led to the creation of online stations and tribute sites that aim to recreate the energy and excitement of the original format for new generations of listeners.

Many of the personalities who made their names at CKLW went on to successful careers in other markets. Charlie Van Dyke became one of the most recognizable voiceover artists in the industry, his voice heard on stations across the country. Pat Holiday went on to program successful stations in major markets like New York and Los Angeles. The talent nurtured at CKLW continues to influence the radio industry to this day.

The technical innovations pioneered at CKLW also had a lasting impact. The audio processing techniques developed by Ed Buterbaugh became industry standards, adopted by stations around the world. The tight, polished sound of CKLW set a new benchmark for audio quality in radio broadcasting.

The 20/20 News format, while no longer used in its original form, influenced the development of all-news radio stations and the integration of news into music formats. The fast-paced, headline-driven style of news delivery pioneered at CKLW can still be heard in radio newscasts today.

Perhaps most importantly, CKLW demonstrated the power of radio to unite diverse communities. By breaking down musical barriers and appealing to listeners across racial and cultural lines, the Big 8 played a role in bridging divides in a turbulent time. This legacy of inclusivity and cultural impact serves as a reminder of radio’s potential to be a positive force in society.

As we face the challenges and opportunities of broadcasting in the digital age, the Big 8 stands as a shining example of what’s possible when creativity, talent, and technology come together in perfect harmony. The echoes of those unforgettable jingles and the voices of the Boss Jocks may have faded, but the impact of CKLW continues to reverberate through the airwaves, inspiring a new generation of broadcasters to reach for the same heights of excellence and innovation that made the Big 8 a true radio legend.

For those who experienced CKLW in its heyday, the memories of cruising down Woodward Avenue with the Big 8 blasting from car speakers remain vivid. For younger generations of broadcasters and music fans, the legend of CKLW serves as a reminder of radio’s power to unite, entertain, and inspire. In an era of streaming services, podcasts, and personalized playlists, the story of CKLW reminds us of the unique magic of broadcast radio – the shared experience of listening to the same songs, hearing the same jingles, and participating in the same contests, creating a sense of community that transcended geographic and demographic boundaries.

As the radio industry continues to evolve, the legacy of CKLW and the Big 8 remains a touchstone for broadcasters striving to create compelling, engaging content. The station’s success was built on a deep understanding of its audience, a commitment to quality programming, and a willingness to push boundaries and take risks. These principles remain as relevant today as they were in the Big 8’s heyday.

In the end, the story of CKLW is a testament to the enduring power of radio to connect, entertain, and inspire. As we navigate the ever-changing landscape of media and technology, the Big 8 stands as a reminder of radio’s unique ability to capture the imagination and touch the hearts of listeners. It’s a legacy that continues to inspire and challenge broadcasters to this day, ensuring that the spirit of the Big 8 lives on in the airwaves of the 21st century.