Arguably my favorite radio format (that is, if I actually listen to radio these days) has passed a milestone this week. Billboard's "Adult Album Alternative" chart, or "Triple-A" for short, turns twenty-five years old. No doubt you've heard me more than once mention Triple-A (and not as in auto club!) and I'm sure you've wondered what I'm actually talking about.
Perhaps the roots of that radio format go back to the late 1960's. While Top 40 radio, based on single sales of 45 rpm vinyl records dominated much of the decade, there was a movement towards longer songs and vinyl albums, which enabled artists to express themselves with songs more than three minutes long and say it over several songs. FM stations (or "Progressive/Free-Form") started springing up, playing album cuts based on what individual deejays wanted to play and not what station management (or nowadays what the corporate chain of stations made you play). Stations like New York's WNEW-FM sprouted up and albums became the norm for the next couple of decades, but by the late 1970's and especially the 1980's, deejays had less and less freedom to play what they wanted and the rock format became more predictable and systematic, almost like a Top 40 station. Also, many of these stations were reluctant to play any new trends in music, and by, say 1985, they were evolving into what we know now as "classic rock": Familiar cuts from classic artists and albums and increasingly little new rock songs.
By the late 1980's, I had grown tired of hearing the same songs over and over, and some "alternative" stations started sprouting up, and I hopped aboard. Many of these stations were college stations on the left side of the FM dial but commercial stations stations started playing that music, too. After the grunge invasion of 1991, these stations were getting big ratings, and alternative rock became a big deal, at least for a few years. But, by the late 1990's, the format was in itself getting staid; it was invaded by rap-rock and nu metal, and much of what didn't fall into that category became too commercial, and probably would have found a home at Top 40 if that format didn't start to phase out rock songs.
Still, alternative was my format of choice starting around 1990 or so as I pretty much got off the classic rock and top 40 track. But, in 1996, Billboard debuted the "Adult Album Alternative" chart which pretty much became diverse in the array of musical styles. While many alternative (or "Modern Rock" as it was known in those days) songs were included in the Triple-A listing, the assortment of artists became more expansive. As modern rock started limiting the types of artists it would play, Triple-A included many of them. Aside from the post-grunge, it specialized in singer-songwriters of the day (including many of the Lilith-era female artists, as well as those dubbed "Americana". The Dave Matthews Band, for example, got much airplay on these types of stations (the band was also named the most successful act on that chart in its 25 year history). Acts like Sheryl Crow, U2, Counting Crows, Matchbox Twenty were the dominant artists of that early period. What Adult Contemporary was to Top 40, Triple-A was to Modern Rock. More importantly, many of these stations brought back the accessibility for deejays to play what they wanted. Even more, classic artists' new material often charted here: Last year, for example, The Rolling Stones' "Living in a Ghost Town", hit the top five on that chart, and artists like Bruce Springsteen, Bob Dylan, Paul McCartney and Tom Petty often charted here, along with Coldplay, Mumford & Sons, Jack Johnson and the like.
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| The Dave Matthews Band was named #1 act over the twenty-five years of Billboard's Triple-A airplay chart. |
Like alternative stations in the 1980's, many stations calling themselves Triple-A, were mostly college stations on the left side of the dial, but occasionally, commercial stations popped up, as well. Some examples in the New York area include WFUV in Fordham University, which goes back to the original progressive era, and which some well known jocks began...and in some cases ended, their radio careers; WXPN in Pennsylvania, and WDST from Woodstock NY are two other nearby stations playing this format.
When I started my blog, much of the music I listened to, and added to my blog playlist was based on the alternative charts, but now I've been drifting more towards Triple-A in recent years. In fact, 25 of the current 40 songs on Triple-A appear, or have appeared on my SNS 100 playlist; as opposed to 19 on the current alternative listing.
But it doesn't always work. The aforementioned WNEW-FM, one of the leaders in free-form music in the late 1960's and '70s, became somewhat trapped in its own success, mired in mostly classic rock by the 1990's with little new music, although it tried. In fact, in the summer of 1995, it flipped to Triple-A, which would, on the surface, emulate its early days, playing mostly new music that fit the format. But in August 1995, Jerry Garcia of classic rockers Grateful Dead, passed away, causing the station to break its new format and play classic material from the Dead as well as Garcia's solo and side projects. Needless to say, 'NEW abandoned the format shortly thereafter, and just a few years later, it became an "extreme talk" station with the likes of shock jobs Opie & Anthony and others.
