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Down Your Local – BBC Radio Brighton

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The fifth of the BBC local radio stations, and the first outside of the north and Midlands, was BBC Radio Brighton (now BBC Sussex). Its planned launch date was 14 February 1968 but the station had already made an impromptu appearance in December 1967 (from some old BBC regional studios at the Royal Pavilion) when snow storms brought Sussex grinding to a halt, thus immediately demonstrating the value of a local service in bad weather and the importance of a 'snow line'. 


Pulling together the new station was Bob Gunnell. Bob had joined the BBC engineering staff in the 1940s and by the late 50s was a producer and then later presenter working on such programmes as The Younger Generation, Listen Awhile and Home This Afternoon.
Brighton's studios were located at the old Blenheim Hotel on the corner of Marlborough Place (pictured above). Helping to kit it out was station engineer Ted Castle who'd previously worked for the OB unit in London and second engineer George Orchard. Bob's deputy, was programme organiser David Waine. David had been at TV reporter for the BBC in Southampton and would go on to manage BBC Radio Bristol, then as regional Television manger in Plymouth and finally as head of Network Production Centre and then Head of Broadcasting BBC Midlands at Pebble Mill.

Bob Gunnell famously made two quirky managerial decisions when the station launched. First he was very much against playing any pop announcing that "we aim to be a sweet station rather than a hard pop music station." More controversially was the insistence on time checks being given in 24-hour clock much to the confusion of presenters, contributors and listeners alike, though this directive was soon dropped. Bob remained in charge of the station for 15 years and following his retirement he served on the local council, was a magistrate and helped create the Brighton and Hove Arts Council. He died in 2014 aged 87.    


Other staff appointed were John Henty (pictured above), Keith Slade, Mike Matthews, Chris Jones, Hilda Bamber and Carole Stone. Mike had gained his broadcasting experience in New Zealand at NZBC and would later be part of the launch team at Radio 210. Hilda Bamber had started broadcasting with the BFBS and had for some commercial station experience in New Zealand. She would later join Radio 4 as a continuity announcer before becoming an IRN newsreader. Carole Stone had started at  the BBC in 1963 as a news copy-taker. She remained with Radio Brighton until 1970 when she joined Radio 4 as a talks producer and then to BBC Bristol where she produced Down Your Way and Any Questions?  

The station officially went on air at 6 p.m. on Wednesday 14 February 1968 with the Mayor of Brighton, Councillor Ronald Bates, cutting a piece of recording tape across the station entrance. A star-studded cast told the story of the town; Laurence Olivier, Flora Robson, John Clements and Dora Bryan all lived locally. Other guests, introduced by Mike Matthews included Elsie and Doris Waters, perhaps suggesting that the station wasn't too interested in pulling in a young audience. The opening programme also included an OB with John Henty positioned on Sussex Heights, then the tallest building in the area, where he was to describe the view. Unfortunately, a heavy sea mist came down and he had to explain his predicament and rely on his memory. 

This is how the Radio Brighton's programme schedule looked for the week commencing 16 October 1971.



One of the best known voices in the early days of BBC Radio Brighton was that of John Henty. Born and educated in Surrey John started his working life as a clerk for Shell before joining the Croydon Advertiser as a junior reporter. He lists his first broadcast as reading the news on KIST in Santa Barbara in March 1960, although I've no idea what he was doing over in California at that time. He spent five years with BEA as an airline public relations officer and was also volunteering for a local hospital radio station where he eventually started to provide football commentary. It was that commentating experience that swung him the job at Radio Brighton, nominally in charge of their sports programmes. He presented local radio's first travel show, Travel Bag ('produced in collaboration with local travel agents' per the programme billing) and in the mid-70s had the distinction of broadcasting on the breakfast show, Coastwise, a feature called My Early Bird Club that was introduced by a worm called Wurley. John went on to work at Blue Danube Radio and in the late 80s made programmes for hospital radio sponsored by British Telecom under the title Nice 'n' Easy. He also a leading authority on the British illustrator Mabel Lucie Atwell and founded and ran a museum dedicated to her.     

Keith Slade (above) was brought into the station having had no broadcasting experience and in time became a regular arts programme producer. Born in Brighton he'd studied drama and worked for The Argus for a short time before going into teaching at the Florence Moore Theatre School in Hove. His knowledge of the local arts scene gave him the opportunity to contribute to many Radio Brighton programmes until his retirement in 1988. He died in 2002 aged 74.

Ivan Howlett was born in Suffolk but moved to the Brighton area to take up teaching. He joined Radio Brighton mainly contributing to arts programmes but later became the station's news editor. Ivan moved back to his home county in 1990 as Managing Editor on the newly launched BBC Radio Suffolk. Leaving the station in 1998 he returned to programme making, principally for Radio 4 with series such as Making History, Rare Books, Rare People and a number of editions of The Archive Hour. He died in 2008 aged 66.

Radio Brighton featured in the 1978 booklet Serving Neighbourhood and Nation
Phil Fothergill, here listed as introducing Trend on Saturday afternoon, had started his broadcasting career as a technical operator. He moved over to commercial radio when that started in 1974 at Swansea Sound. Later he worked at KNET in Texas, Radio Orwell, Radio 210, Blue Danube Radio and was programme controller at Chiltern Radio when that launched in 1981. By the end of the eighties Phil moved over to television as a continuity announcer and then promotions director at Anglia TV. He was a production manager at QVC and set up his own production company TVUK. More recent radio work has included MKFM and Radio Vienna International. 

Note that Paul Hollingdale pops up on Saturday afternoons. Paul had returned to his home town after been given the boot by his Radio 2 bosses as one of the hosts of Breakfast Special. He freelanced for a while and that included a spell at Radio Brighton. By 1976 he was up in Reading as the launch DJ on Radio 210.

You'll also spot as one of the contributors on Trend the name of Jeremy Pascall. Jeremy was an NME reporter and first appeared on BBC Radio Brighton in 1969 as part of Pop Inside team alongside Anne Nightingale and Tony Baker to discuss the Brighton music scene. He'd go on to join Capital Radio where he is perhaps best known for The Uncyclopedia of Rock and being part of the Brunch team. For the BBC he and Phil Swern were the question setters on a number of TV and radio quizzes. He died in 2001. 

One of Radio Brighton's best-known alumni is Desmond Lynam. Appearing on the station a few weeks after it had gone on air Des was working in banking and then insurance. He'd dabbled in writing the odd sports article for local papers and football magazines. In 1968 the station had advertised that it was looking for volunteers and Des was invited in by David Waine and given an audition. He soon found himself reading the Saturday afternoon football results and other sports news. "In no time at all, under the experienced eye of an amiable chap called John Henty, I was presenting the Saturday night sports desk. Soon I was writing a weekly review of the local press, which involved arriving at the studio at 6.30 in the morning; reading through the three local weekly papers and writing, by hand, a three-minute piece to be voiced live just before the 8 a.m. news bulletins".

