Treasure Coast Is That All There Is?

[davideduardo]

As to why "Sweet Home Alabama," is being played right now, it attracts a white male audience, including younger white males. That is the audience that national advertisers are trying to reach; hence the inclusion of the song on most classic hits playlists.

Those music industry charts are only a guidance or aid in creating playlists that include "gold". The main source is the data obtained from music tests among the actual listeners of specific formats.

If they like it, play it. It does no matter where the song reached on the R&R, Gavin, FMQB and other charts that stations used "back in the day". What is important is how much listers "want to hear that song today".

 

[davideduardo]

What I'm saying is there is a whole lot of editing of older songs going on now and not all of those edits are being done by individual radio stations.

I don't know of any labels in any genre of music that are re-releasing "older songs" in edited versions. Can you name any of them?

In general, labels dedicate their promotion efforts to current releases.

 

[TheBigA]

With the development of the ability to edit on the fly, both radio stations and record labels have made edits to past hits.

Sony is giving creators access to "stems" which are unmixed elements to use in TikTok videos. Soon, there will be millions of edits of songs.

 

[TheBigA]

I don't know of any labels in any genre of music that are re-releasing "older songs" in edited versions. Can you name any of them?

The Beatles have re-released their catalog several times with different remixes. Perhaps the most interesting Beatles remix was the collection done for the Las Vegas show Love. That version was remixed by George Martin's son Giles.

But generally speaking, you're right that there is no active radio promotion being done to classic hits.

 

[davideduardo]

The Beatles have re-released their catalog several times with different remixes.

But those are remixes, not edits.

But generally speaking, you're right that there is no active radio promotion being done to classic hits.

 

[ted chittenden]

I don't know of any labels in any genre of music that are re-releasing "older songs" in edited versions. Can you name any of them?

In general, labels dedicate their promotion efforts to current releases.

Yes. The stereo remix of the 45 version of Chicago's "Beginnings," comes off a deluxe edition of Chicago's Greatest Hits released by Warner in 2007, if memory serves. The version of "I'm a Man," by Chicago which I have (the original album version minus the drum solo) comes off of a different greatest hits package put out by the same label in 2003. The Carpenters songs had remixes that came out in 1974 ("Ticket to Ride,") and 1985 ("Goodbye to Love") Another Carpenters song I didn't mention is "Superstar." There are three versions of that song out : the original 1971 45 single version; a remixed version that appeared on a 1985 greatest hits collection that I have; and a third version that was apparently on a different greatest hits compilation in 1991, all of which were released by A&M Records.

I have also heard a new (at least to me) remix of Yes' "Roundabout," which is not the single edit but is shorter than the album mix, and I'm sure that if I look hard enough, I can trace the CD where it comes from.

However, the Chicago "Beginnings" remixes are the most recent ones I know about, and to be fair, the latest remix I know about was issued in 2007, some 18 years ago.

 

[davideduardo]

Yes. The stereo remix of the 45 version of Chicago's "Beginnings," comes off a deluxe edition of Chicago's Greatest Hits released by Warner in 2007, if memory serves. The version of "I'm a Man," by Chicago which I have (the original album version minus the drum solo) comes off of a different greatest hits package put out by the same label in 2003. The Carpenters songs had remixes that came out in 1974 ("Ticket to Ride,") and 1985 ("Goodbye to Love") Another Carpenters song I didn't mention is "Superstar." There are three versions of that song out : the original 1971 45 single version; a remixed version that appeared on a 1985 greatest hits collection that I have; and a third version that was apparently on a different greatest hits compilation in 1991, all of which were released by A&M Records.

Those are "remixes" and not "edits". The two are separate things.

I have also heard a new (at least to me) remix of Yes' "Roundabout," which is not the single edit but is shorter than the album mix, and I'm sure that if I look hard enough, I can trace the CD where it comes from.

If it is shorter due to editing, then it is, indeed, an edit. But if it is shorter due to things like shortening the fade-out, then it is technically a remix.

However, the Chicago "Beginnings" remixes are the most recent ones I know about, and to be fair, the latest remix I know about was issued in 2007, some 18 years ago.

Yet again, remixes but not edits.

