Album-oriented rock

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Album-oriented rock (sometimes referred to as Adult-oriented rock), abbreviated AOR and originally called album-oriented radio, was originally an American FM radio format focusing on album tracks by rock artists. This format developed and popularised the repertoire of music currently associated with Classic Rock.

Contents 1 History 1.1 Freeform and Progressive 1.2 Album Oriented Radio/Album Oriented Rock 1.3 Michael Jackson 1.4 Burkhart/Abrams 1.5 Spin-off Formats 2 AOR Radio Stations 3 Music Played 3.1 Non-single/album tracks 3.2 Longer versions 3.3 Multiple songs played as one 3.4 Core Artists 3.5 Forgotten artists of AOR 4 AOR as a genre of music, aka "melodic rock" 5 References 5.1 Websites 5.2 Books 5.3 Articles

[edit] History

[edit] Freeform and Progressive

The roots of the Album Oriented Rock (AOR) radio format began with programming concepts rooted in 1960s idealism. The Freeform or Progressive formats developed the repertoire and set the tone that would dominate AOR playlists for much of its heyday.

In the mid to late 1960s, the FCC enacted a non-duplication rule prohibiting FM radio stations from merely running a Simulcast of the programming from their AM counterparts. Owners of AM/FM combo stations fought these new regulations vigorously, delaying the new rules for eighteen months. When finally enacted, station owners were pressed to come up with alternate programming options quickly.

The Freeform format in commercial radio was born out of this desperate need to program the FM airwaves, inexpensively. Programmers like Tom Donahue at KMPX developed stations where DJs had freedom to play long sets of music, often covering a variety of genres. Songs were not limited to hits or singles; indeed the DJs often played obscure or longer tracks by newer or more adventurous artists than heard on Top 40 stations of the day. This reflected the growth of albums as opposed to singles as rock's main artistic vehicle for expression in the 1960s and 1970s.

With a few exceptions commercial Freeform had a relatively brief life. With more and more listeners acquiring FM radios, the stakes became higher for stations to attract market share so that they could sell more advertising at a higher rate.

By 1970 many of the stations were moving to institute programming rules with a "clock" and system of "rotation". With this shift, Stations formats in the early 1970s were now billed as Progressive. DJs still had much input over the music they played, and the selection was deep and eclectic, ranging from folk to hard rock with other styles such as Jazz fusion occasionally thrown in.

A broad cross section of rock music that gained popularity during this time came to be called Progressive Rock, likely because the wide recognition and success of artists could be attributed to airplay on Progressive stations; much the way the College Rock label was given to bands that received air play on student-run college stations during the 1980s.

[edit] Album Oriented Radio/Album Oriented Rock

Later in the decade, as program directors began to put more controls over what songs were played on air, Freeform and Progressive stations evolved to the true AOR format; Album Oriented Radio rather than single oriented radio (or Top 40). Stations still played longer songs and deep album tracks (rather than singles), but program directors and consultants took on a greater role in song selection, generally limiting airplay to just a few “focus tracks” from a particular album and concentrating on artists with a more slickly-produced, "commercial" sound than what had been featured a few years earlier.

The "Rock" in Album-oriented Rock came in the late 1970s when AOR music libraries and playlists discarded the wide range of genres embraced earlier on to primarily focus on a rock-centric sound. The occasional folk, jazz, and blues selections became more rare and most black artists were effectively eliminated from airplay. Where earlier soul and R&B artists like Stevie Wonder, War, Sly Stone and others had been championed by the format, AOR was no longer representing these styles, and took a stance against disco. In 1979 Steve Dahl of WLUP in Chicago destroyed disco records on his radio show, culminating in a notorious Disco Demolition at Comiskey Park. Steve Slaton of KISW in Seattle had a similar on-air bit which was included on the station’s Epic Rock record album.

What links the Freeform, Progressive, AOR and ultimately the Classic Rock formats are the continuity of rock artists and songs carried through each phase. Programmers and DJs of the Freeform and Progressive phases continued to cultivate a repertoire of rock music and style of delivery that were foundations of AOR and now Classic Rock. Those AOR stations, which decided to stay "demographically-rooted", became classic rock stations by eschewing newer bands which their older listeners might tune out. Those that didn't fully evolve into classic rock generally attempt to hold onto their older listeners through careful dayparting -- playing large amounts of classic rock during the 9-5 workday with more adventurous, newer songs "baked into the mix" as the listener base skews younger at night.