Des remembers an early attempt at radio comedy: "Together with Ivan Howlett, John Henty, Peter Vincent (who went on to be a top comedy writer for The Two Ronniesand others), and a girl singer called Amaryllis, I began putting together and performing in a Sunday half-hour show called How Lunchtime It Is - there was a TV series called How Late It Is that had prompted the idea for the title". Apparently Des's contribution included passable imitations of Harold Wilson and Ted Heath. In due course he joined the staff of the station but by late 1969 had moved to network radio in London as a Sports News Assistant.    

The proximity of Brighton to the capital meant that some other broadcasters made to trip up the Brighton line to Broadcasting House. In this extract from the Radio Timesschedule for the week commencing 4 September 1976, picked up on my one and only visit to Brighton, lists John Walmsley, who'd actually been with the station since 1968 and later was on Radio 1's Newsbeat and Peter Brackley, later on Sport on 2. By this time Piers Bishop had also joined the station and he would go on to open BBC Radio Sussex.

Other well-known names that passed through the doors at Marlborough Place in the early days were Kate Adie, playwright and screenwriter Ken Blakeson, the Rev Frank Topping, a regular contributor to Radio 2's Pause for Thought and Barbara Myers later on Radio 4 and a presenter of Outlook on the BBC World Service. 

The name BBC Radio Brighton was dropped in October 1983 as the station became BBC Radio Sussex, then BBC Southern Counties Radio in 1994 and finally BBC Sussex in 2009. To mark 30 years of the name change to BBC Radio Sussex this programme, presented by Ian Collington, traced the history of local radio in the area to the start of BBC Radio Brighton so there are plenty of clips from that era. BBC Sussex at 30was broadcast on 22 October 2013.



A special 3-hour programme 50 Years of the BBC in Sussex airs this Wednesday evening at 7.00 pm on BBC Sussex.


40 Years of Hitch-Hiking

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Exactly forty years ago today Radio 4 unleashed on an unsuspecting audience the first ever episode of that comedy adventure in space and time, The Hitch-Hiker's Guide to the Galaxy. The Radio Times was of the opinion that "science-fiction fans with a sense of humour will welcome (the) six-part adventure story" but its wide appeal immediately became apparent and, in an unprecedented move, the BBC gave it a repeat just a fortnight after the last episode went out  plus a third airing that November.

Tonight Radio 4 starts a new series of what is termed the Hexagonal Phase. Based on some unpublished notes from Douglas Adams's archive and the follow-up novel And Another Thing...  by Eoin Colfer it re-unites some of the original cast: Simon Jones, Geoffrey McGivern, Mark Wing-Davey and Sandra Dickinson plus other star names including Lenny Henry, Jim Broadbent, Jane Horrocks, Ed Byrne, Jon Culshaw and Stephen Hawking.


The story (according to The Guardian) follows our heroes,  Arthur Dent and Ford Prefect, who  visit the tiny planet of Nano, where they find an Irish community run by a chancer called Hillman Hunter. The colony is getting unruly, so Hunter wants a God to supply a few rules. Meanwhile, the Vogons have also discovered the existence of this unlikely Irish colony and are naturally sending a force to eradicate it.     

More from Dirk Maggs and John Lloyd on the new series
in the current issue of the Radio Times

There's more about Douglas Adams and how Hitch-Hikers came to be written and recorded in the recent edition of The Archive Hour: Don't Panic! It's The Douglas Adams Paperswith his old mate and co-writer (and voice of The Book in the new series) John Lloyd.

In this article, from the Observer Magazine of 14 October 1979, Robin Lustig talks to the "young creator" Douglas Adams who confesses his difficulty in writing: as "a desperately difficult process fraught with all kinds of mental blocks and worries."

I wrote about Hitch-Hikers back in June 2012 in Share and Enjoy and in April 2014 in The Art of Hitch-Hiking

Down Your Local - BBC Radio Stoke

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It was a familiar voice, a broadcasting institution no less, in the form of John Snagge that welcomed listeners to the latest of the first wave of home town radio stations, BBC Radio Stoke-on-Trent, as it launched on Wednesday 14 March 1968.

Snagge's career at the BBC had started in Stoke some forty-odd years earlier when he'd been appointed as Assistant Director of the relay station, known by the call sign 6ST. His opening remarks gave a nod to history: “This is BBC Radio Stoke on Trent. We must apologise to listeners for the break in transmission which occurred at 12 o'clock midnight, on October 30th 1928. This was due to circumstances beyond our control. Normal transmission has now been resumed”.

The local authority in Stoke was a keen advocate of the local radio experiments and had secured sufficient funding for the first two years. The area had been involved in the 1961 broadcasting trials proposed by Frank Gillard and recordings of the Stoke tests had been used in the submission to the Pilkington Committee. Supposedly BBC Radio Stoke-on-Trent (it was shortened to BBC Radio Stoke in the 1980s) was set to go on-air earlier but the outbreak on foot and mouth in 1967 had prevented engineers crossing fields to access the VHF mast at Alsagers Bank near Newcastle-under-Lyme. In the event the station launched using a low-powered VHF transmitter at Hanchurch Water Tower south of Stoke.


The station came on air at 5 p.m. on the 14th - complete with its own ID theme, a nod to the Potteries heritage composed by the Radiophonic Workshop using the sound of tinkling fine bone china - with an announcement from manager Harold Williams and then John Snagge. Producing that opening evening was Owen Bentley who remembers what came next: 

"There followed an eclectic mix of programming: interviews with the Lord Mayor and John Snagge, the local news or as we called it the Home News, the pop show Take One and the evening news magazine Potteries Roundabout which I studio produced.

I then did a couple of continuity announcements introducing a local choir and the business programme, Enterprise 68 before my first ever 30 minute feature 6 ST Calling (over which I had sweated blood) was broadcast.

I then chaired a gentle discussion with John Snagge reminiscing about the station with old friends and colleagues."

Owen Bentley had come to BBC local radio from the World Service and though initially appointed to work in Stoke he'd spent a few months at BBC Radio Sheffield due to the delay in launching . He moved to Radio Oxford when that launched in 1970, had a short stint in Botswana and then was back at Sheffield in 1974/75 as their Programme Organiser and then manager at Radio Leicester (1975-82) where he was instrumental in getting the Asian Network off the ground. In the 80s he was the head of Local Radio and Network Radio for the Midlands.      

Raising their glasses are  programme organiser John Cordeaux, news editor Tony Inchley, station engineer
Simon Penfold with Sheila Penfold
Stoke's studios were in Conway House, Cheapside in Hanley (the current studios are now further down Cheapside). Among the small team assembled by Harold Williams was his second in command, Programme Organiser John Cordeaux. John had joined the BBC in 1945 and by the mid-50s was working as the Overseas Instructor in the BBC's Staff Training Department.  After three years in Stoke he left to manage Radio Humberside. Williams himself would leave to become Assistant Head of Local Radio Development.  

There short themes were composed for the station by David Cain of the BBC Radiophonic Workshop.