 

[John FL]

Some great remarks regarding editing and even remixing. To keep this simple as we segue into another "Is That All There Is" topic, there's a 6:27 version of the song "Beginnings" by Chicago on YouTube. I'd be happy if that version played. It's an edited version as the full length song found on YouTube as well that's 7:55 in length. What's missing in the shorter version is that long, protracted ending where "Only the beginning" is repeated over and over. Just my opinion but regardless of a radio station making the edits themselves or utilizing one of the edited versions that significantly cuts the length of the song, I believe it doesn't do the song justice. It's a brilliant song IMO and to air a very short version of it is just not right.

Buried in the last page, ron772 said "They (meaning Soft AC WOSN) don't promote much of anything. The imaging is basically the same handful of IDs they've run for close to a decade. It's very generic to be honest, and kind of sad that it doesn't matter."

I can attest that in my 7+ years living on The Treasure Coast, it's like time does stand still on WOSN. They are a part of a mom & pop cluster that also has a Country, Hot AC, Adult Hits (Jack FM,) and News/Talk via FM translator formats. The other Treasure Coast station we've referenced, iHeart's Classic Hits, WQOL, has significantly updated their playlist, rebranded, and their jingles and voice imagining isn't at all stale. It changes. There's also different imaging during long, holiday weekends when they offer special programing.

One of the unique aspects of WOSN is their Sunday morning jazz brunch feature. This was once common on many stations as a music specialty feature on Sunday mornings. There was a dedicated host to that program who is no longer on the station. What happened...I have no idea. Longtime radio personality, Hamp Elliott who hosts WOSN's morning drive has now been hosting Sunday morning jazz as well. There was also a midday weekend host I heard regularly who I haven't for a while now either. Can there be financial issues?

While we as listeners can delight in 6 or 7 minutes of commercials per hour on WOSN instead of around 15 minutes per hour on WQOL, I can also assume WQOL is in better financial shape. And all of this kind of reminds me of those radio consolidation days. I do hear a good number of national spots on WQOL along with local ads. I would think because of iHeart's size and perhaps their reputation in classic hits formats, there are Agency buys.

Looking back to the days when radio talent was falling by the wayside, I couldn't help but think, "Is That All There Is" to a career. It's the nature of the beast. In my own profession I experienced a lot of downsizing initiatives. Eventually, I became a victim and before that there were a lot of tense moments where you never knew when you're time was up. It probably explains why I spoke up for talent a lot on these radio boards.

While I understand why cost-cutting measures occur, I also think there has to be effort to grow your station. Allowing it to get stagnant doesn't make any business sense.

What's interesting about The Treasure Coast is its proximity to West Palm radio stations. But not all of the area, especially the very northern Treasure Coast benefits from that. I don't remember the calls, but there was an AC that broadcast out of the Stuart area. I picked up the station just fine in the Vero area. It's now a Christian music station, at least that's what it flipped to a few years ago. To the best of my knowledge, The Treasure Coast doesn't have a traditional AC format.

There's an area of Port St. Lucie called "Tradition" that has grown tremendously over the last few years. They're south enough to be able to hear a lot of West Palm stations. My understanding is many young families have moved there. They can't build schools and hospitals fast enough. There's opportunity for radio IMO.

I'm not sure if iHeart is still in the business of buying radio stations. They don't have a very large presence on The Treasure Coast. Anyway, I think the ball is certainly in Vero Beach Broadcasters/Treasure & Space Coast Radio court to do something instead of standing still. I really think mom & pop operators can be a great alternative to the giants, but they need to stand out, not just exist.

 

[ted chittenden]

Those are "remixes" and not "edits". The two are separate things.

If it is shorter due to editing, then it is, indeed, an edit. But if it is shorter due to things like shortening the fade-out, then it is technically a remix.

Yet again, remixes but not edits.

For the record, "I'm a Man," was, in fact, a new edit as the drum solo that was in the center of the song was completely removed. "Roundabout," is a new edit as the instrumental that was used on the single was replaced with the third verse heard on the full length version of the song.

 

[ted chittenden]

Some great remarks regarding editing and even remixing. To keep this simple as we segue into another "Is That All There Is" topic, there's a 6:27 version of the song "Beginnings" by Chicago on YouTube. I'd be happy if that version played. It's an edited version as the full length song found on YouTube as well that's 7:55 in length. What's missing in the shorter version is that long, protracted ending where "Only the beginning" is repeated over and over. Just my opinion but regardless of a radio station making the edits themselves or utilizing one of the edited versions that significantly cuts the length of the song, I believe it doesn't do the song justice. It's a brilliant song IMO and to air a very short version of it is just not right.

