Interesting aircheck. It is obvious to me Mike had been hired by the company that distributed the format to it's clients for a daypart. It was well coordinated. Mike simply does song titles and artist and at breaks a standard liner. These recordings are provided to the client who airs this format and Mike customizes liners for each station. The idea is to make automation sound more like live radio. I think Selden was at KLIF in Dallas at the time, a station known to pay not so great. Because McClendon stations, especially KLIF, were legendary at the time, it appears Mike got a part-time gig doing this for the company. You'll notice Mike never says anytime time sensitive. Sure things like the time can be recorded and pieced together at the station. For example, you don't hear him doing community announcements or weather forecasts.
As many of you know, there were a number of companies that provided music libraries to radio stations for a monthly fee. This company went to the next level with different voices and then providing liners to give the station a somewhat live feel. The first station I worked had a huge Autogram automation system with a format provided by a company out of San Diego. It was not one of the better format providers but was reasonable enough for a small town station. Our tapes were not announced. I think we paid $300 a month in 1978. For example, as a top 40, we had 12 reels of recent hits from the past couple of years (recurrents) with 20 songs on each reel. Then we had two reels of 17 songs each that were current hits. The configuration was 2 current hits and 1 recurrent, then repeat. A new current hit reel arrived weekly with a couple of new songs, a couple of deleted songs and a different configuration of those hits (If Who Are You by The Who was track one, it might be track 9 on the updated reel). Changing the configuration was real important because if you paid attention, you could set your watch by what played when.