This is how the schedule looked just a month after going live with the Radio Times listings for the week commencing 13 April 1968. The weekday programmes, just four or five hours a day, are clustered around breakfast, lunch and teatimes; for the rest of the day they dipped into the network offerings from Radios 1, 2 and 4.


On the Sunday, Easter Sunday in this case, you'll spot the church service In Thy Name. Uniquely across local radio the station was the only one that has broadcast a weekly service from the start and continues to do so, now known as In Praise of God.

Some other names you'll have heard on air that year were David Gredington, later the first Programme Organiser at Radio Humberside, Ann Skellern, Tony Waters, Gerry Northam and John Abberley.

Gerry left Stoke in the early 70s to work on BBC TV educational programmes and network radio before joining File on 4 in 1979 first as producer then editor and then for many years as the programme's main investigative reporter. Most recently he's been the picker on Pick of the Week.  

A page from the 1978 booklet Serving Neighbourhood and Nation 
John Abberley was well-versed in the Potteries area having worked on the Evening Sentinel since 1949. He joined the station at launch as one of the production assistants where he would specialise in sports coverage, he presented the Saturday teatime round-up On the Ball, and news reporting, working with the station's first news editor Tony Inchley (later the manager at BBC WM) - though in common with most of the new local stations they initially used a news agency, in Stoke's case the local branch of Raymonds News Agency. After just over 20 years at the station Abbo rejoined the Sentinel. He died in 2010 aged 78.   

Moving on three years this is the Stoke schedule for week commencing 28 August 1971. By this time the station manager was David Harding and Geoff Lawrence, a very experienced Light Programme and Radio 2 producer, had come in as the programme organiser; he would go on to be the station manager in the mid-80s, replacing Sandra Chalmers.    


Popping up on Saturday morning and Friday's Lucky Numbers is Gordon Astley, with possibly his first radio gig. This was well before his Cheggers Plays Pop and TISWASdays and radio work at Mercia Sound, BBC Southern Counties,  BBC WM, BBC Radio Northampton and Century 106.

Presenting Enterpriseis renowned journalist Arfon Roberts. He was one of the station's first news producers who'd come to Stoke from BBC Wales were he'd been the first journalist on the scene when the Aberfan Disaster occurred.

Other names here include long-time presenter and producer Bill Humphreys who worked with the 'Legendary Lonnie' and Andy Ridler who I've a vague recollection also did a stint at Humberside. But just who is 'Josephine' who presents Lazy Sunday?

All this is a few years before one of radio's best known names started his career at the station. Local lad Bruno Brookes had appeared on the station on the Topics for Teenagers programme and eventually joined the staff hosting an afternoon show Bruno at Three between 1982 and 1984 before receiving a call from Doreen Davies to join Radio 1.

BBC Radio Stoke is celebrating its 50th anniversary this week with a series of six specials, Who We Are, presented by Nick Hancock. 

Order, Order!

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Forty years ago today the permanent radio broadcasting of proceedings in the House of Commons began. There had been a month long experiment in 1975 and a vote in favour of switching on the mics in 1976 but it still took another two years before the first broadcast of the Question Time session on the afternoon of Monday 3 April 1978. Not PMQs mind (that was on the next day), but the Secretary of State for Wales The Rt Hon John Morris answering questions of the Welsh National language.

It may well have been a triumph for what we would now call the  openness and transparency of the democratic process but Radio 4 listeners weren't pretty aggrieved about it. Coverage was on medium wave, so depriving those that missed Afternoon Theatre which went out on VHF only, which most listeners, it seemed, avoided. Within the first 36 hours the BBC received 343 phone calls and letters of complaint; by the end of May complaints totalled 2,799 as against 31 letters of appreciation.

However, the impact was positive elsewhere as recorded highlights could at last be used on Today in Parliament (which saw its listenership increase) and in news bulletins on both the BBC and IRN.

Radio 4 controller Ian McIntyre wasn't exactly enamoured in  having to split his network for live PMQs every Tuesday and Thursday. "The BBC's business was making programmes, not relaying the source material for them." The live coverage stopped after 15 months.

Former BBC Political Editor Peter Hardiman Scott writes about the long road 
to securing live Parliamentary broadcasting for the Radio Times


Rested

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Rested is, according to one dictionary definition, "healthy and active after a period spent relaxing".  But you can be sure that when a BBC press release is issued that any programme marked up as "rested" will not be making a return to the schedules. It will be forever consigned to the archives.

In January Radio 2 announced a schedule shake-up that comes into effect later this month. Getting the elbow, sorry, "rested", are The Organist Entertains, Listen to the Band and The Radio 2 Arts Programme. All shunted into the sidings as the network becomes increasingly popified. I'll be looking at the history of organ music and brass bands music programmes later this week.

Another casualty of the changes is Paul Jones, presenter for the last 32 years of a rhythm and blues show. Jones is, of course, steeped in the music of the British R'n'B scene and is a contemporary of the likes of the Stones, Long John Baldry and the late Alexis Korner. Jones talks of "passing over the baton" though one suspects he would have relished the chance to stay on.     

The programme started on 10 April 1986 produced in Manchester by the late Dave Shannon. Paul's first guests in session were Robert Cray and Chris Barber.

Paul had broadcast a few times before but most of these shows were on the BBC World Service with Counterpointin 1982 and 1983, and again in 1986, and taking over from Alexis Korner on The Rhythm and Blues Show from March 1984. On Radio 2  there had been a three-part series on R 'n' B in 1985 and the week before the new show started he'd sat in for David Hamilton. His Radio 2 Rhythm and Blues programme remained a Thursday night fixture until April 2007 when it moved to Mondays.

From Monday 25 April 2011 comes this specially extended show marking Paul's 25th year on Radio 2. It includes sessions from 24Pesos, a fantastic set by Kyla Brox and Danny Blomeley and, in the second half from Marcus Bonfanti and Oli Brown.



Fortunately blues music isn't to be swept to one side by Radio 2 as Cerys Mathews takes over from Monday 14 May. Paul's final show, with guest Eric Bibb, is still available to listen again. 

The Organist Entertains

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With the axe falling on The Organist Entertains this month radio loses a programme that's just a year shy of celebrating its golden anniversary and, at a stroke, breaks a tradition of broadcasting organ music that goes back to the earliest days of the BBC.

When radio broadcasts started in the early 1920s organ music was regularly head on 2LO with recitals from Steinway Hall in Marylebone Lane.  Many early broadcasts were church or symphonic organ recitals but increasingly there were transmissions from theatres and cinemas offering listeners the opportunity to hear the full orchestral range of the new theatre organs up and down the country.  

The BBC's first organ was installed in the Concert Hall (now Radio Theatre) in the newly-constructed Broadcasting House. Built by the renowned organ-maker John Compton the concert organ was "the first organ in this country to be designed especially with a view for microphone transmission." Its inaugural broadcast was on 16 June 1933 in a concert of classical pieces played by the BBC Orchestra under conductor Adrian Boult. However, the acoustics of the new building meant it was played infrequently as the organ could be heard in other studios four floors up. Added to which concerts were in turn affected by dance bands rehearsing in the sub-basement, prompting this memo in February 1933. "I understand that on Monday last the second half of the chamber concert in the Concert Hall was badly interfered with by Jack Payne's band in studio BA."    