Buried in the last page, ron772 said "They (meaning Soft AC WOSN) don't promote much of anything. The imaging is basically the same handful of IDs they've run for close to a decade. It's very generic to be honest, and kind of sad that it doesn't matter."

I can attest that in my 7+ years living on The Treasure Coast, it's like time does stand still on WOSN. They are a part of a mom & pop cluster that also has a Country, Hot AC, Adult Hits (Jack FM,) and News/Talk via FM translator formats. The other Treasure Coast station we've referenced, iHeart's Classic Hits, WQOL, has significantly updated their playlist, rebranded, and their jingles and voice imagining isn't at all stale. It changes. There's also different imaging during long, holiday weekends when they offer special programing.

One of the unique aspects of WOSN is their Sunday morning jazz brunch feature. This was once common on many stations as a music specialty feature on Sunday mornings. There was a dedicated host to that program who is no longer on the station. What happened...I have no idea. Longtime radio personality, Hamp Elliott who hosts WOSN's morning drive has now been hosting Sunday morning jazz as well. There was also a midday weekend host I heard regularly who I haven't for a while now either. Can there be financial issues?

While we as listeners can delight in 6 or 7 minutes of commercials per hour on WOSN instead of around 15 minutes per hour on WQOL, I can also assume WQOL is in better financial shape. And all of this kind of reminds me of those radio consolidation days. I do hear a good number of national spots on WQOL along with local ads. I would think because of iHeart's size and perhaps their reputation in classic hits formats, there are Agency buys.

Looking back to the days when radio talent was falling by the wayside, I couldn't help but think, "Is That All There Is" to a career. It's the nature of the beast. In my own profession I experienced a lot of downsizing initiatives. Eventually, I became a victim and before that there were a lot of tense moments where you never knew when you're time was up. It probably explains why I spoke up for talent a lot on these radio boards.

While I understand why cost-cutting measures occur, I also think there has to be effort to grow your station. Allowing it to get stagnant doesn't make any business sense.

What's interesting about The Treasure Coast is its proximity to West Palm radio stations. But not all of the area, especially the very northern Treasure Coast benefits from that. I don't remember the calls, but there was an AC that broadcast out of the Stuart area. I picked up the station just fine in the Vero area. It's now a Christian music station, at least that's what it flipped to a few years ago. To the best of my knowledge, The Treasure Coast doesn't have a traditional AC format.

There's an area of Port St. Lucie called "Tradition" that has grown tremendously over the last few years. They're south enough to be able to hear a lot of West Palm stations. My understanding is many young families have moved there. They can't build schools and hospitals fast enough. There's opportunity for radio IMO.

I'm not sure if iHeart is still in the business of buying radio stations. They don't have a very large presence on The Treasure Coast. Anyway, I think the ball is certainly in Vero Beach Broadcasters/Treasure & Space Coast Radio court to do something instead of standing still. I really think mom & pop operators can be a great alternative to the giants, but they need to stand out, not just exist.

I have the 6:27 edit of "Beginnings," in my CD collection and what is removed from that version is the bongos selection that is about a minute long at the song's end.

While I agree with you about smaller operations needing to step up, so to speak, the fact is that the financing for many of these operations is so thin that if they "stepped up,", they could lose more than they had to begin with. I would like to see more smaller operations get a chance but I think that can only occur if the U.S. restarts going after monopolies, something I don't think will happen any time soon regardless of which party is in power.

IHM, while it has added a few smaller markets (Auburn, Alabama), is basically waiting to see if the FCC will relax ownership caps, and, like most of the other large broadcasters, it is having difficulties with financial flows.

 

[b-turner]

Stepping up does not always mean borrowing money. It is building awareness and targeting an audience, then being where that audience is.

 

[TheBigA]

In case there is any doubt, here is the original single with the edit time listed as 2:45:

https://i.ebayimg.com/images/g/p1AAAOSwkWFkF4cD/s-l1600.webp

 

[ted chittenden]

Stepping up does not always mean borrowing money. It is building awareness and targeting an audience, then being where that audience is.

Stepping up does require spending some money on audience research. While there are a few station owners who have the finances to spend that kind of money, most small owners don't and do have to rely on borrowing for the necessary cash.

