Noticed the old posts about WLIZ/WIRK/WPBR. I worked at all three in the 70's, so maybe I can add something of interest.
WIRK was the dominant rock station in WPB throughout the 60's and early 70's and was considered a feeder station for sending talent to the Miami rockers (WQAM, WFUN). They had a huge signal and tons of money. Rome Hartman and Joe Fields were hands on owners and spared no expense. They were also very dedicated to local news with a 3-4 person news department, mobile news cars, a news boat and even a news plane! (I think the boat and plane may have been station logo'ed but owned by Hartman and Fields personally, but I'm not sure - at any rate it looked very slick)
I got to work in the News Department in 1975 and because I was expected to cover news on a 24 hour basis, I was given a station car (Bright Orange AMC Gremlin) complete with whip antenna, 2-way radio and police scanners. Around this same time, the station went through a series of program director changes, non with the abilities of previous pd's and the station started slipping. Bad pd's bringing in bad jocks and FM radio (Y100 most notibly) emerging and it was the beginning of the end.
WPBR went on the air in the 1940's as WWPG (World's Winter Playground) It changed sometime later to WQXT (good music and a call letter take off on NY's classical WQXR). Then in the early 70's to WPBR (Wonderful Palm Beach Radio). The Studios on the beach were wonderful 1940's old timey studios, with a main "live" studio dominating the center of the building.
Up until the early 1970's it was still airing a live call in music program hosted by Ginger and Lanny Grey on Saturday mornings. (There was a spinet piano and boom mike in the center of the studio. The Grey's would take requests and then sing and play them live on the air. Other programming was mostly mor music with the Opera and NBC Monitor on Saturdays. It had a full time news department of at least two.
In 1970/71 it changed to "chicken rock" under the program management of Don Kelley - now an exec in Boston radio, After Kelley left, there was another management change and John Garabedian of Boston (ex WMEX, etc) came in as consultant. The station was no competition for WIRK WPOM and the emerging South Florida FM's however and continued to decline.
All during this time there was an FM in the same building. Originally it went on in the 40's as WWPG FM, then in 1969 changed to WMUM "Mother" and was a free form album rock station. Needless to say there was often a culture clash with the hippies on one side of the building and the popsters on the other side. Later when the stations were sold to separate owners, WMUM eventually became WRMF (for Richard M. Fairbanks) and WQXT became WPBR.
WPBR was the creation of New York broadcasting executives Ev and Valerie Aspinwall who bought the station and wanted to make it similar to a WOR or WNEW, with sophisticated talk and mor music. Whereas WQXT/WMUM was absentee owned by KNIGHT Broadcasting out of Massachusetts, the Aspinwalls moved in and put their money and attention into creating a first class product.
They moved to more talk programming, installed more "culture", bringing back the Metropolitan Opera and a Weekend Classical Program and more.
I lost touch with the station after that, but I know the Aspinwalls were very successful with it for many years. After a while, the land became more valuable than the radio license, and Ev became ill (not sure in which order) and the station was sold and began it's downward spiral.
WLIZ was built by Sam Phillips in 1958-59 with the proceeds from his sale of Elvis Presley's contract to RCA. It went on the air in 1959 as WLIZ in honor of Liz Taylor and was patterned after Phillip's other all girl station in Memphis WHER - (NPR did a profile of WHER on their Lost and Found Sound show
http://www.npr.org/programs/lnfsound/talkon/guaralnick.html )
The all-girl format was short lived and the station transitioned into a country and western format. Despite it being a daytimer, as late as 1972 - it was one of the top rated country stations in the Palm Beaches, up against WEAT and a station out of Belle Glade. DJ's spent 3-4 hours on the air and were expected to sell spots the rest of the day. Consequently, the on air delivery was folksy and the live commercials ran anywhere from 45 seconds to 2 minutes.
It was a favorite station among the construction workers and since the hours on the job matched the broadcast day the daytime only status was no big deal. It wasn't until September 1973 when WIRK-FM went on the air with 24 hour country music in stereo that WLIZ and WEAT began to slip into "live music on AM" oblivion.
In the 70's it switched to Paid Religion under General Manager Gene Tognacci. Later it changed call letters to WLVS in honor of the late Elvis. It was during that period that the station began broadcasting a daily 5 minute radio show on Elvis that would run until the station went under an LMA in the mid to late 90's. The station was sold to Jim Johnson, a longtime contract engineer turned station owner who added it to his Fiesta Network
As far as the Elvis mike. It's true. Both the RCA DX77 and the Ampex 300 tape deck that was used in the production studio on a daily basis came directly from SUN records studios. (Sam was notoriously frugal, even coming down in 1972 to paint and paper the inside of the station himself in an interior redesign)
The mike and tape deck were later sent to the Rock and Roll Museum in Cleveland where they are now on display.