Triple-A's first number one song, the week of January 20, 1996 was a favorite, "The World I Know" by Collective Soul. U2 and Coldplay have the most number one songs, with 13, while the longest running number one song was U2's "Beautiful Day" from 2000-01.
What I like about the Triple-A chart as opposed to alternative is the relative turnaround of songs. These stations will go on a song for a few weeks then move on. The oldest song currently on that chart is Fleet Foxes' "Can I Believe You" at 20 weeks, followed by Caamp's "Officer of Love" and Chris Stapleton's "Cold", both with 19 weeks. It's not a coincidence that all three of these songs made my top 10.
Alternative, on the other hand, holds on to these songs for much too long. Six songs on that list have been on that chart for 20 weeks or longer, topped by "Level of Concern" by Twenty One Pilots which has been listed for 45 weeks! Yes, that's a good song but how many times do we have to play and hear it? Machine Gun Kelly's "Bloody Valentine" has been on for 33 weeks. In addition, much of what's on this chart sounds like sophisticated hip-hop, much like the way nu metal permeated the alt list twenty years ago. With the plethora of new artists waiting to be discovered, the fact that alternative radio can play a song for three quarters of a year just doesn't cut it for me. Also, some of the songs that were on Triple-A a while back, such as "Colors" by Black Pumas and "Kyoto" by Phoebe Bridgers are just now debuting on the alternative list.
Currently only 24 radio stations across the country report to Billboard which is pretty much a drop in the bucket compared to other formats. So, perhaps Triple-A might be a niche radio format, but for those discovering new artists, and who still listen to terrestrial radio, it's a godsend.
For further reading, check out this Billboard article with several Triple-A program directors and their take on the format:
Triple-A programmers offer their take on the format.
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| Pioneering singer-songwriter Kate Bush was very successful in the UK and influenced many later artists. She was nominated for the 2021 Rock and Roll Hall of Fame Induction |
DEFENDING KATE: One of the goals of doing this blog was to at least get a discussion on the merits of many of the artists that I feature. While for the most part, that hasn't worked out (largely because most of my friends are not into new music and those who are, rarely read the blog!), occasionally it does happen. Last week's blog featured an analysis on whether the artists that were nominated for the Rock and Roll Hall of Fame should get in. The artist that got the most reaction was Kate Bush.
I had mentioned that Ms. Bush was a rather obscure artist who had one semi-big hit in 1985 but whose sales were at best, mediocre and that others from that era should have been considered. There were a few people not agreeing with me, that, although she may not necessarily get in, praised her merits and groundbreaking styles that influenced many others.
Tom Corea (Hounds of Winter) writes: "I have to disagree with you about Kate Bush. An amazing and very influential artist. Hit's shouldn't mean acceptance into the hall. There are a ton of female inide artist that I think owe a great debt to Kate for her songwriting, experimentation and producing skills. But she is too unknown to the "general public" in America and too avant garde. So she will never get in."
Tinkers Lane's Ian Roberts from the UK, where Kate was very successful, concurs: she influenced so many, but I get your point about her not being big in the USA, although I grew up in the UK and she was massive here and brilliant.
They're both right. Kate pretty much bridged the gap for female singer-songwriters, well after Joni Mitchell, and Carole King, but well before the likes of Sarah McLachlan, Liz Phair, Jewel, Natalie Imbruglia, Sheryl Crow, and many others. There is no doubt that Kate's music had to have had an influence on those later artists. Artists who HAVE actually cited Ms. Bush as an influence include Ellie Goulding, k.d. lang, Paula Cole, and Tegan and Sara. Others who have praised her as an innovator included Dido, Annie Lennox, Bjork, Florence Welch and Lily Allen.
As I mentioned above, Kate was huge in her native UK, with her debut song there, "Wuthering Heights" at the age of 19, garnering a number one position on that country's singles chart, in 1979. It was the first time a female artist ever hit #1 with a self-written song. She followed that up with a multitude of top tens in that country. So indeed, it seems she is worthy of the Hall.