 

[John FL]

A few posts back, I ended my comments by saying a radio station shouldn't just exist, but it should stand out.

And yes, there are financial considerations if we're discussing a station's need in "stepping up" but I think there are other things at play as well. And a lot of this is basic management 101. Over the years, I've posted a good deal about the importance of people such as the G.M and other key management positions. Regardless of the number of personnel at a radio station or cluster, are they motivated? Do they feel valued? Do they feel they can float their ideas without feeling intimidated.

I've had many radio heroes. The Miami/Ft. Lauderdale radio market was so incredible that many of my very personal favorites came from there. Rob Sidney was one. His greatest achievements would be found when he was director of programming and Operations at legendary AC WLYF. I had the opportunity to read about his management techniques and a lot of it involved allowing the talent to be themselves.

Here's the kicker that I believe separates Rob from the others. In WLYF's FB page, I once saw photos of him decorating the studio for Christmas and Hanukkah. It was tastefully done and you can see a lot of effort went into it. I'm sure Mr. Sidney had plenty of other things to do. But I'd bet he'd be the first to acknowledge that creating a happy work environment goes a long way. And it does!

While it's highly likely that a typical radio station utilizes VT talent for some of their dayparts. I do wonder if they feel like they are part of the team. It was many years ago that I posted about my concerns. I never got any satisfactory answer to questions posed about mentoring them, communicating with them about local events, and including them via email or DM in station happenings such as celebrating an anniversary of a long-time employee. Inclusion means just that.

Here on The Treasure Coast, Mark "The Cope" Coppala is an iHeart Premium Choice talent. He can be heard on our Classic Hits station, WQOL. on weekends - usually middays. For as long as I can remember, his voice sounds very weak. It doesn't appear he's an old guy. His pic on the website looks young to me. The audio as far as the songs goes sounds perfectly normal. I am not saavy when it comes to technical aspects of radio so forgive me when I phrase it this way. But it's as if he's using very cheap equipment to VT his shift.

You'd think someone would notice this and ensure it gets corrected. In the scheme of things, it may not be a major factor. But collectively, little distractions can all add up. We've probably all heard the comment that management should listen to their own radio stations. For years, I still wonder if they do.

Anyway, I'm convinced that radio stations that have proven highly successful for many years have highly motivated and happy employees. It may sound like old-fashioned concepts, but I truly believe big budget don't always mean big success, especially if the leadership sucks.

Perhaps more on this upcoming or some other "Is That All There Is" topic.

 

[TheBigA]

While it's highly likely that a typical radio station utilizes VT talent for some of their dayparts. I do wonder if they feel like they are part of the team. It was many years ago that I posted about my concerns.

It's a complicated question, because it depends on who the talent works for. Today, it's possible for a station to get their talent from many places. They can hire a VT directly, so that person works for the station, but isn't based locally. They can have that talent come from their corporate owner. Or they can get talent through a syndicator. Those are the three big ways to do it. There's also straight syndicated talent, but that's different from VT. Each one has a different level of station involvement. The more involved the station is, the more they're part of the team. But that's really up to the station.

 

[John FL]

The employer/employee relationship can be challenging to say the least. The previous poster used the term "complicated" in his response and it perfectly describes how I feel about the business of radio.

There was a time I thought radio talent was exempt from labor laws. Especially earlier this century where downsizing initiatives were happening all over, some things I experienced were downright cruel. Let's face it, losing one's livelihood is traumatic enough as it's life-changing. But it's even more so when someone moves his/her family to a new community, buys a new home or condo only to be let go a few months later when a format changes or whatever.

What I've found to be similar to my own experiences in Corporate America is a thing called "reputation." Let's face it, none of us are perfect. And so there's always going to be opportunities for improvement in our performance evaluations. But sometimes, it's those imperfections that wind up defining us. The person may have completely turned around something negative but yet to those who make career decisions; they remain skeptical or simply write someone off.

While I don't know everything that's involved when a radio talent is dismissed, I've seen enough of it to realize radio has a paranoia to give someone an opportunity if they had associations with say, an oldies format. In 2010, the former CC launched a variety-based classic hits format in Jax. I reached out to him letting him know about the new opportunity.

Admittingly, I have little influence but I did reach out to the CC management to give someone I considered a friend an opportunity. He interviewed but it just didn't happen. A shame really.