[edit] Michael Jackson

In the early 1980s AOR radio stations were getting bad press for the lack of black artists included in their programming (with the one glaring exception being Jimi Hendrix). Indeed, many AOR stations had embraced harder rock while also cultivating a bad boy image. In 1983 Michael Jackson released his landmark Thriller album, which included an Eddie Van Halen guitar solo on the song Beat It. Facing claims of racism, AOR stations added Beat It to their playlists and the song rose to a respectable #14 on Billboard's Rock Tracks chart, which documented AOR airplay. Curiously, for such a strong showing, the song has not been widely played on AOR or Classic Rock stations since.

The relative success of Michael Jackson's "Beat It" did not open the floodgates for other black artists on Album-oriented Rock stations. However, the door was cracked and through the remainder of the 1980s Jon Butcher, Tracy Chapman, Living Colour and Lenny Kravitz did managed to receive AOR airplay of varying magnitude.

[edit] Burkhart/Abrams

The radio consultants, Kent Burkhart and Lee Abrams had a huge impact on AOR. Beginning in the early 70s they began contracting with what would become hundreds of stations by the 1980s. Lee Abrams had developed a “Super Stars” format, pioneering it at WQDR in Raleigh NC, and had been very successful in delivering large ratings. Basically, Abrams took Top 40 principles and applied them to AOR. While his “Super Stars” format was not quite as tight as Top 40 radio, it was considerably more restricted. This company controlled playlists for a substantial segment AOR stations all over the US. This might be considered somewhat ironic, considering the format’s origins were based on a free-form approach without playlists. Lee Abrams is now Chief Programming Officer for XM Satellite Radio.

[edit] Spin-off Formats

The phenomenal success of the Album-oriented Rock and the highly competitive battle for ratings likely contributed to the format splintering to reflect different stylistic perspectives. The 1980s saw some stations adding glam metal bands such as Mötley Crüe, Warrant and Poison, while others embraced New-wave acts such as The Cars, The Fixx, INXS and Gary Myrick.

The rise of Grunge, Alternative and Hip-hop accelerated the fadeout of the true Album-oriented Rock format. By the early 1990s most AOR radio stations switched exclusively to classic rock, or segued to other current formats with somewhat of an AOR approach:

• Adult Album Alternative (known as Triple A) echoed a softer AOR without the hard rock or heavy metal. For a time Seattle's KMTT even promoted Freeform Fridays, and the Grey Pony Tail Special to highlight the halcyon days of FM radio.
• Modern Rock/Alternative A pioneer in this format was KROQ in LA, taking the AOR programming approach to music with New Wave, Punk, College Rock and Grunge/Alternative leanings.
• Active Rock Today’s mainstream album rock, playing acts such as Stone Temple Pilots, Nickelback, and Linkin Park. The active rock format was pioneered by the formerly broadcast (now internet only) KNAC-FM out of Long Beach, California in 1986, and expanded upon by WXTB-FM out of Tampa, Florida in January 1990.

[edit] AOR Radio Stations

The radio stations, in the following list, were successful with the AOR format. In the 1970s and early 1980s some were considered progressive, with programing that evolved to what became known as AOR. Many of these stations have switched from AOR to another format - in some cases Classic Rock or one of the other AOR spin-offs mentioned above.