By October 1936 the Corporation had a second in-house organ, a mighty Compton theatre organ sited at St George's Hall over the road from Broadcasting Hose in Langham Place. The BBC now employed a resident organist, Reginald Foort, a cinema organist who'd been making broadcasts since 1926. He stepped from the position in 1938 and there was a special concert to mark the event on the National Programme on 31 October. Announcer Stuart Hibberd was moved to pen a couple of verses to the tune of Spanish Ladies. It ended "Now let every man drink off his full bumper, And let every man now drink up his port, We'll sing and be jolly and drown melancholy, With 'Here's to the Health of Reginald Foort.'"  

Foort worked in the USA for a while but after the war he continued to make broadcasts for the BBC until the early 1970s. Taking over from him as the staff organist was Sandy MacPherson, the organist at the Empire in Leicester Square. It was Sandy that would sustain radio audiences during the early days of the Second World War when the BBC was unsure what service to provide and apart from news bulletins and official announcements was happy to fill hours of airtime with Sandy at the console. He made 23 broadcasts in the first week and 22 in the second. This prompted some listeners to write in that they would rather face the German guns than hear more MacPherson!

The BBC Theatre Organ itself was destroyed when St George's Hall was bombed in September 1941. Foort loaned the corporation his Möller organ which they then bought outright in 1946 (and subsequently sold  in 1963).

Embed from Getty ImagesMacPherson  (above) was heard on air in hundreds of programmes until the end of the sixties, his shows included From My Postbag (1939-59), The Twilight Hour (1939-56), Sandy Calling(1940-44/51-62), I'll Play to You(1943-48), Sandy's Club (1962-63), At Your Request (1963-64), Melody Time with Max Jaffa (1965-68) and the long-running Chapel in the Valley(1949-69) a programme of "sacred songs and old favourites from the hymn book" set in the "delightful land of Let's Pretend".  

The BBC's third organ, again built by Comptons, is the one in the Maida Vale studios and very much still in use for BBC Symphony Orchestra rehearsals.

Organ music broadcasts weren't confined to the BBC though. The pre-war Radio Normandy had interludes of cinema organ recitals and Radio Luxembourg featured Reginald Foort and the two Blackpool-based organists Horace Finch and Reginald Dixon, the latter playing listeners' requests in the Cadbury sponsored You Call the Tune.   

Reginald Dixon, dubbed Mr Blackpool, had started playing professionally in 1930 and over a period of fifty years made hundreds of broadcasts at the Tower Ballroom organ. Post-war his shows included Tuneful Tempo and Meet Me at the Tower as well as being a regular performer on the variety bill of the long-running Blackpool Nights (1948-66). His final broadcasts were working alongside Sam Costa on Sam on Sunday (1979-80) where he played the BBC's Theatre Organ from the Playhouse Theatre in Manchester. This was the third incarnation of the BBC's Theatre Organ, a Wurlitzer bought from the Empress Ballroom in Blackpool in 1970 and disposed of in 1985.

Here's Reginald Dixon playing in an edition of Blackpool Nights as heard on the Light Programme on 18 June 1963. The presenter is Jack Watson.


Reginald's retirement in 1970 was marked by a special broadcast concert on Radio 2 with guests Vince Hill and the Northern Dance Orchestra under the direction of Bernard Herrmann. A copy of Goodbye Mr Blackpool has been uploaded to Soundcloud here.

Other organists heard regularly on BBC radio included Douglas Reeve, for many years associated with the Dome in Brighton. He was discovered by Reginald Foort who dubbed him the Wonder Boy Organist and made his first broadcast in 1937 aged just 19. He broadcast regularly until 1980, like Reginald Dixon working on Sam on Sunday and made occasional appearances as late as 1998.

Charles Smart had a similarly long broadcasting career starting in 1935 and continuing through to the early 70s. Pre-war he was the regular organist on Melody Out of the Skythat featured Jay Wilbur and his Band and on the comedy show Band Waggon with Arthur Askey and Richard 'Stinker' Murdoch. Here's Charles at the BBC Theatre Organ at St George's Hall in a sketch from the show recorded in March 1939.


Charles Smart's son Harold was also a well known organist. Aged just 15 he'd been appointed cinema organist at the Odeon in Haverstock Hill and made his first radio broadcast that same year (1937). In the 1950s he would appear with the BBC Show Band under the direction of Cyril Stapleton and the song a minute show Sing It Againand on ITV was the resident organist on the Take Your Pick! On Radio Luxembourg his quartet could be heard on Smart Work with Gumption (sponsored by Gumption Smooth Paste Cleaner)  and Smart Work. In the 1960s he played on numerous editions of Morning Music and, with various musical combos from a trio to an octet, recorded sessions for Swingalong, Strumalong, Music Through Midnight and Sunday Special. His final broadcast was in 1978 on The Organist Entertains.

Dudley Savage was a cinema organist working for the ABC in Plymouth for decades. He first broadcast in 1938 and post-war was heard playing listeners requests on the Home Service and later Radio 2  in As Prescribed (1948-1976) with the emphasis on requests from "patients in hospital or at home".

One programme that regularly featured cinema organists was Music While You Work (1940-67). Over fifty organists appeared throughout the run including Dudley Beavan (playing on the inaugural programme) , Sandy MacPherson, Robin Richmond, Florence de Jong, Reginald Foort, H. Robinson Cleaver, Donald Thorne, Charles and Harold Smart, Ena Baga and Jimmy Leach who, playing Hammond organ with his group the Organolians, was on the final regular broadcast on 29 September 1967.

Of course there was more than just cinema and theatre organ music to be heard. The Hammond organ and electronic organs were featured in jazz programmes. Concert organ music was on the Third Programme/Radio 3 and later on Classic FM. Church organs were heard on Sunday services and Choral Evensong. In the 1960s you were more than likely to hear a record by Klaus Wunderlich on Housewives' Choice. Specially recorded sessions were made for a whole host programmes from Night Ride(Harry Stoneham's Trio were regulars) to Charlie Chester's Sunday Soapbox. And when local radio started some stations included organ music: local concert organist Arnold Loxam was a fixture on Radio Leeds for many years, Charles McNichol played on Radio Nottingham and Radio Manchester had Pedal, Percussion and Pipes with Alan Ashton. 

This brings us to 1969. Organ music, certainly the playing of popular tunes, was less frequently heard on air. Hundreds of cinemas and theatres had closed and any organs sold off or destroyed. But there was, according to Robin Richmond, a revival of interest in the theatre organ.

Richmond presented the pilot edition of The Organist Entertains on Radio 4 in April 1969 and on 11 June over on Radio 2, what was to be the start of a 49-year run of the programme proper. Both theatre and electronic organ recordings were featured with performances from Harold Smart, Gerald Shaw, Len Rawle and others.    

Here is that first edition of The Organist Entertains.