I'm quite fussy when it comes to talent and their performance. And so, understand that my recommendation was based less on emotion but rather capabilities. . After leaving Jax, he programmed two updated versions of hybrid Oldies/Classic Hits stations. One was in Georgia, the other was in N. Carolina. I heard them both and I was impressed.

He not only didn't get any gig back in Jax but a former morning drive co-host of that same oldies station, at the time on a CC Texas country station, "auditioned" for a VT shift. I thought she did a good job but it wasn't meant to be. It's not the first time I experienced this sort of thing. I also think it's just a radio thing. To the average listener, trust me, they don't care about what station a person worked in the past. All they care about is the featured music and limited jock banter.

At this point, it's unclear if any talent decisions would have made a difference. The format lasted a little more than a year. Yes, hindsight is 20/20 but IMO, the powers that be should have probably started out small, say a PD with morning drive responsibilities and Premium Choice talent for the remaining dayparts. I've seen that sort of thing elsewhere. The old CC was initiating a lot of downsizing initiatives in that 2010-2012 time frame. Was it logical to hire a few live and local folks along with VT and Premium Choice shifts? I'll let you be the judge. But decisions have consequences.

If there's any positive to those who VT for a few stations and/or also have a voice acting sideline, lose a gig and you don't have to move. You build a reputation and another opportunity will likely come along. While working from an in-home studio may not have the same punch to live and local, it's far less disruptive to a person's life. Those who take the time to check out what's happening in the market and get periodic feedback from the station's management I feel would create a win/win situation.

Perhaps we've exhausted this subject. "Is That All There is" to Promotions is upcoming.

 

[John FL]

As far as promotions go, the allocation of dollars for the stations in the cluster, often proved quite revealing. Back when format flips were way more common, I came up with the term "benign neglect." I'm not totally disputing why the biggest cash cows of the cluster would receive the biggest pieces of the pie. Keeping it simple, if you don't promote at least in some capacity, then you shouldn't be surprised at the poor results. The same holds true for not updating the music, diminished advertising efforts, stagnant voice imaging and it goes on and on.

There's much we don't know that goes on behind the scenes. But when you try to apply some logic and common sense to it all, some decisions, as in promotions, become much clearer. There are some stations/formats that have a shelf life. Probably the easiest one to explain is decade-specific ones. After a while, the audience can easily grow out of the demo. Eventually, those "benign neglect" decisions are made and voila...a new format is born.

This may have been late in 2011 or early 2012, but a station I listened to regularly stopped featuring their typical type of promotions. Even though this was a former Clear Channel station, they'd go beyond the typical national contests and offered some unique promotional ideas. Then that all stopped.

I don't recall the name of the website. Listeners were directed to an online page where they had a chance to win cash and/or prizes. It involved answering various trivia questions each day. Answer correctly, and the participant would earn points. Get up to a certain level of points and there was an opportunity to "bid" on that prize. But you weren't alone. This was opened to participating stations around the country.

From what I remember, there was only one winner who was announced on the station. To me, it showed the company was not interested in promoting the station further. It wasn't too long after that the jocks were all fired and a few weeks after that, a new format began.

In my travels through the Treasure Coast before moving here, I can honestly say I don't remember a single promotional contest. Outside of the national contests iHeart's Classic Hits WQOL participates in, their local promotional effort rewards a listener with a bouquet of flowers for a winning story as to why someone deserves that. iHeart utilizes a "talk back mic" feature. Via that app, you'll occasional hear a listeners' voice after winning something. In my mind, I suspect it's not even a local listener. If you listen carefully, it's all brief and usually the local talent chuckles in the background to what is being send - there's no real interaction from how it sounds to me. IMO, the local flower award probably can touch the listener better.

Over at WOSN, it's a daily trivia contest. There's never a playback of the contest winner. Prizes are never big ticket items. They also have a feature that involves wedding anniversaries. Submit your name to the station and the number of years you're married and you win a dinner at one of the beach restaurants. I think it's worth $50. Don't misunderstand, I'm not putting these contests down. At least they are doing something to promote themselves.

Until moving to the Treasure Coast, I've experienced the biggest markets in the country in both my residences and my work travels. And there was a time, these big-city contests would have absolutely huge payouts. But as I have been saying, creatvitiy can happen even on a budget. When it comes to promotions, I believe that when they are still memorable after many years of hearing them, they were probably effective too.

