I Have a Lot of Radio Stations to Listen To

For all its issues of the last year (or 20), there is still broadcast radio I want to listen to.

In fact, there is a lot of broadcast radio I want to listen to.

Recently, I combined the scraps of paper that had been my “to-do” lists for audio listening — podcasts, newly released albums and “singles,” streaming audio channels, satellite, and broadcast radio stations.

Readers are often surprised by how much radio I do listen to. But I can now say that when it was all done, there were more than 125 items, about three-quarters of which were broadcast-radio stations.

That list includes recently launched stations, perhaps to be profiled in a “First Listen.”

There are “First Listen” subjects of three months ago; stations that I should really come back to following their initial shakeouts. (I finally returned to all-‘90s WMIA [Totally 93.9] Miami this week.)

There are recent ratings-success stories. Some are recently resurgent. During the most volatile months of 2020, many were stations that had never sported big numbers before in formats like Classical or Classic Country.

There are the stations that were suggested by readers and friends of the column.

There are the stations that were programmed by readers and friends of the column.

There are specialty shows hosted by readers and friends of the column.

There are stations that I always enjoy when I get around to listening to them — many of these involve deeper oldies in some form, but not all.  

There are the stations I work with, and the rest of the stations in their markets, and the stations I consider to be the best of their formats.

There are my local stations, which require more of a dedicated effort now that I’m not spending as much time in the car. 

There is radio from around the world. For a while, I didn’t listen to enough. Now, I’m seeking it out more again, particularly for some of the new music and variety missing from radio here.

There are the stations that I know I need to keep up with, but I don’t enjoy much. This includes a lot of three-share U.S. CHRs. I don’t really want to sit through 11 minutes of spots, PSAs, and filler promos to hear “Adore You” and “Blinding Lights” again. At least it’s January and spotloads are better for a while. 

In the last nine months, the stations that have been the hardest to listen to have been those stations that have been most impacted by cutbacks and consolidation. One favorite medium-market station — once a market powerhouse — has been unhosted whenever I’ve listened since last spring. I wouldn’t want you to guess who they are, but you’ll have a hard time narrowing it down from those clues anyway.

But then there was Alternative KTCL (Channel 93.3) Denver. It’s a favorite and a column perennial, but even those are stations I don’t get to often enough. It was running a national money giveaway, but it was branded as the “cash kitten” (for our anxiety-inducing times). In fact, PD/p.m. driver Nerf talked about anxiety and hoping we were entering better times. He asked listeners to complete their “Music Nerds” online callout surveys. He did the business of the station with creativity, and acknowledged his market and our times. 

That’s what I look for, especially now. I’ve talked a lot over the last 10 months about those stations that are still able and still choosing to “do radio.” I cheerfully acknowledge that expression as a “just play the hits”-level bromide. But being radio’s best self now takes work. Those stations that did are the ones that figure prominently among the “Intriguing Stations of 2020.”

I’ve definitely revisited some of the stations where I hear unusual oldies this week, including WKHI Ocean City, Md., for its distinctive late-‘80s/early ‘90s-driven mix. The first song I heard it playing was Tara Kemp’s “Hold You Tight.” WHPY (Hippie Radio) Nashville is also on my “should listen more” list. It had a promo bragging about playing Bruce Springsteen into Parliament, “Nashville style.” 

Gold-based Country WSM-AM Nashville is also on the “should listen more” list. When I heard it in middays, Mike Terry was on and there was definitely a classic, big-radio feel of the sort I grew up with. I also returned to the U.K.’s Chris Country Radio. 

I listened to WHUR-HD-2 Washington, D.C.’s new “Quiet Storm” channel. 

I listened to SCA Australia’s Soundcloud-branded channel, recently recommended by James Cridland.

I listened to former Sirius XM programmer Kid Kelly, now available as a national jock for hire, in nights on Classic Hits WLS-FM Chicago, perhaps the greatest first client you could hope to have. 

I listened to Triple-A WXPK (The Peak) Westchester County, N.Y., an (almost) local that I always enjoy and recently reviewed as part of a “virtual road trip.” 

I listened to Hot AC CHUM-FM Toronto after a reader noted that its mix had changed and become more gold-based.

I listened to AC WXKC (Classy 100) Erie, Pa., to hear its regular format, after having enjoyed its New Year’s Day countdown.

On Twitter, somebody asked followers to submit radio stations. Those tips led me to Radio Quar, an Italian community online station of obvious derivation. They were playing Northern Soul on Monday morning. They’re atmospheric now.

I got to one album, the new Barry Gibb-and-friends project. I am looking forward to the new Ariana Grande and now months-old Luke Combs albums, but Barry would probably have pushed his way ahead even without the recent Bee Gees documentary. 

There is a lot to worry about now. The state of radio is certainly on that list. Having nothing to listen to is not yet on the list, even if you are looking for “radio as we know it.” Local broadcast radio has been fragmented by the competition, but that infinite dial includes broadcast radio, too, and on it, I find more than enough of the radio I want. 

You’ll recognize this level of obsessiveness of radio as mine (and perhaps yours). But obsessiveness isn’t a requirement. This week, Tom Hanks named TuneIn.com as a favorite app and sent its downloads soaring in a way that multiple “download our app/download our skill” promos an hour do not. Now broadcasters just need to give listeners the experience they’re coming for without too many spots, PSAs, and fill promos.