#wlir

[oldshowbiz]

1982.

SCTV was one of the more intelligent comedy programs of its day, but Bob and Doug McKenzie attracted some of the stupidest people in the world.

[vinylanswer]

Siouxsie and the Banshees’ “Peek-A-Boo,” released in 1988 when they unapologetically dropped the goth thing and headed straight for the alt-pop dance floor. Great track.

[the80s]

Anyone else listen to WLIR in the 80s?

[8bitcentral]

Fumbling with my car #radio revealed a nostalgic tuner style. I remember driving my parent's station wagon with manual -tuned radio blasting #WLIR https://www.instagram.com/p/Btlcpwhl4Y5/?utm_source=ig_tumblr_share&igshid=1eazj9s7pryp4

[cmast68-blog]

Step from the road to the sea to the sky And I do believe what we rely on When I lay it on Come get to play it on All my life to sacrifice #snow #rhcp #redhotchilipeppers #converse #conversefamily #chucks #chucktaylor #chuckseveryday #lifeinchucks #thetravelingchucks #instachucks #chuckollectors #wlir #wdre #tbt #white #hightops #bestfriends (at MaliBlue Oyster Bar) https://www.instagram.com/p/BmAIcQrglBZ/?utm_source=ig_tumblr_share&igshid=y66wsgc2a52q

[omegaplus]

# 2,394

Re-Flex “The Politics Of Dancing” (1983)

I’m not going to lie to you, but my trip to Riverhead’s Sunday Records made an impact on me. It’s that store that really opened my eyes to the Eighties and Long Island’s radio culture. How so? Sunday Records classified their records not by genre but by radio stations. Yes, radio stations. The owner had a one-of-a-kind system based on playlists and station hits acquired from anyone who cared to preserve radio history through YouTube and Discogs, and of course being there when it happened. One of those stations was WLIR, once a long-standing station that “dared to be different” and now has a documentary about it. Sunday’s owner went as far as labeling some of its’ records as “Screamers Of The Week” as voted by WLIR’s listeners at the time (week) of broadcast. That’s how special and direct the experience was. As mentioned here, it’s why Sunday specialized in new-wave and synthpop; and why I’m now re-discovering it. It opened my eyes to all the many hits I never knew existed, but also to my surprise the many industrial acts like Front 242 and Strawberry Switchblade recieving airplay which it sells. It was new-wave and synthpop’s connections that lead to us discovering industrial in the first place because they more-or-less shared similar elements. So here’s a question: if you are into Underworld to where you need more of it, would you embrace their early incarnation as Freur and appreciate the Eighties’ new-romantic sound all around it? You would. That’s why I’m here, and that’s why you’re here.

Re-Flex’ “The Politics Of Dancing” was one of the selections Sunday Records were selling and the one watermarking my visit there. It’s one of the ‘new’ discoveries I can’t quit on. It’s been recently featured on the Atomic Blonde motion picture soundtrack (Leitch, 2017)

[everythingloureed]

Some of Lou’s archive, the entire contents of which was donated to the New York Public Library.

The tape at bottom-left looks like it’s from his legendary appearance at WLIR’s Ultrasonic Recording Studio in Hempstead, NY.  It’s been bootlegged for years under a variety of names, but you can buy a remastered and official version, known as American Poet, HERE.

[nickskeyboards]

Duran Duran comes to WLIR studios on Fulton Aveune in Hempstead in 1980. 

From left: Nick Rhodes; DJ Bob Waugh; Simon LeBon of Duran Duran; and DJ Ray White. 

Photo Credit: WLIR