When work transferred me to Jacksonville, I immediately noticed the significantly lower prize payouts. Still, the promotions were fun, exciting and people at work talked about them. More "Is That All There Is" to promotions upcoming.

 

[jap_man]

A few posts back, I ended my comments by saying a radio station shouldn't just exist, but it should stand out.

And yes, there are financial considerations if we're discussing a station's need in "stepping up" but I think there are other things at play as well. And a lot of this is basic management 101. Over the years, I've posted a good deal about the importance of people such as the G.M and other key management positions. Regardless of the number of personnel at a radio station or cluster, are they motivated? Do they feel valued? Do they feel they can float their ideas without feeling intimidated.

I've had many radio heroes. The Miami/Ft. Lauderdale radio market was so incredible that many of my very personal favorites came from there. Rob Sidney was one. His greatest achievements would be found when he was director of programming and Operations at legendary AC WLYF. I had the opportunity to read about his management techniques and a lot of it involved allowing the talent to be themselves.

Here's the kicker that I believe separates Rob from the others. In WLYF's FB page, I once saw photos of him decorating the studio for Christmas and Hanukkah. It was tastefully done and you can see a lot of effort went into it. I'm sure Mr. Sidney had plenty of other things to do. But I'd bet he'd be the first to acknowledge that creating a happy work environment goes a long way. And it does!

While it's highly likely that a typical radio station utilizes VT talent for some of their dayparts. I do wonder if they feel like they are part of the team. It was many years ago that I posted about my concerns. I never got any satisfactory answer to questions posed about mentoring them, communicating with them about local events, and including them via email or DM in station happenings such as celebrating an anniversary of a long-time employee. Inclusion means just that.

Here on The Treasure Coast, Mark "The Cope" Coppala is an iHeart Premium Choice talent. He can be heard on our Classic Hits station, WQOL. on weekends - usually middays. For as long as I can remember, his voice sounds very weak. It doesn't appear he's an old guy. His pic on the website looks young to me. The audio as far as the songs goes sounds perfectly normal. I am not saavy when it comes to technical aspects of radio so forgive me when I phrase it this way. But it's as if he's using very cheap equipment to VT his shift.

You'd think someone would notice this and ensure it gets corrected. In the scheme of things, it may not be a major factor. But collectively, little distractions can all add up. We've probably all heard the comment that management should listen to their own radio stations. For years, I still wonder if they do.

Anyway, I'm convinced that radio stations that have proven highly successful for many years have highly motivated and happy employees. It may sound like old-fashioned concepts, but I truly believe big budget don't always mean big success, especially if the leadership sucks.

Perhaps more on this upcoming or some other "Is That All There Is" topic.

The "Cope" voice tracks dozens of IHeart "classic" (rock/hits) stations .... doing the typical minimal personality effort, usually just a music trivia bit and the station moniker "The Beatles played in Boston today in 1964", "99.7 the Fox". Beyond Big Rig I've yet to hear an IHeart VT'er that makes a concerted effort to sound local.

 

[TheBigA]

I've yet to hear an IHeart VT'er that makes a concerted effort to sound local.

Which is why the other options I mentioned might be preferable, but require a budget. Contract VT people will make a concerted effort to sound local and will even do personal appearances in the market if needed.

 

[AM-FM-DXer]

The "Cope" voice tracks dozens of IHeart "classic" (rock/hits) stations .... doing the typical minimal personality effort, usually just a music trivia bit and the station moniker "The Beatles played in Boston today in 1964", "99.7 the Fox". Beyond Big Rig I've yet to hear an IHeart VT'er that makes a concerted effort to sound local.

A lot of it depends on the market and what the PD asks. In many markets, national iHeart VT'ers record local spots, especially promoting the station's morning show. Regarding Marc Coppola, in addition to national VT work, he does customized shifts in many markets. According to his own profile, he does shifts on "WAXQ, WLTW & WKTU Radio in New York City, WBIG Washington DC , 101KGB-FM San Diego on both HD1 & HD 2, and on the "Big Classic Hits" and "Cool Oldies" channels at I Heart Radio (iHeartradio.com). Also heard on , WWBB Providence, WSRZ Sarasota, , WRZX Dayton, WOLZ, WQRV/WTAK Huntsville, WTRY Albany, WQMF Louisville, WKQQ Lexington, WYNK Baton Rouge, KBFX Anchorage, WEGR."