Call Letters	Market	Frequency	AOR Years	Current Format
KZRR	Albuquerque, NM	94.1 FM	1980-present	Active Rock
WKLS	Atlanta, GA	96.1 FM	1974-2003	Active Rock
WAAF	Boston, MA	107.3 FM	1969-1989	Active Rock
WBCN	Boston, MA	104.1 FM	1968-1995	Active Rock
WDAI	Chicago, IL	94.7 FM	1972-1978	Oldies as WZZN
WLUP	Chicago, IL	97.9 FM	1977-1993	Classic Rock
WEBN	Cincinnati, OH	102.7 FM	1967-present	AOR
WMMS	Cleveland, OH	100.7 FM	1968-1994	Active Rock
WLVQ	Columbus, OH	96.3 FM	1977-present	AOR
WLLZ	Detroit, MI	98.7 FM	1980-1995	Smooth Jazz as WVMV
WRIF	Detroit, MI	101.1 FM	1971-c.1994	Active Rock
KYYS	Kansas City, MO	102.1 FM	1974-1997	Adult Contemporary
KLOS	Los Angeles, CA	95.5 FM	1969-1995	Classic Rock
KMET	Los Angeles, CA	94.7 FM	1968-1987	Smooth Jazz as KTWV
WRNO	Metairie, LA	99.5 FM	1968-1997	talk radio
KQRS	Minneapolis, MN	92.5 FM	1968-1986	Classic Rock
KZOQ	Missoula, MT	101.1 FM	not sure	Classic Rock
WNEW	New York, NY	102.7 FM	1967-1995	Adult Contemporary as WWFS
WPLJ	New York, NY	95.5 FM	1971-1983	Hot Adult Contemporary
WVOK	Oxford, AL	99.5 FM	1977-1983	Classic Rock as WZRR
WQDR	Raleigh, NC	94.7 FM	1973-1984	Country
WQBK	Rensselaer, NY	103.9 FM	1972-present	AOR
KISW	Seattle, WA	99.9 FM	1971-1996	Active Rock/Talk
KXRX	Seattle, WA	96.5 FM	1987-1994	Jack FM
KZOK	Seattle, WA	102.5 FM	1974-1986	Classic Rock
KOL	Seattle, WA	94.1 FM	1968-1973	Country as KMPS
KEZE	Spokane, WA	105.7 FM	1973-1996	Active Rock as KZBD
KWK	St. Louis, MO	106.5 FM	1979-1984	Adult Hits as WARH
KSHE	St. Louis, MO	94.7 FM	1967-present	AOR
KWFM	Tucson, AZ	92.9 FM	1970-1983	Adult Album Alternative as KWMT
WNIK	Indianapolis, IN	Online	1960-present	Rock
WDHA	Morristown, NJ	105.5 FM	1979-present	AOR
WZZO	Allentown, PA	95.1 FM	1975-present	AOR
WMMR	Philadelphia, PA	93.3 FM	1968-present	Active Rock
WKQQ	Lexington, KY	98.1 FM	1974-1998	Active Rock on 100.1 FM

[edit] Music Played

Most radio formats are based on a select, tight rotation of hit singles. The best example is Top 40, though other formats Country, Smooth Jazz, and Urban, all utilize the same basic principles, with the most popular songs repeating every 2 to 6 hours, depending on their rank in rotation. Generally there is a strict order or list to be followed and the DJ does not make decisions about what selections are played.

AOR, while still based on the rotation concept, focused on the album as a whole (rather than singles). In the early 1970s many DJs had the freedom to chose what track(s) to play off a given album – as well as latitude to decide what order to play the records in.

Later in the 1970s AOR formats became tighter and song selection shifted to the Program Director or Music Director, rather than the DJ. Still, when an AOR station added an album to rotation they would often focus on numerous tracks at once, rather than playing the singles as they were individually released.

These short lists represent only a sampling of what became staples of American radio through a long history of airplay on Album-oriented rock stations. As AOR stopped playing new music and died out in the late 1980s the core repertoire of AOR became that of the Classic Rock format.

[edit] Non-single/album tracks

With the success of the AOR format, some non-single, album tracks received extensive radio airplay across the US, becoming hugely popular; most notably Led Zeppelin’s "Stairway to Heaven." Other examples of popular songs never released as a 45 RPM record include:

• AC/DC - For Those About To Rock, We Salute You
• Asia - Sole Survivor
• Boston - Rock and Roll Band
• Bruce Springsteen - Thunder Road
• The Beatles - Dear Prudence
• Blue Öyster Cult - Take Me Away
• The Cars - Moving in Stereo
• Eagles - Those Shoes
• Heart (band) - Devil Delight
• Elton John - Madman Across The Water
• Fleetwood Mac - The Chain
• James Gang - The Bomber: Closet Queen/Bolero/Cast Your Fate to the Wind
• Steve Miller - The Stake
• Van Morrison - Moondance
• The Outlaws - Green Grass and High Tides
• Pink Floyd - Wish You Were Here
• Red Rider - Lunatic Fringe
• REO Speedwagon - 157 Riverside Avenue (live version)
• The Rolling Stones - Can't You Hear Me Knocking
• Bob Seger - Turn the Page (live version)
• Billy Squier - Lonely Is The Night
• Steely Dan - Babylon Sisters
• Supertramp - Gone Hollywood
• Traffic - Low Spark of High Heeled Boys
• Ted Nugent - Stranglehold
• Triumph - Fight the Good Fight
• The Tubes - Sushi Girl
• The Who - Baba O'Riley (European single only)
• UFO - Love To Love

[edit] Longer versions

With the AOR format, the full-length album version was favored for airplay rather than the edited versions for the 45 RPM single and top forty radio.

