On Jul 1, 6:39 am, Babs
aol.com> wrote:> On Jun 30, 11:49 pm, Eric Ramon
gmail.com> wrote:
>
>
>>> On Jun 30, 7:04 pm, The World Wide Wade
comcast.net>
>> wrote:>
>
>>>> On Jun 30, 3:53 pm, poisoned rose
swine.com> wrote:>>>>> Robert
verizon.net> wrote:>>>>>> A single year and that much great original music. It's a truly
>>>>>> astonishing list, regardless of its omissions. What have you done to
>>>>>> us, Clear Channel?
>
>>>>> Well, I'm just guessing, but I doubt the Grateful Dead's debut, VU &
>>>>> Nico, Howard Tate, the Serpent Power, Piper at the Gates of Dawn,
>>>>> Goodbye & Hello, Easter Everywhere and Mississippi John Hurt got an
>>>>> awful lot of help from radio back then.
>
>>>>> 1967 was a fantastic year of music, sure, but consider the cultural
>>>>> explosion happening at the time. Blaming the then/now contrast all on
>>>>> Clear Channel is too easy.
>
>>>>> Now, go buy the amazing new Portishead album. Or Stephen Malkmus's
>>>>> latest. Or.... :)
>
>>>> Grateful Dead, VU, Pink Floyd, Tim Buckley all got lots of play as FM
>>>> went nuts. But I never heard of Serpent Power. That has to be some
>>>> Rolling Stone staffer's quirky pick.
>
>>> FM went nuts in 67?
>
>> yeh, don't you remember? As an alternative to what was on AM.
>> "Attitude music", Murray the K called it, after he left WINS-AM and
>> went to the FM world.
>
>> Here...clipped from Wikipedia:
>
>> A year later, in 1966, the FCC ruled that AM and FM radio stations
>> could no longer simply simultaneously broadcast the same content,
>> opening the door for Murray to lead the FM rock radio revolution as
>> program director and primetime dj on WOR-FM — one of the first FM rock
>> stations, soon airing such legendary djs as Rosko and Scott Muni in
>> the new FM format. Murray played long cutting-edge album cuts rather
>> than singles, often playing groups of songs by one artist, or
>> thematically linked songs, uninterrupted by commercials. He created
>> the ground-breaking FM radio format that would transform music radio,
>> combining live in-studio interviews with folk-rock — he called it
>> "attitude music" — and all forms of popular music in a free-form
>> format.
>
> And don't forget WNEW-FM and Alison.
> Also clipped form Wikipedia:
> "Born in Brooklyn, Alison Steele achieved her greatest notoriety as a
> DJ on WNEW-FM, where she spun records on the night shift, after a
> major change in station programming from an all-female MOR music
> format to progressive rock. Alison didn't know much about progressive
> rock when she started at this, and neither, apparently did the
> management of WNEW-FM. She was basically left to her own devices and
> in this process, developed her persona, The Nightbird.
> She would start her show reciting poetry over Andean flute music, then
> introduce her show in her well-known sultry, smoky voice:
> “The flutter of wings, the shadow across the moon, the sounds of the
> night, as the Nightbird spreads her wings and soars, above the earth,
> into another level of comprehension, where we exist only to feel.
> Come, fly with me, Alison Steele, the Nightbird, at WNEW-FM, until
> dawn.”
> and then transition to recordings of some of the more exceptional and
> experimental music acts of the time. Some of the groups she would
> feature at that time would be Yes, King Crimson, Genesis, Hawkwind,
> Lothar and the Hand People, Tangerine Dream, Edgar Froese, Moody
> Blues, Ramases, Renaissance, Curved Air, and many other groups of that
> genre. If it was raining on a Monday night, she would always play The
> Doors' classic "Riders on the Storm" as her first song setting the
> mood for that night's show. She would always end her shows with The
> Beatles song Flying over which she would say a goodbye message."
I used to work at this place where there was a phone hanging on the
wall (to call whom I don't know) and it was labeled "Ramone Phone."