Writing in that week's Radio Times Robin provided some background information:
"The BBC broadcast cinema organ music almost every day. Reginald seemed to be a popular name with the organ stars! We had Reginald Foort, Reginald Dixon, Reginald New and Reginald Porter-Brown. Other great players were Quentin Maclean, Sidney Torch, Harold Ramsay, Frank Newman and, of course, Sandy Macpherson.

Somewhere around 1935, I was about to have built a mammoth travelling pipe organ to tour the music halls, when someone told me about the new electronic wonder that had no pipes and would be far easier to move around. So it came about that I myself bought the first two electronic organs to reach England, and together we blazed the trail in cabarets, dance halls, hotels and music-halls, concentrating on jazz and popular music. There was an overlap period of some fifteen years from 1935 to 1950 when both cinema and electronic organs were popular, but gradually the electronic organ jumped ahead, possibly because it was so easy to transport.

Now there is a great revival of interest in the theatre organ, not only in this country but also all over America. Hundreds of these fine instruments are being rebuilt and re-housed by the ever-increasing army of enthusiasts. Perhaps our new series The Organist Entertains will 'organ-ise' many new friends!

The new series proved popular and a few weeks later this letter appeared in the Radio Times from a T. Whitehead of Keynsham: "Having heard the first two programmes in the new series I have only one comment - magnificent! A thousand thanks to the BBC and Robin Richmond for this opportunity to hear such a range of top players and instruments. I recall with nostalgia the days when theatre organs were broadcast daily, and how thrilling it is to hear their sound again".

Robin Richmond (pictured above) was a natural choice as presenter of The Organist Entertains as he was both an organist of some 30 plus years standing and a regular broadcaster on the Light Programme. He'd started out as an organist at a local mission hall before playing more of the popular dance music of the time. Early professional engagements were in West End revues and he made his first broadcast in 1938 on what was billed as his "Modern Miracle Organ", an early example of an imported Hammond electronic organ.

Rejected for military service during the war he was the organist at the Paramount cinema on Tottenham Court Road, had a dance band at the Hammersmith Palais and was on a 24-hour standby contract to play on BBC radio. An early series was Starlight(1942-45) and he appeared on dozens of editions of Music While You Work with various musical combos. After the war he played and presented his own show Organ Grinder's Swing - he would sign off "from your old organ grinder friend" - and was regularly on the bill of Variety Bandbox. Other broadcasts included Bumblethorpe with comedian Robert Moreton, Morning Music, the BBC tv series Emney Entertains with the rotund actor and comedian Fred Emney as well as providing the musical punctuations on Associated-Rediffusion's Double Your Money.

In the late 40s Robin had also started to present other music shows including Housewives' Choice, Jazz Club, Playtime, Twelve O'Clock Spinand Midday Spin. He also moved into the producer's role on Radio 2's Album Time.

A change of presenter in 1990 as marked
by this Radio Times article

Robin retired in 1980 (he died in 1998) and was replaced on The Organist Entertains by Nigel Ogden. Nigel, like so many of the organists mentioned here, started young. He took up the organ aged 12, inspired by his father who was a church organist and by holiday visits to Blackpool where he saw Reginald Dixon perform. He made his first radio broadcast in 1971 aged 17 on Pedal, Percussion and Pipes and the following year on Radio 2. He continued to play on The Organist Entertains and appear on Radio Manchester throughout the 70s before taking over the presenting role.

On 16 March 1990 Nigel marked his tenth anniversary on the show with this special edition.   



Understandably many listeners and organ enthusiasts were dismayed to hear the news in January that The Organist Entertains  was to be "rested" although there had been some criticism of late that the programme eschewed electronic music in favour of pipe organs. UK radio provides little in the way of outlets for popular organ music though Alan Ashton has a monthly online show and Angel Radio features Hot Pipes in its schedule.  Classical organ pieces can be heard on Radio 3's Choir and Organ.  

The final edition of The Organist Entertains goes out on Tuesday 8 May at 11pm BST.

Listen to the Band

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The sound of brass band is quintessentially British, from the working class traditions of works and colliery bands to the bandstand concert in the park and the seaside where, as we all know, they play "Tiddely-om-pom-pom!" Think too of the military bands playing at parades, Remembrance Day or Trooping the Colour.

One of  the victims of this month's Radio 2 schedule reshuffle is Listen to the Band (presenter Frank Renton pictured above).. Even though there is still a strong brass band tradition in the UK with good grass roots support from young players the decision has an air of inevitability about it with the programme offering little in the way of new material and having been pushed further and further to the margins of the schedule.

Listen to the Band has been running weekly on BBC Radio 2 since 1976 but the title is of a much older vintage tracing back to 1941. That show along with Bandstand (in its various incarnations), Music While You Work and Marching and Waltzing have showcased brass and military bands for decades.

The 1928 BBC Handbook features the BBC's in-house Military Band
The first broadcast of a military band concert, the Band of HM Irish Guards, was as far back as 23 January 1923. Some of the regional stations had their own military bands, the one at station 2ZY in Manchester was conducted by Harry Mortimer, more of whom later. In 1924 2LO's musical director Dan Godfrey formed the 2LO Military Band, later known as the Wireless Military Band and then the BBC Military Band. The band's regular conductor was Bertram Walton O'Donnell, nicknamed 'Bandy' and then, following his untimely death from pneumonia in 1938, by his brother Percy O'Donnell. It became the main broadcasting military band, heard most weeks and playing both established pieces and music specially commissioned for it. It was disbanded, as a cost-saving measure, in 1943.   

Alongside the in-house bands were the usual suspects such as Grenadier Guards, Royal Marines, the central Band of the RAF, various police bands and, post-war, the National Military Band.      

On pre-war radio broadcasts the stations would often cover the brass band competitions, including the national one from Crystal Palace (later at Alexandra Palace) and the Belle Vue contests in Manchester. Some of the famous colliery and works brass bands were also heard and continued to be featured in dozens of post-war programmes and these still perform to this day (albeit with slightly changed names): Foden's Motor Works, Black Dyke Mills, the Brighouse and Rastrick, Fairey Aviation Works and Grimethorpe Colliery.

When Music While You Work started in 1940 it regularly included military and brass bands, through it tended to favour the former. In later years one of the Wednesday editions was given over to one of the military or brass bands.

Such was the importance given to this music genre that in July 1936 the BBC appointed Denis Wright to the post of Supervisor of Brass and Military Bands within the music department. A former teacher and then music editor at Chappell & Co he introduced some innovations in the broadcasting of this type of music. Realising that much of the music was written to be performed outdoors he re-arranged pieces for studio performances.  He also changed the band formation to provide a better sound balance. Wright moved on to the Corporation's Overseas Services music division in 1942 and post-war continued to write and arrange for brass bands.  

One of the biggest names in banding is, of course, Harry Mortimer. From a very musical family - his father Fred conducted the Luton Band and then the Foden's Motor Works Band and made dozens of broadcasts until his death in 1953 - he played cornet and trumpet for Fodens and a number of orchestras including the BBC Northern Orchestra (now the BBC Philharmonic). He was also encouraged to conduct and to compose and by 1942 was asked to take over the post of Supervisor of Brass and Military Bands following the departure of Denis Wright.