• Aerosmith - "Sweet Emotion" - 4:34 (album) vs. 3:01 (single)
• Argent - "Hold Your Head Up" - 6:15 (album) vs. 3:15 (single)
• Creedence Clearwater Revival - "Susie Q" - 8:37 (album) vs 4:22 (single)
• The Doors - "Light My Fire" - 7:08 (album) vs 2:52 (single)
• Derek and the Dominos - "Layla" - 7:10 (album) vs. 2:43 (single)
• Dire Straits - "Money for Nothing" - 8:26 (album) vs 4:09 (single)
• Eagles - "Lyin' Eyes" - 6:21 (album) vs. 3:58 (single)
• Foghat - "Slow Ride" - 8:25 (album) vs. 3:45 (single)
• Golden Earring - "Radar Love" - 6:25 (album) vs. 5:01 (single)
• Peter Frampton - "Do You Feel Like We Do" - 13:45 (album) vs. 7:19 (single)
• Iron Butterfly - "In-A-Gadda-Da-Vida" - 17:03 (album) vs 2:52 (single)
• Kansas - "Carry On Wayward Son" - 5:13 (album) vs. 3:25 (single)
• Loggins & Messina - "Angry Eyes" - 7:42 (album) vs. 2:23 (single)
• Manfred Mann's Earth Band - "Blinded by the Light" - 7:07 (album) vs. 3:48 (single)
• Nilsson - "Jump Into The Fire" - 6:54 (album) vs. 3:37 (single)
• Pink Floyd - "Money" - 6:26 (album) vs. 4:20 (single)
• The Rolling Stones - You Can't Always Get What You Want - 7:31 (album) vs. 4:49 (single)
• Sweet - "Love Is Like Oxygen" - 6:49 (album) vs. 3:44 (single)
• Vanilla Fudge - "You Keep Me Hangin' On" - 6:45 (album) vs. 2:59 (single)
• The Who - "Won't Get Fooled Again" - 8:33 (album) vs. 3:37 (single)

[edit] Multiple songs played as one

AOR stations played songs in context with the album they were taken from. Songs that ran together on albums were generally played together on-air as one piece.

• The Beatles - Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends
• The Beatles - Sgt. Pepper's Lonely Hearts Club Band (Reprise)/A Day in the Life
• The Beatles - Sun King/Mean Mr. Mustard/Polythene Pam/She Came In Through The Bathroom Window
• The Beatles - Golden Slumbers/Carry That Weight/The End
• Boston - Foreplay/Long Time
• David Bowie - Ziggy Stardust/Suffragette City
• Jackson Browne - The Load Out/Stay
• The Cars - Moving In Stereo/All Mixed Up
• The Cars - You're All I've Got Tonight/Bye Bye Love
• Chicago - Make Me Smile/Now More Than Ever (from Ballet For A Girl In Buchannon)
• Chicago - Hard To Say I'm Sorry/Get Away
• Roger Daltrey - It's A Hard Life/Giving It All Away
• The Doors - Peace Frog/Blue Sunday
• J. Geils Band - Whammer Jammer/Hard Drivin' Man (live)
• Genesis - Home By The Sea/Second Home By The Sea
• Green Day - Brain Stew/Jaded
• The Guess Who - No Sugar Tonight/New Mother Nature
• INXS - Need You Tonight/Mediate
• Journey - Feeling That Way/Anytime
• Journey - Lovin', Touchin', Squeezin'/City Of The Angels
• Judas Priest - The Hellion/Electric Eye
• Kansas - The Spider/Portrait (He Knew)
• The Kings - This Beat Goes On/Switchin' To Glide
• Led Zeppelin - Heartbreaker/Living Loving Maid (She's Just A Woman)
• Little Feat - Dixie Chicken/Tripe Face Boogie (live version)
• Paul McCartney - Venus & Mars/Rock Show
• Steve Miller Band - Space Intro/Fly Like An Eagle
• Steve Miller Band - Threshold/Jet Airliner
• Joni Mitchell - People's Parties/Same Situation
• Robert Palmer - Sailin’ Shoes/Hey Julia/Sneakin Sally Through The Ally
• Pink Floyd - Empty Spaces/Young Lust
• Pink Floyd - The Happiest Days of Our Lives/Another Brick in the Wall (Part 2)
• Pink Floyd - Brain Damage/Eclipse
• Pink Floyd - Speak to Me/Breathe/On The Run
• Pure Prairie League - Falling In And Out Of Love/Amie
• Queen - We Will Rock You/We Are The Champions
• Queen - Fat Bottomed Girls/Bicycle Race
• Queensrÿche - Anarchy X/Revolution Calling
• Rush - Overture/The Temples Of Syrinx
• Bob Seger - Travelin’ Man/Beautiful Loser (live version)
• Styx - Prelude 12/Suite Madame Blue
• Styx - A.D. 1928/Rockin' In Paradise
• Robin Trower - Bridge Of Sighs/In This Place
• Van Halen - Eruption/You Really Got Me
• Van Halen - Intruder/Oh, Pretty Woman
• The Who - We're Not Gonna Take It/See Me Feel Me/Listening To You
• Yes - Long Distance Runaround/The Fish (Schindleria Praematurus)
• ZZ Top - Waiting For The Bus/Jesus Just Left Chicago