But will she actually get in? The Hall seems more geared to artists who have made it on these shores. Otherwise artists, who have been popular for decades across the pond, like Cliff Richard and Status Quo would have been long in. But, Kate Bush's portfolio is one worthy of Hall consideration.
NOW, TO THE ACTION: Speaking of female British singer-songwriters, Jade Bird (who, was influenced by Joni Mitchell, among others) remains at the top spot on my SNS 100, for a third week, with "Headstart". The catchy song gains another point, but closing in fast is another female singer-songwriter, this one from New Jersey, Emily MacMahon, with "Only Us" (4-2), and another Brit band, Tinkers Lane, with "Honey Honey" (6-3). It should really be interesting next week. Whether MacMahon or Tinkers Lane can grab the top spot all depends on whether I get slightly tired of "Headstart". If so, which of these two songs will reach the top? "Honey Honey" is some awesome, catchy Brit-pop, but "Only Us" is a very romantic ballad, a throwback song that recalls music like "In the Still of the Night" and "Always and Forever". Stay tuned.
David F. Porfirio also makes a big leap from 14 to 7 with "That Night on Bergenline Avenue". Never an artist to stand still, he has just released yet another single, "Self Portrait", which no doubt I'll add in coming weeks. There is a logjam with positions 11 to 20, with 9 of the ten songs advancing, but many of them dropping a notch on the chart. Two of these, Bryan Hansen Band's "Waiting For Tomorrow" and Molly Burch's "Emotion" drop a notch despite retaining their bullet. Also new to the top 20 is Blake Shelton featuring Gwen Stefani's "Happy Anywhere" (21-20), giving Gwen two entries in the top 20 this week.
Aside from Surfer Blood's "Parkland (Into the Silence)" (22-8, Impact award), and Kings of Leon's "The Bandit" (28-19, Mover of the Week, this week's #1 on Triple-A), there are slim pickings, and it may take a few listens for some of those songs to catch on.
NEW AND NOTEWORTHY: Added songs this week are topped by Boy Pablo's "Hey Girl". Pablo's real name is Nicolas Munoz, a Chilean-Norwegian singer-songwriter. He has released 2 EP's and his first full length from which this song comes from, Wachito Rico. He cites artists such as The Beatles, Tame Impala and Arctic Monkeys as influences. It's a great slice of melodic indie-pop, and emotional at that. It could explode with multiple listens. It's has sort of a calypso-ish flair to it as well.
Next is the second single off Aussie band The Avalanches' We Will Always Love You, "The Divine Chord". It's another surreal piece of music that the group is known for, somewhat echoing the title track from their debut Since I Left You. The Brit-filipino singer Beabadoobee (real name Beatrice Laus) of "She Plays Bass" and "Care" returns with "Charlie Brown", an excellent slice of her lo-fi, indie/space rock. Again, can move up with repeated listens. Dayglow (Sloan Struble...does anyone use their real names anymore?) is next with "Close to You", which has that late-70's early 80's syncopated beat a la The Doobie Brothers' "What A Fool Believes". Next is Bleachers, the New Jersey band that hit #1 on my blog a few years back, with "I Miss Those Days", with "Chinatown". Unlike that former blog hit, this is more of a roots-ish, heartland-type song, no doubt influenced by fellow Jerseyan Bruce Springsteen, who is featured on the track and the video. Probably one of the hot pop artists out there now, Olivia Rodrigo, currently at #1 on the Billboard Hot 100 with "Drivers License", has that song added here as well. The song is sort of a pop power ballad within the new pop realm. Finally Lana Del Rey's latest is "Chemtrails Over the Country Club", which is pretty much what you would expect from her.