Under Mortimer's purview he introduced a number of programmes featuring brass and military bands the most significant of which was Listen to the Band. (The title Oh, Listen to the Band had previously been used during the war for a programmes with bands played out on record).  Starting in February 1943 it featured a different band on each show and ran weekly on the Home Service, at first on Sunday mornings but then settling into a Saturday afternoon slot through to March 1963.

Harry Mortimer introduces the 1964 series
of Listen to the Band
Listen to the Bandreturned in September 1964 for a 3-month series, this time over on the Light Programme. By now Harry Mortimer had retired from his BBC post but was still heavily involved in brass band music and he presented the new series. It was back again in October 1965 but this time using one of the other preferred BBC titles for brass and military band music, Bandstand (later billed as Saturday Bandstand), with Harry and then Paul Martin "inviting you to Listen to the Band."

With Mortimer leaving the BBC responsibility for overseeing this music fell initially to each of the regions and then in 1965 to Geoffrey Brand and later William Relton until he moved on to manage the BBC Symphony Orchestra in 1970.  

When the Light became Radio 2 in late September 1967 the original title was back in use but now announcer John Dunn was presenting followed by Jimmy Kingsbury between 1970 and 1972 when the programme was dropped. In the summer of 1972 brass and military bands were now only included in the show Brass and Strings and Other Things (later just billed as Brass and Strings) performing alongside the likes of the BBC Radio Orchestra or the BBC Midland Radio Orchestra, all linked by one of the staff announcers.   

In October 1976 Listen to the Band returned to Radio 2 and has remained on air ever since. By now Charlie Chester was presenting, though I'm not aware that he had any particular interest in the music and, in a nod to its history, the first band was the Morris Concert Band conducted by good old Harry Mortimer.

Here's a clip of Charlie with Listen to the Band from 26 January 1982 featuring the Western Band of the RAF.


There's a complete edition of the programme with Charlie Chester presenting  over on the Masters of Melody website. Dating from 27 July 1977 it features the Band of the Women's Royal Army Corps.

This edition dates from 11 May 1977 and features the Hammonds Sauce Works Band. 



In 1987 composer and brass band conductor Roy Newsome took over presenting duties followed in 1995 by Frank Renton who had considerable experience of both brass and military bands.

In this edition of Listen to the Band from 4 February 2016 Frank talks to trombonist and arranger Bill Geldard.



In the 1970s brass band music received something of a fillip when it featured in the UK singles charts. In the 1972 hit You're a Lady Peter Skellern was accompanied by the Hanwell Band and six years later the Grimethorpe Colliery Band appeared on his single Love is the Sweetest Thing. Meanwhile in 1977 the Brighouse and Rastrick Brass Band reached number two with The Floral Dance with Terry Wogan championing the record on his breakfast show. Later that year Terry recorded his own version, this time with the Hanwell Band, and made a couple of unlikely appearance on Top of the Pops in January 1978.  

The history of brass and military band broadcasting can't ignore another couple of programmes: Bandstand and Marching and Waltzing. Brass Bandstand was a series that ran for a few weeks each year on the Home Service between 1945 and 1954, with regional variations such as Scottish Bandstand, Midland Bandstand and so on. Meanwhile on the Light Programme we had the daily show Bandstand from 1945 to 1950 and then appearing weekly from 1953 to 1964. The title was resurrected again in March 1965 when the daytime Music Programme of the Third Programme extended its hours and included a weekly show alternating brass and military bands. Not surprisingly Harry Mortimer was back again on the first edition conducting the combined BMC (Morris Motors), Fairey and Fodens band. Bandstand continued on Radio 3 until as late as 1988. There are excerpts from the programme on YouTube.    

BBC radio ran a number of brass band knockout competitions between 1961 and 1974. The Northern Brasscontest heard only in the North, Midlands and Northern Ireland regions became the national Challenging Brass in 1964 flipping between the Home Service, the Music Programme, Radio 4, Radio 2 and then Radio 3.

The sound of various Salvation Army bands were  heard on Sunday mornings between 1975 and 1979 when Ray Moore presented Banners and Bonnets.

Marching and Waltzingprovided, as the title suggests, a mix of waltzes played by a light orchestra and marches played by a military or brass band. It started on the Home Service in 1940 and for the first decade was a record programme. By 1950 it started to regularly feature the Raeburn Orchestra on the waltz side under the direction of Wynford Reynolds who had, during the war, being the organiser of Music While You Work.   

By the early 60s Marching and Waltzing was back to being a record only show but got a new lease of life on the Light Programme with a couple of series in October 1965 and October 1966 in a joint production with the World Service - with World Service announcer Peter Reynolds providing the introductions. Geoffrey Brand, the brass band conductor and BBC producer who had taken over Harry Mortimer's old role as Supervisor of Brass and Military Bands, writing in the Radio Times was quite effusive about the programme and the pictures it conjured up: "Parade grounds filled with soldiers in red tunics moving in perfect formation; armies marching into battle to the sound of the band; or perhaps a Carnival procession with its gaiety and excitement, all being headed by a band playing a march. In contrast the waltz - and the soft lights and smooth sounds of the orchestra in the ballroom. Lovely evening gowns colourfully float across the floor as dancing couples glide rhythmically to the lilt and charm of the music."    

Marching and Waltzing made a return in September 1967 on the newly launched Radio 2 with Jimmy Kingsbury announcing the various brass and military bands plus the BBC Midland Light Orchestra under Gilbert Vinter - himself a composer who'd written a number of pieces for brass bands during the sixties.  Later the BBC Northern Ireland Orchestra was the main outfit providing the waltzes. It was again dropped in 1970 but made one last gasp between 1980 and 1984 with various staff announcers looking after the programme and one of the main orchestras being the London Studio Players led by Reginald Leopold and conducted by Iain Sutherland.    

In this edition of Listen to the Band from 25 April 2017 Frank Renton recalls the Marching and Waltzing era.  


And here is an edition of Marching and Waltzing kindly provided to me by Paul Langford. Paddy O'Byrne introduces the Band of the Coldstream Guards conducted by Lt Col Richard Ridings and the Orchestra led by Reginald Leopold and conducted by Marcus Dodds. It was broadcast on 4 August 1981.



Local radio didn't ignore brass band music and a number of BBC stations used to have programmes devoted to it. Up in Yorkshire I know that Radio Leeds had Brass Tacks with Mike Meadmore and Great Northern Brasswith Barrie Davenport whilst Radio Sheffield had a regular competition called Bold as Brass. BBC Radio Durham had Brasstime and Radio Birmingham ran a competition titled Birmingham Brass. Commercial radio was less interested though in the 1970s Radio Clyde had The Sound of Brass with Bob Mason, Radio Forth used the same title for programmes presented by Bill Torrance, at Radio Hallam Roger Moffat looked after Best of the Brass and even Viking Radio when it started in 1984 had Viking Bandstand.  