[edit] Core Artists

This list represents a sampling of artists who achieved their greatest success though airplay on radio stations with the AOR format. Many of these artists may have "crossed over" with airplay at Top 40 or other formats, but the bulk of their airplay was at AOR.

For example, Tom Petty had just 3 singles between 1977 and 1991 that reached the Top Ten of the pop singles chart, the basis for Top 40. Conversely Tom Petty logged 20 Top Ten songs between 1981 and 1991 on Billboard's Rock Tracks chart, which documented AOR airplay.

AC/DC Bryan Adams Aerosmith The Allman Brothers Band April Wine Argent Asia The Babys Bachman-Turner Overdrive Bad Company The Band The Beatles Pat Benatar Blackfoot Black Oak Arkansas Black Sabbath Blind Faith Blue Öyster Cult Bon Jovi Boston David Bowie Jackson Browne The Cars Cheap Trick Eric Clapton Alice Cooper Cream Creedence Clearwater Revival Crosby, Stills & Nash Deep Purple Def Leppard Dire Straits The Doobie Brothers The Doors Eagles Electric Light Orchestra Emerson, Lake & Palmer Fleetwood Mac John Fogerty Foghat Foreigner Peter Frampton J. Geils Band Genesis Golden Earring The Grateful Dead

Grand Funk Railroad The Guess Who Guns N' Roses Sammy Hagar George Harrison Head East Heart Jimi Hendrix Iron Maiden The James Gang Jefferson Airplane/Starship Jethro Tull Journey Judas Priest Kansas The Kinks Kiss Led Zeppelin Huey Lewis & the News Loverboy Lynyrd Skynyrd Manfred Mann Marshall Tucker Band Dave Mason Paul McCartney Meat Loaf John Couger Mellencamp Steve Miller Band Montrose Molly Hatchet Eddie Money The Moody Blues Mott the Hoople Nazareth Night Ranger Aldo Nova Ted Nugent Ozzy Osbourne The Outlaws Ozark Mountain Daredevils Alan Parsons Project Tom Petty & The Heartbreakers Robert Palmer Pink Floyd Robert Plant

The Police Procol Harum Quarterflash Queen Queensrÿche Rainbow Ratt Red Rider REO Speedwagon The Rolling Stones Rush Santana Scorpions Bob Seger & The Silver Bullet Band Bruce Springsteen Billy Squier Rod Stewart Steely Dan Styx Supertramp Survivor Sweet T.Rex Ten Years After Tesla .38 Special Thin Lizzy George Thorogood Traffic Pat Travers Triumph Robin Trower The Tubes UFO Uriah Heep Van Halen John Waite Joe Walsh Whitesnake The Who Yes Neil Young Warren Zevon The Zombies ZZ Top

[edit] Forgotten artists of AOR

Because AOR was at one time a champion of new music, the format gave significant airplay to a wide range of artists who, for one reason or another, never crossed over to Classic Rock programming. Billboard Magazine did not start tracking AOR airplay until 1981, so the level of airplay and popularity some of these artists may have achieved, is a bit of a mystery. In some cases albums by these artists see CD release only on small boutique labels.

