![]() ![]() ![]() Once again, play lists were limited, this time to album cuts that program directors (or national programming consultants, like Lee Abrams) believed would not alienate their audiences. The solution was another format which eventually became known as AOR (album-oriented radio). That scare, the huge increase in the number of albums released (spurred, of course by their chance to be played on the radio) and the more cautious climate of the early Seventies relocated control over playlists in the hands of program directors there was also competition between the increasing number of FM rock stations. And with FM rock radio as an outlet, more musicians began to experiment with five- and seven-minute songs and ideas that could not be shaped into a bouncy, teen-accessible tune for the AM market.ĭuring Richard Nixon's presidency, the FCC did not take kindly to FM radio becoming a seditious hippie intercom, and made vague noises threatening the licenses of stations that played obscene or drug-oriented lyrics in 1971. In the late Sixties, progressive "free form" commercial FM stations reached the burgeoning youth culture and became the medium of choice for advertising concerts, stereos, waterbeds, drug paraphernalia and other hip-capitalist products. "Underground" or 'Progressive"įM radio used longer, less predictable music segments, and also toyed with the segue- overlapping the end of one song with the beginning of the next-to connect records through musical similarities. "Underground" disc jockeys played songs that were unlikely to be released as singles and songs that were longer than three minutes they also experimented with a less driven, more conversational tone of voice like that of the pre-rock DJs. ![]() (Some stations, particularly College stations went further and allowed disc jockey to mix rock, jazz, classical and whatever other program material seemed appropriate.) their own music Rather than duplicate the Top Forty format, some programmers assumed that FM listeners were likely to be more mature than AM listeners, and some stations- among them WOR-FM in New York-beganallowing disc jockeys to program "underground" rock as they saw fit. In the mid-Sixties, the Federal Communications Commission ruled that jointly owned AM and FM stations had to present different programming, and suddenly the FM band opened up to rock records, a cheap source of program material. Stereo recordings and FM radio both of which made music more vivid, caught on during the Sixties so did the notion that rock could be significant, and the idea of the album (rather than the single) as an artistic whole. From: "The Rolling Stone Encyclopedia of Rock & Roll" (c) 1983 ![]()
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