Although Listen to the Band has long since dropped brass and military band sessions, relying instead, for the most part, on commercial recordings, the axing of the programme has rightly been seen as a blow to the banding world. Although Radio 2 has promised to support the annual Young Brass Awards as part of Friday Night is Music Night this leaves the only radio programmes dedicated to playing this kind of music as David Hoyle's Yorkshire Brass on Radio Leeds and Paul Hunt with The Sound of Brass on BBC local radio in the south west. Listeners on the Isle of Man can hear Manx Radio's Time for Brasswith Ian Cottier and both Angel Radio and Serenade Radio occasionally play music of this genre. As for Frank Renton he'll continue to feature brass band music in a  fortnightly online show from brasspass.tv called Frank Renton: Still Listening to the Band. 

The final edition of Listen to the Band airs on Tuesday 8 May. Phillip Hunt will be marking the end of the programme on the 13 May 2018 edition of Sounds of Brass  

For an informed opinion on the demise of the programme see Iwan Fox's article for 4barsrest

Reference material:
BBC Genome
The Modern Brass Band from the 1930s to the New Millennium by Roy Newsome (Ashgate Publishing 2006)

Music While You Work by Brian Reynolds (Book Guild Publishing 2006)



Superman on Trial

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June 1938 and Action Comics publishes the first ever Superman cartoon strip. June 1988 and Superman stands on trail accused of crimes against humanity. Prosecuting is his arch nemesis Lex Luthor. Defending the super hero is one Lois Lane. Witnesses from the comic world and the real world are called into court including the late Adam West.

This was the premise of the Radio 4 drama documentary Superman on Trial that aired thirty years ago to mark the golden anniversary of the man of steel. Written and directed by Dirk Maggs it was first broadcast in a 45 minute slot but was eventually extended and remixed for a 2010 CD release.

Superman garnered a Radio Times cover, though there was a BBC1 documentary that week too, together with some specially commissioned artwork, shown below.

Superman on Trialhasn't been repeated since its 1988 broadcasts. First heard on long wave only on 5 June my recording is of the Tuesday 7 June FM evening transmission. It was given another repeat on Christmas Day 1988. The success of the programme spurred the BBC to commission Dirk Maggs to write a full-blown adventure series in 1990 (5 episodes) and in 1991 (10 episodes).      

Over to station WGBS from Galaxy Communications in Metropolis.










Radio Lives - Teddy Johnson

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Who presented the first British chart show on the radio? Before you all shout out Alan Freeman or David Jacobs, I'm talking about the late 1940s and a certain DJ on Radio Luxembourg.


Teddy Johnson is perhaps best remembered - for those with long enough memories - as the one half of the husband and wife singing duo ' Pearl Carr and Teddy Johnson'. At the height of their fame in the 1950s they made regular appearances on TV and radio and, in 1959, represented the UK in the Eurovision Song Contest with that annoyingly catchy little ditty, Sing Little Birdie.

By the time Teddy made his first UK broadcast in 1944, singing with Jack Payne and his Orchestra, he'd already been performing for ten years as a drummer and vocalist with assorted dance bands. After the war he decided to go freelance and chance his arm as a singer/comedian. On the recommendation of a friend it was suggested he contact Frank Lee, at the time Head of the English Service of Radio Luxembourg at their London offices in Davis Street. Teddy was told to report to the IBC studios for a voice test and that same afternoon received a phone call asking if he'd like to take a trip over to the Grand Duchy and have a try-out. He was on-air the following weekend, playing mostly Geraldo records alongside station boss Geoffrey Everitt. He was immediately given a full-time job - starting on 20 May 1948 - broadcasting each night of the week, apart from Friday, and on Sunday afternoons with Everitt.


The scarcity of announcers at the post-war station (aside from the pre-recorded programmes shipped over from London) meant that Teddy was forced to appear under more than one name; an approach also adopted by Pete Murray (one wonders if listeners were really fooled by this) at a time when the station's schedule was packed with 15 or 30 minute shows. So his first programmes might be something like Topical Half Hour introduced by Teddy Johnson followed by the famous Luxembourg gong and then back on Music for Everyone with E. Victor Johnson and later Irish Half Hourwith Edward V Johnson.   

Around late 1948 or early 1949, no-one is exactly sure when, Geoffrey Everitt came up with the idea of a weekly Sunday night programme playing music based on the sales of sheet music. The rundown was in reverse order, from twenty to one. As it was likely that the same song could've been recorded by more than one artist they had alternative versions to play. These early shows established a format that exists to this day, one picked up by the BBC, as Pick of the Pops in 1955.

Teddy's stay at Luxembourg was brief, he left the station in 1950 as he was itching to get back to singing, releasing records such as Beloved Be Faithful and Tennessee Waltz. As a performer he regularly appeared on BBC radio in the early 50s on shows such as Stanley Black's Black Magicsinging alongside Pearl Carr - they met for the first time whilst recording this show and married in 1955 - and Diana Coupland (long before her Bless This House days).   

He was back DJ-ing in 1951 on Housewives' Choice. The whole show had to be scripted and Teddy worked on it to ensure that it maintained the conversational style he'd adopted in the Grand Duchy. However, part-way through the  week was out he was summoned into a meeting in which his script was excised of "everything in them which was me." After his Saturday show he was told that they hadn't liked what he'd done. It was eleven years before he was back in Broadcasting House.

Despite the lack of faith from Anna Instone, the head of the Gramophone Department, Teddy continued to broadcast as a band singer for both the Home Service and Light Programme on Sweet Music, Melody from the Stars, Variety Bandbox, Showtime, Variety Matineeand Worker's Playtime. 

Teddy & Pearl billed as guest stars on Winifred Atwell's
ITV show on 19 May 1956 
The diary was also filling up with TV appearances; Teddy's first programme for the BBC was in 1953 - again singing with Pearl - and they were both regulars on Crackerjack (1957-60), The Ted Ray Show (1958-59). Over on the new commercial channel Teddy and Pearl appeared with the ivory-tinkling Winifred Atwell (1956) and later on The Arthur Haynes Show (1960) whilst Teddy was the host of ATV's  Music Shop (1958-60).

That Eurovision hit Sing Little Birdiecame in March 1959 after an exuberant performance at the contest in Cannes secured them a second place. They were also in the running the following year when they took part in the heats but in the event it was Teddy's brother Bryan who represented the UK with Looking High, High, High - it also came second.

Let's Face the Music - a Light Programme series
promoted by this Radio Times article 28 October 1965
Even though Teddy was no longer on the staff at Radio Luxembourg he continued to record programmes for the station: Tune Into Teddy, The Winifred Atwell Showand Meet Mr and Mrs Music in the mid-50s and appearing with Pearl in the 60s on The Postal Bingo Show. Meanwhile by 1962 he was back in favour with the BBC with another stint on Housewives' Choice, regular guest appearances (with Pearl) on Benny Hill Time and Harry Worth as well as their own star vehicle Let's Face the Music.  Teddy also had acting roles in a number of  series penned by the Scottish thriller writer Edward Boyd. Steve Gardner Investigates, the story of a singer turned private eye was heard only by listeners to the Scottish Home Service in the 1950s but later series were broadcast  nationwide on the Home Service and then Radio 4: The Candle of Darkness (1967), Enough Fingers to Make a Hand (1968) and The Wolf Far Hence (1971). The Candle of Darkness is being repeated on BBC Radio 4 Extra this week.