• 707 - "I Could Be Good For You", "Mega Force"
• Automatic Man - "My Pearl"
• Angel City - "Marseilles", "Face The Day", "No Secrets", "Underground"
• Axe - "Rock And Roll Party In The Streets"
• Bliss Band - "Right Place, Right Time"
• Martin Briley - "The Salt In My Tears"
• Caravan - "Stuck In A Hole"
• Tony Carey - "I Won't Be Home Tonight", "A Fine Fine Day", "The First Day Of Summer"
• Charlie - "She Loves To Be In Love", "Killer Cut", "It's Inevitable"
• Chilliwack - "My Girl (Gone, Gone, Gone)", "Whatcha Gonna Do", "Don't It Make It Feel Good"
• City Boy - "5.7.0.5."
• Climax Blues Band - "Richman", "Mole On The Dole", "Couldn't Get It Right"
• Contraband (band) - "All The Way From Memphis"
• Crawler - "Stone Cold Sober"
• David & David - "Welcome to the Boomtown"
• DB Cooper - "Had Enough"
• Jimmy Davis & Junction - "Kick the Wall"
• Detective - "Recognition"
• Doucette - "Mama Let Him Play", "Down the Road"
• Gamma - "Right the First Time", "I'm Alive", "Fight To The Finish", "Modern Girl", "Voyager", "What's Gone Is Gone"
• Garland Jeffreys - "Wild In The Streets"
• Glass Moon - "Killer at 25"
• Giuffria - "Call To The Heart", "Lonely In Love", "I Must Be Dreaming"
• Gypsy - "Gypsy Queen", "Dead and Gone."
• Harlequin - "Innocence", "It's Over Now"
• Headpins - "Just One More Time", "Breakin' Down", "Winnin'"
• Heads Hands and Feet - "Country Boy"
• Heartsfield - "Music Eyes", "Another Man Down", "Shine On"
• Helix - "Heavy Metal Love", "Never Want To Lose You", "Rock You"
• Honeymoon Suite - "New Girl Now", "Burning In Love", "Feel it Again", "Bad Attitude", "What Does It Take"
• Horslips - "The Boy Was Green"
• Hughes/Thrall - "Beg, Borrow Or Steal"
• Jackyl - "The Lumberjack", "Down On Me"
• Colin James - "Voodoo Thing", "Why'd You Lie", "Five Long Years"
• Melvin James -"Why Won't You Stay"
• Kayak - "I Want You To Be Mine", "Starlight Dancer"
• Lake - "Time Bomb", "Angel in Disguise"
• Greg Lake - "Nuclear Attack"
• Le Roux - "New Orleans Ladies", "Nobody Said It Was Easy", "Addicted"
• Little America (band) - "Walk On Fire", "You Were Right"
• Louisiana's Le Roux - "New Orleans Ladies", "Addicted"
• Mason Proffit - "Two Hangmen", "Last Night I Had The Strangest Dream", "Better Find Jesus"
• McKendree Spring - "Down By The River"
• Michael Stanley Band - "Let's Get The Show On The Road", "He Can't Love You"
• Missouri - "Movin' On"
• Kim Mitchell - "Go For Soda"
• Gary Moore - "Out In the Fields"
• New England - "Don't Ever Wanna Lose Ya"
• Orion The Hunter- "So You Ran"
• Pavlov's Dog - "She Came Shining"
• Phantom, Rocker & Slick - "Men Without Shame"
• Planet P Project - "Why Me", "Power Tools"
• Point Blank - "Nicole"
• Andy Pratt - "Avenging Annie"
• Prism - "Spaceship Superstar", "See Forever Eyes"
• Rare Bird - "Sympathy", "Hey Man", "Epic Forest"
• Dan Reed Network - "Ritual", "Get To You", "Tiger In A Dress"
• The Rockets - "Oh Well", "Desire"
• The Rossington-Collins Band - "Don't Misunderstand Me", "Misery Loves Company"
• Russ Ballard - "On The Rebound", "Voices", "The Fire Still Burns"
• Sad Café - "Restless"
• Saga - "On the Loose", "Wind Him Up", "The Flyer"
• Saxon - "Just Let Me Rock"
• Sea Level (band) - "That's Your Secret"
• Sherbs - "I Have The Skill", "No Turning Back", "We Ride Tonight"
• Sheriff - "You Remind Me", "When I'm With You"
• Shooting Star - "Last Chance", "Flesh And Blood", "Hang On For Your Life", "Hollywood", "Do You Feel Alright", "Train Rolls On"
• Shy - "Hold On (To Your Love)", "Break Down The Walls"
• Silver Condor - "For The Sake Of Survival", "Holdin' on Barely"
• Sniff 'n' the Tears - "Driver's Seat"
• Danny Spanos - "Hot Cherie"
• Stabilizers - "One Simple Thing"
• Starcastle - "Can’t Think Twice", "Could this be Love"
• Starz - "Cherry Baby", "Sing It, Shout It"
• Steel Breeze - "You Don't Want Me Anymore", "Dreamin' Is Easy"
• Streets - "If Love Should Go", "One Way Street", "Gun Runner"
• Tall Stories - "Wild On The Run"
• Tarney-Spencer Band - "No Time To Lose"
• Taxxi - "I'm Leaving", "The Heart Is A Lonely Hunter", "Still In Love"
• Billy Thorpe - "Children Of The Sun"
• Toronto - "5035", "Your Daddy Don't Know"
• Touch - "Don't You Know What Love Is", "When the Spirit Moves You"
• Trooper - "Raise A Little Hell"
• Vandenberg - "Burning Heart", "Friday Night"
• Van Zant - "I'm A Fighter", "Brickyard Road"
• Zebra - "Who's Behind The Door", "Tell Me What You Want", "Bears"

