Entertainment
‘Goodtime Oldies’ good for WIRL
- Details
- Published on Thursday, 27 June 2013 09:57
- Written by Bill Knight
After two months of a sort of shake-down cruise, WIRL’s “Goodtime Oldies” format is experiencing smooth sailing.
“We've had excellent reaction to the format so far; lots of positive feedback,” says Lee Malcolm, the familiar voice that returned to Peoria airwaves on April 1 with “The Goodtime Morning Show” from 6 a.m.-noon weekdays.
“Most postings I've seen are in favor of the oldies format,” he continues. “I do not know if other station personnel have handled any telephone complaints. I have had none so far. I think WIRL is a nice compliment to the JMP family of stations – all very successful.”
Courtney Bickerman, who’s an on-air talent for JMP who also serves as WIRL’s program director, agrees.
“The format obviously has been very successful,” Bickerman says. “We’re excited to bring it back. It’s definitely crossing generations."
Launched in 1947, WIRL-AM 1290 became central Illinois’ first 24-hour rock ’n’ roll station in the late ’50s, slid into more of a pop/oldies format in the ’80s, and a decade or so later dropped music for sports/talk, when it even changed its call letters to WWFS-AM 1290. Its name returned in 2005 when it brought back music – classic country, which it dropped in March.
Simulcasting on 102.7 FM, WIRL also features JMP agribusiness director DeAnna Thomas with farm news and market reports at 6:30 and 7:30 a.m. and "The Noon Show" from 12-1 p.m., and Wayne R. Miller (also WIRL’s chief engineer) with the weekly “Official Saturday Night Hop" from 7 p.m.-midnight Saturdays.
WIRL also still features some news and Chicago Cubs baseball.
“Personally, I hope we can soon add more local folks to the line-up,” Malcolm says.
Given the mix of local hosts and automated material, the audience may wonder how much of the music is pre-determined and and how much is customized to the moment or the market. Malcolm rolls (or, rocks and rolls) with his mood, he says.
“Most stations use music scheduling software that works according to all kinds of parameters that can be set up,” he says. “For example, it might be restricted from playing two slow songs in a row, or back-to-back Motown, or whatever. All music programming at WIRL is done locally. We have the ability to make changes ‘on the fly.’ We try to keep the music ‘up’ and ‘happy’.”
First starting in radio in Ottawa, Malcolm started at WIRL in 1975 and manned a mic until 1981, returning from 1993-98. He also worked at the old KZ-93 in Peoria, WHYT in Detroit (where he was program director, too) and for a while was part-owner and operator of Radio Disney in Little Rock, Ark.
His experience has run from the sublime to the ridiculous. He led a class on rock ’n’ roll history for Bradley University’s OLLI (Osher Lifelong Learning Institute) program, and he recalls radio stunts such as spending a weekend broadcasting from a motor home hoisted 40 feet into the air by a crane.
“I did a documentary,” he says, recounting another of his many activities. “I am also involved in digital registry (via iPad application) and video production. I run my own studio and do voice-over work for clients that are scattered. These include radio & TV, ad agencies and production houses. Most clients are not around here. Furthest client: Armenia.”
Returning listeners or new-found fans of oldies from the 1950s, ’60s and more shouldn’t be concerned about their commercial viability, he says.
“Folks in our target demographics have a good amount of disposable (or discretionary) income,” Malcolm says.
The same goes for the AM-FM divide, Malcolm adds.
“Many listeners will find that option attractive,” he says. “Only time will tell for sure the true value of the FM option.”
The time seems right for what Bickerman calls the cross-generation appeal.
“We've heard stories about kids uncovering their parents' old record albums,” Malcolm says. “It is true that many people in the younger demographics are discovering and diggin' this music.”
