Rock Radio !FREE! Download

Oh my, some great songs there! I did not grow up in the US so I got my rock fix from underground pirate radio stations. Pretty cool listening to a show that sometimes ended with the police busting in to the studio and pull the plug.

Progressive rock (sometimes known as underground rock) is a radio station programming format that emerged in the late 1960s,[1] in which disc jockeys are given wide latitude in what they may play, similar to the freeform format but with the proviso that some kind of rock music is almost always played.[2] It enjoyed the height of its popularity in the late 1960s and 1970s.[1] The name for the format began being used circa 1968, when serious disc jockeys were playing "progressive 'music for the head'" and discussing social issues in between records.[3] During the late 1960s, as long-playing records began to supplant the single in popularity with rock audiences, progressive rock stations placed more emphasis on album tracks than did their AM counterparts.[4] Throughout the 1970s, as FM stations moved to more structured formats, progressive rock evolved into album-oriented rock (AOR).[5][6]

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When FM broadcasting licenses were first issued by the FCC, broadcasters were slow to take advantage of the new airwaves available to them because their advertising revenues were generated primarily from existing AM broadcasting stations and because there were few FM radio receivers owned by the general public. This void created an opportunity for the disenchanted youth of the counterculture of the 1960s and their counterparts, Hippies and Flower Children, to express themselves by playing music that was largely ignored by mainstream outlets. In this sense, progressive rock radio was more of a social response than a product marketed to fill a need.

This change coincided with the greater emphasis on albums as opposed to singles in the rock market. Underground stations clearly disdained Top 40 music and made it a policy to avoid playing it. A dilemma grew because many underground artists were contractually obligated to release a certain amount of singles and FCC regulations required such songs to be 3 minutes long, or less. These "single versions" were often quite different than what was on the originating albums. Underground radio could liberally play what were referred to as "the album versions" of songs, no matter how long they were. By the same token, hugely popular and successful albums such as The Beatles' Sgt. Pepper's Lonely Hearts Club Band and Arlo Guthrie's Alice's Restaurant did not contain any singles. In fact, the actual song, "Alice's Restaurant", is the entire Side A of the album, coming in at 18:20 long (some sites state 18:34), making it way over the 3-minute mandate. Many DJs at underground stations also chose to play entire sides of albums that contained multiple tracks, which could range from 20 to 30 minutes. At that time, these actions were considered very bold, so there was clearly a need for a radio format that could not only explore beyond the Top 40, but be allowed to do so with the DJs leading the way. This in turn led to established and new rock artists placing greater emphasis on long or experimental album tracks, knowing they would receive radio airplay.

The progressive rock radio format should not be confused with the progressive rock music genre. While progressive rock music was certainly played on progressive rock radio stations, a number of other varieties of rock music were also played. Generally everything from early Beatles and early Dylan on forward was fair game. Progressive rock radio was generally the only outlet for fringe rock genres such as space rock, jazz fusion, and quiet, acoustic-based folk rock and country rock (often played on weekend mornings). Progressive stations were also known for having "turntable hits", songs by obscure artists that did not sell much and were not hits by any conventional measure, but which listeners kept calling up and requesting;[7] Sweet Thursday's "Gilbert Street" was a good example on the East Coast.[8][9]

The progressive rock radio format grew out of the freeform radio format,[10] and, sharing the key characteristic of disc jockeys having the freedom to play what they chose, has sometimes been referred to as "freeform rock radio" or "freeform progressive radio"[11] or simply "FM rock radio".[11] But as they evolved there were key differences between the freeform and progressive rock formats:

The archetypal successful and influential progressive rock radio station was WNEW-FM in New York in the late 1960s, 1970s, and into the 1980s.[14][15][16] For instance, Keith Emerson credited it for breaking Emerson, Lake & Palmer into the United States market.[13] Other long-running, large-market examples included WMMR in Philadelphia[17] (credited with helping to break Bruce Springsteen),[18] WBCN in Boston, WHFS in Washington, D.C., WXRT in Chicago, WMMS in Cleveland, WEBN in Cincinnati, CJOM, WWWW and WABX in Detroit/Windsor, WZMF in Milwaukee, KQRS-FM in Minneapolis, WOWI in Norfolk, WORJ-FM in Orlando, KSHE in St. Louis, KDKB in Phoenix, KMET in Los Angeles, KSAN in San Francisco, KZAP and KSFM (102.5) in Sacramento, KZEW in Dallas, and KTIM in San Rafael.[19] Many of the higher-profile stations among these were owned by Metromedia.[20] College progressive rock radio stations included WVBR in Ithaca, New York, WKNC in Raleigh, North Carolina,[21] WBRU in Providence, Rhode Island,[22] WRPI in Troy, New York, and WWUH in Hartford, Connecticut.

Over time (some much faster than others), the large-city progressive rock stations usually lost DJ freedom and adopted the more structured and confined album-oriented rock (AOR) format in the late 1970s and 1980s,[6] and then later the nostalgic classic rock format in the 1980s and 1990s, while the smaller stations sometimes turned to college rock or alternative rock.[26] Where once "progressiverock radio [was] the key media of ascendant rock culture", as writer Nelson George put it,[27] by 1987, musician and author Robert Palmer would write, "The glory days of 'progressive' rock radio - when the disk jockey actually chose the records he played and creatively juxtaposed songs and styles - are long gone."[28]

While freeform stations are still around in the 2000s, such as New Jersey's WFMU,[29] and for a while WXRC in Charlotte, North Carolina, recalled the format's original sound,[30] there may be no real examples of the specific progressive rock radio format in existence today on the FM dial. The closest thing to a progressive rock station may be the Deep Tracks channel on Sirius XM Satellite Radio, which plays some of the music originally heard on progressive rock radio, but without pronounced disc jockey personalities or the full feel of the original format. "Stuck in the Psychedelic Era," a syndicated program heard on some non-commercial stations, recreates the format, but rarely includes any recordings made after 1970. Some of the spirit of progressive rock radio (albeit in a more mellow, "adult" form) can also be found in the adult album alternative format.[31]

From 1st August 2021 we are establishing SurfRockRadio.com as just one radio station (albeit the most important one) on a network of internet radio stations dedicated to surf. DripFeed.net is a network for the surf music community. DripFeed as a social network (or let's be honest - a place to promote your stuff) will replace Facebook which has become cluttered and unusable.

I have been listening a lot lately to Antenna Bayern there are a few of them and also in German which is great because I only want the music and not the usual inane rubbish on commercial radio about carpet sales and dog worming tablets. These stations may still have them but I dont understand them so it is a win win for me

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The division of subgenres progressed well in the 70s. Glamrock, with its androgynous stars found its way onto the big stage, capturing the minds of many. Above all others the hard rock and progressive rock subgenres grew the fastest with art rock not far behind. This rock scene was closely connected to the hippie scene, the two together protesting against the Vietnam War and against societal drawbacks of the time. However, one countermovement in particular came into prominence: The punk scene, a rebellious, distinctive expression of rock. As a result live music became commercial: Stadium rock emerged and tours turned into proper events. Even to this day part of the allure of rock music is the image of rock stars on the stage - on the smoke engulfed, theatrically lit, main stage covered with sweat, bear chested rockers standing between the drums, guitars and electric bass.

I am calling out this issue not because I hate the industry, but because I want it to be better. Consider this constructive criticism. You constructively criticise something because you want it to be better. I used to do radio when I was in university and I loved hosting my own show. My original goal in life was to be a classic rock DJ, but life had other plans for me. The main issues with classic rock radio are:

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