Scenes ‘n’ Soundwaves 100 Playlist
February 14, 2021
|
This Week |
Last
Week |
ARTIST-Title |
Weeks
on List |
|
1 |
1 |
NUMBER ONE:  (Single Only) (3 weeks at #1) |
13 |
|
2 |
3 |
7 |
|
|
3 |
6 |
7 |
|
|
4 |
5 |
6 |
|
|
5 |
4 |
14 |
|
|
6 |
7 |
9 |
|
|
7 |
14 |
4 |
|
|
8 |
2 |
13 |
|
|
9 |
10 |
6 |
|
|
10 |
8 |
12 |
|
|
11 |
17 |
4 |
|
|
12 |
13 |
12 |
|
|
13 |
12 |
18 |
|
|
14 |
11 |
10 |
|
|
15 |
9 |
9 |
|
|
16 |
15 |
5 |
|
|
17 |
16 |
7 |
|
|
18 |
22 |
TOP 20 IMPACT OF THE WEEK:  Album: Hard Boiled |
6 |
|
19 |
28 |
MOVER OF THE WEEK:  Album: When You See Yourself |
4 |
|
20 |
21 |
8 |
|
|
21 |
19 |
11 |
|
|
22 |
24 |
10 |
|
|
23 |
18 |
14 |
|
|
24 |
27 |
7 |
|
|
25 |
29 |
7 |
|
|
26 |
23 |
22 |
|
|
27 |
25 |
13 |
|
|
28 |
20 |
13 |
|
|
29 |
31 |
8 |
|
|
30 |
26 |
15 |
|
|
31 |
35 |
6 |
|
|
32 |
36 |
5 |
|
|
33 |
30 |
17 |
|
|
34 |
40 |
4 |
|
|
35 |
52 |
3 |
|
|
36 |
43 |
5 |
|
|
37 |
41 |
16 |
|
|
38 |
54 |
3 |
|
|
39 |
42 |
7 |
|
|
40 |
46 |
5 |
|
|
41 |
48 |
6 |
|
|
42 |
51 |
4 |
|
|
43 |
32 |
14 |
|
|
44 |
45 |
10 |
|
|
45 |
50 |
6 |
|
|
46 |
53 |
6 |
|
|
47 |
37 |
30 |
|
|
48 |
55 |
5 |
|
|
49 |
34 |
16 |
|
|
50 |
58 |
4 |
|
|
51 |
44 |
23 |
|
|
52 |
33 |
15 |
|
|
53 |
77 |
2 |
|
|
54 |
38 |
16 |
|
|
55 |
79 |
2 |
|
|
56 |
49 |
24 |
|
|
57 |
39 |
14 |
|
|
58 |
62 |
4 |
|
|
59 |
47 |
13 |
|
|
60 |
69 |
3 |
|
|
61 |
71 |
3 |
|
|
62 |
65 |
11 |
|
|
63 |
72 |
2 |
|
|
64 |
56 |
14 |
|
|
65 |
64 |
7 |
|
|
66 |
67 |
4 |
|
|
67 |
--- |
TOP DEBUT:  "Hey Girl" Album: Wachito Rico |
1 |
|
68 |
59 |
17 |
|
|
69 |
70 |
3 |
|
|
70 |
--- |
1 |
|
|
71 |
63 |
19 |
|
|
72 |
57 |
6 |
|
|
73 |
78 |
3 |
|
|
74 |
84 |
Black Coffee ft. Maxine Ashley and Sun El Musician - You Need Me |
2 |
|
75 |
--- |
1 |
|
|
76 |
76 |
4 |
|
|
77 |
82 |
2 |
|
|
78 |
--- |
1 |
|
|
79 |
--- |
1 |
|
|
80 |
--- |
1 |
|
|
81 |
68 |
20 |
|
|
82 |
61 |
11 |
|
|
83 |
89 |
2 |
|
|
84 |
60 |
13 |
|
|
85 |
73 |
12 |
|
|
86 |
92 |
3 |
|
|
87 |
--- |
1 |
|
|
88 |
66 |
19 |
|
|
89 |
87 |
4 |
|
|
90 |
74 |
21 |
|
|
91 |
86 |
39 |
|
|
92 |
75 |
5 |
|
|
93 |
81 |
22 |
|
|
94 |
85 |
28 |
|
|
95 |
80 |
23 |
|
|
96 |
83 |
13 |
|
|
97 |
88 |
19 |
|
|
98 |
90 |
18 |
|
|
99 |
91 |
23 |
|
|
100 |
93 |
7 |
|
|
Songs with the greatest increase in
favorite points over the prior week. ●
Songs with
25 or more plays on iTunes/iPods ▲ Songs with 50 or more plays.
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