[edit] AOR as a genre of music, aka "melodic rock"

In the mid-to-late 1990s, AOR began to be associated with another concept called "melodic rock" which, most simply stated, is the sound of hard rock and heavy metal bands of the 1970s, 1980s, and early 1990s. It is seen as a throwback to those eras and a counter-reaction against the grunge, alternative, bubblegum, retro-disco, and Latin sounds of the mid-to-late 1990s. Many of these acts are bands, band members, and musicians from popular bands of the earlier eras, such as Toto, Foreigner, Van Halen, Styx and Europe, either regrouped or playing in new bands or reconfigured lineups. Several of the acts are British or European, and many albums are now recorded and produced in Europe and Japan, and are only available in the United States as imports. One of the most recent AOR releases was Place Vendome with ex-Helloween vocalist Michael Kiske joining with the members of Pink Cream 69. In South America, this genre is represented in Argentina by the young guitar player, singer, and producer Matías Devit, known for the smash song "Afraid of love (tonight)". His long awaited upcoming album is expected to be released in 2007.

In Europe the term AOR actually has nothing to do with its historic roots; it is used to describe the music of rock bands that don't sound as heavy as hard rock bands and pay more attention to melody, it is also sometimes used as a derogatory reference to a sound aimed at an older audience who arguably have limited individual taste in music. Examples of that sound are bands like Foreigner, Toto, Journey, REO Speedwagon, Heart, Bryan Adams etc. AOR was storming the charts through the 80's but in the early 90's the grunge movement took things over in the rock world leaving promising artists and bands like Mitch Malloy, Talisman, Tyketto, etc. in cold water. Since then AOR has never regained its power in America but in Europe there has always been an underground movement with many bands keeping the spirit alive. Although most AOR bands today hail from Europe, the most important market is Japan, where several bands like Fair Warning and Pretty Maids reached stardom while they couldn't get a decent distribution in the rest of the world. After the mid 90's AOR found some support in several new European indie record labels like Frontiers, MTM, AOR Heaven, who gave bands the chance to release their albums.

[edit] References

[edit] Websites

• deaconlight.com - Album Radio Gives Rise to AOR
• Kent Burkhart - I Was There #6
• St. James Encyclopedia of Popular Culture© on Album-Oriented Rock
• AOR DJ's tell their stories

[edit] Books

• Voices in the Purple Haze: Underground Radio and the Sixties by Michael C. Keith
• FM: The Rise And Fall Of Rock Radio by Richard Neer
• Radio Daze: Stories From The Front In Cleveland's FM Air Wars by Mike Olszewski
• Radio Waves: Life and Revolution On The FM Dial by Jim Ladd

[edit] Articles

• "AOR Rock" by JD Considine as published in The Year In Rock 1981-1982 (Musician Player & Listener)