.jpg)
Cover Story: The Sound of the Underground
Subtitle: How Freeform FM Radio Changed the Game (1968-1972)
Introduction:
In the late 1960s, amidst a countercultural revolution, a new sound emerged on the airwaves. FM radio stations, previously overlooked, became the playground for DJs tired of the formulaic playlists dominating AM radio. This was the era of freeform radio, where genre boundaries were dissolved and DJs had the freedom to create their own soundscapes. Strobe is here to revive those airwaves, bringing you the deep cuts and obscure gems that defined the underground.
History of Freeform Radio:
Freeform radio originated as a reaction against the tightly controlled playlists of AM stations. It began with pioneers like Tom Donahue, who saw FM's potential for longer, more experimental sets. FM's superior sound quality allowed for tracks that wouldn't fit within the commercial constraints of AM radio—long improvisational jams, full album sides, and deep cuts that became the lifeblood of a new musical movement. The freedom to play uncut songs and mix genres meant that listeners could hear Led Zeppelin and Miles Davis back-to-back, alongside spoken word, comedy, and poetry.
Key Stations & DJs:
- KPPC (Pasadena, CA): Known for its chaotic energy, KPPC was the home of DJ Tom Donahue, who became the voice of the West Coast underground. Its programming was as diverse as its audience, from early British blues to avant-garde jazz.
- WBCN (Boston, MA): A station that played a vital role in the rise of rock and counterculture on the East Coast. DJs like Charles Laquidara pushed the envelope with their eccentric shows, blending everything from folk to the nascent sounds of punk.
- KSAN (San Francisco, CA): Under the guidance of DJs like B. Mitchel Reed and Sly Stone, KSAN became the soul of the Bay Area's freeform scene. Listeners tuned in to hear Jimi Hendrix one moment and Yusef Lateef the next.
Tracks to Hear:
This sidebar is for those who want to immerse themselves in the authentic sounds of the era:
- "Dark Star" - Grateful Dead (Live 1969 version): A cosmic journey through improvisational psychedelia, perfect for late-night airplay.
- "Astral Weeks" - Van Morrison: The title track of Van Morrison's masterpiece, blending jazz, folk, and soul.
- "Eastern Sounds" - Yusef Lateef: A beautiful, haunting blend of Eastern musical traditions and jazz, capturing the global influences of freeform playlists.
- "Sister Ray" - The Velvet Underground: Lou Reed’s abrasive, 17-minute epic was a frequent favorite for DJs unafraid of challenging their listeners.
- "Do It" - The Doors: A deep cut off The Soft Parade, embodying the band's more experimental side.
Subtitle: Forgotten Classics That Defined the Era’s Sound
Introduction:
The underground radio waves were home to albums that never made it to mainstream radio but captured the spirit of a generation. Here are a few records that didn’t get the recognition they deserved, but still resonate today:
The Serpent Power – The Serpent Power (1967)
- Overview: The San Francisco band blended folk-rock with an experimental edge, creating soundscapes that evoked both light and darkness. Led by poet David Meltzer, their self-titled album is a psychedelic journey, veering from gentle ballads to dissonant freak-outs.
- Must-Listen Track: "Endless Tunnel"—A 13-minute trip that swirls with haunting organ lines and raga-inspired guitar, evoking the meditative and exploratory spirit of 1967.
Clear Light – Clear Light (1967)
- Overview: Part of the Los Angeles psychedelic scene, Clear Light offered a darker edge than their contemporaries. Their sound was a mix of heavy rock and orchestral elements, with dual drummers adding a unique rhythmic depth.
- Must-Listen Track: "Black Roses"—With its eerie, swirling organ and haunting lyrics, this track is the perfect encapsulation of the band’s intense and moody style.
Rotary Connection – Rotary Connection (1968)
- Overview: Rotary Connection’s debut is a fusion of psychedelic rock, soul, and orchestral arrangements. The Chicago-based band, led by the powerful vocals of Minnie Riperton, created lush, ambitious tracks that felt like mini symphonies.
- Must-Listen Track: "Memory Band"—A dreamy soundscape that combines strings, brass, and Riperton’s ethereal voice, creating a track that’s both haunting and soothing.
Honorable Mentions:
- Skip Spence – Oar (1969): A solo effort from the Moby Grape member that drifts between fragile beauty and unsettling madness.
- Morgen – Morgen (1969): A fuzz-heavy, acid-drenched masterpiece that’s pure underground gold.
- The United States of America – Self-Titled (1968): A pioneering electronic rock album that paved the way for future experimental bands.
Tom Donahue was more than a DJ—he was a visionary who believed that radio could be an art form. A key figure in bringing the San Francisco sound to the world, Donahue transformed the way people experienced music, creating a template for freeform radio that many would follow.
The Birth of Freeform:
Donahue famously wrote an article titled “AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves” in Rolling Stone, calling for a new approach to radio. His vision was realized at KPPC, where he played everything from British blues to avant-garde jazz, reshaping the musical landscape of California.
A Day in the Life:
Step into the KPPC studios, where Donahue would blend The Rolling Stones with Miles Davis, and throw in a comedy bit from The Firesign Theatre for good measure. He’d often play full album sides, inviting listeners to sit back and soak in the music.
Sample Playlist from a 1968 Show:
- "Eight Miles High" - The Byrds
- "I Can't Quit You Baby" - Otis Rush
- "The Pusher" - Steppenwolf
- "In-A-Gadda-Da-Vida" - Iron Butterfly
- "Suzanne" - Leonard Cohen
- "Season of the Witch" - Donovan
Legacy:
Donahue's influence extended beyond the West Coast, inspiring a wave of DJs who saw radio as a platform for cultural revolution. He’s remembered as a voice of authenticity in a time when the airwaves needed it most.
Subtitle: From Woodstock to Altamont, A Year That Changed Everything
Introduction:
The summer of 1969 was a turning point—a time when the counterculture’s optimism collided with darker realities. While Woodstock symbolized peace and unity, Altamont cast a shadow, revealing the fractures in the movement. The music, too, reflected this shift, growing more introspective and heavier.
Key Moments:
- Woodstock (August 1969): The festival that brought together half a million people on a dairy farm in upstate New York. It was chaotic, muddy, and magical—a moment when the counterculture reached its zenith.
- Altamont Speedway Free Festival (December 1969): Planned as the West Coast’s answer to Woodstock, Altamont turned into a nightmare, with violence overshadowing the music. The Rolling Stones’ performance of “Sympathy for the Devil” became a haunting symbol of the event.
- Vietnam War Protests: The music of 1969 was increasingly shaped by political unrest. Artists like Crosby, Stills, Nash & Young with “Ohio” captured the sense of urgency and defiance.
Top Tracks of the Year:
- "Gimme Shelter" - The Rolling Stones: A dark anthem that perfectly encapsulates the end of the 60s’ dream.
- "Suite: Judy Blue Eyes" - Crosby, Stills & Nash: A beautiful, complex composition that became a cornerstone of Woodstock.
- "Uncle John's Band" - Grateful Dead: A shift towards a more acoustic, communal sound for the Dead, resonating with a sense of yearning.
- "The End" - The Doors (Live at the Hollywood Bowl): A theatrical, haunting performance that reflected the darker edge of the counterculture.
Reader's Picks: Vinyl We Can't Stop Spinning
Introduction:
We reached out to our readers to hear what’s spinning on their turntables. Here’s what they’re listening to—and what they think you should check out.
Featured Picks:
- "Strange Days" - The Doors (Submitted by Mark in Seattle): “The title track still gives me chills—like a surreal dream that pulls you in