By the early 1970s Teddy was a regular in The Ken Dodd Show and, for eighteen months from October 1972, became the afternoon DJ on BBC Radio 2. Even when that stint finished in March 1974 he presented plenty of other programmes for the station: The Song Stylists (1973-4) and The Vocal Touch (1974), both written by former record producer Ken Barnes, The All-Time Hit Parade (1975-6) with singers Rosemary Squires and Nick Curtis and introducing the big bad sounds of Syd Lawrence and his Orchestra (1976). He was back spinning the discs and reading the dedications on a Saturday mid-morning show between October and December 1977.

Pictured in the Radio Times for Teddy Johnson's 78 Show
15 April 1988
During the 1980s and early 1990s Teddy's radio appearances were mainly deputising for holidaying DJs: David Jacobs, Ken Bruce, Desmond Carrington and Alan Dell, though there were two music nostalgia series, The Music Goes Round and Round at 78rpm (1987) and Teddy Johnson's 78 Show (1988). Teddy's broadcasting voice was warm and relaxed as evidenced by this clip from Radio 2's Sunday afternoon show Sounds Easyfrom 1992.


Even when Teddy's recording career dried up in the early 1960s, his light crooning style was out of fashion, both he and Pearl continued performing in variety, panto and musicals until well into the 1980s. Teddy was last heard on the radio in 2011 as a guest of Desmond Carrington in his series Icons of the 50s. Here are extracts of those interviews.



In 2016 David Lloyd spoke to Teddy (and Pearl) - audio posted here on Audioboom.

Teddy and Pearl lived out their latter years at Brinsworth House, the retirement home run by the Royal Variety Charity. Teddy's death was announced this week.

Teddy Johnson 1920-2018

Radio Lives - Paddy Feeny

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Listeners in far-flung corners of the globe tuning in their short-wave radio sets to the World Service 30 or 40 years ago would, no doubt, if asked to name a voice who represented the BBC, who was the authoritative voice of Britain, have suggested Paddy Feeny. For 36 years on Saturday afternoons he guided overseas listeners through the myriad of sporting events and fixtures on Saturday Special. “It’s a combination of timing, co-ordination, understanding the subject and a pinch of telepathy" he explained in 1993 just two years before he stood down.

1978 heat of Young Scientist of the Year. The full programme can be found on YouTube

To listeners and viewers at home, however, Paddy's talents as a presenter were aimed at a younger audience; from question master on the inter-school quiz Top of the Form, narrating programmes for schools, presenter of  Young Scientist of the Year, and in the process making a unlikely TV star out of boffin Professor Heinz Wolff, to spinning the discs on Junior Choice.

Paddy was born in Liverpool in 1931 and educated at Ampleforth College in North Yorkshire. "From the age of five onwards I knew I wanted to do some kind of job in the entertainment business." His first job was as a film projectionist and he progressed to stage electrician, stage manager and "an extremely bad actor"  Having passed a BBC audition his first broadcast was in the  radio play Duel of Honour for the BBC in Birmingham in 1952 where, he later recalled, his first line was one that years later he still did not understand: "You mean that  you admit that Dujarier was one of your seconds."

A typically jokey biog for Paddy from
London Calling April 1981
After a spell in repertory he joined the BBC's European Services as a studio manager. By a stroke of good luck the sports producer was looking for someone to present the summer sports coverage, step forward an enthusiastic Paddy Feeny. On 9 May 1959 from studio C21 in Bush House he first presented what turned out to be a regular gig for the next 36 years. Eventually Saturday Special extended its hours and became a year round fixture in the schedules  rather than just a summer event. The World Service employed its own sports team but also shared coverage with the domestic sports programmes on the Sports Service(later Sport on 2 and Sport on 5) with commentators regularly welcoming "listeners to the BBC World Service."  Here's Paddy in action on 9 April 1988.



As early as 1963 Paddy began his association with Top of the Form, initially alongside Geoffrey Wheeler for three years on the BBC TV version (1963-66) and then a longer run on the radio version between 1978 and 1985, sharing duties with Tim Gudgin. This edition of Top of the Form dates from 28 October 1980 and features a contest between Hessle High School and Hornsea School and Institute of Further Education.   
    

Records Round the World was a long-running BBC World Service show.
In 1966 and 1967 Paddy co-presented with Judith Chalmers and Maggie Clews
with the show also heard on Wednesday lunchtimes on the BBC
Light Programme
On domestic radio Paddy occasionally presented Children's Favourites and looked after its successor Junior Choice between Leslie Crowther and Ed Stewart (1967-68). He teamed up with Judith Chalmers for Records Round the World (1966-67) a weekly World Service/Light Programme simulcast.  Together with Tim Gudgin and Bob Holness he introduced the Home Service regional opt-out news bulletin South-East (1967). Further radio appearances for the junior end of the listenership included various schools programmes, the Saturday afternoon compendium 4th Dimension and the Radio 2 natural history quiz Give Us a Conch (1984-85).

Recording the Radio 4 schools programme Springboard (1969-73)
On BBC TV Paddy was best known for Young Scientist of the Year (1966-78 initially billed as Science Fair), a series that must have spurred many a budding scientist to experiment in the school science lab.   

When all this other work fell away Paddy maintained his position at the helm of Saturday Special until his final show on 24 June 1995. He also appeared on the World Service series At Home with... (1984) and the station's Feedback equivalent Write On (1987-96).  Here's an edition of Write On from January 1996.

“In over 40 years of broadcasting, I have kept to one maxim,” Feeny explained, “that I am involved in a relationship with one person, not millions. I want the listeners to relate to me as a friend.”

Paddy died earlier this week after a short illness. Mike Costello paid tribute to him on the BBC World Service.

Paddy Feeny 1931-2018

Down Your Local - BBC Radio Leeds

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When BBC Radio Leeds burst onto the scene fifty years ago this month the small team of broadcasters were determined to make an impact: from talking budgerigars, the Only BBC Programme That Money Can Buy, the World Tune-gargling Contest and Bring a Disc. But amongst the funny and the frivolous was a commitment to collect and broadcast their own news, at the time a decision that went against the grain of the existing BBC experimental local radios.  The man who successfully got the backing from the BBC bigwigs in London was the first station manager Phil Sidey.


Sidey had first broadcast with the British Forces Network (BFN) in Klagenfurt, Germany before working in a number of journalistic posts including a spell with AP. He joined the BBC in 1956 as a sub-editor for External Services news and moved to television news in 1964 where his roles included news producer on Twenty-Four Hours. At the time of his appointment as manager at Radio Leeds the local radio system, which had just started to roll-out the previous November, was that local news was to be sourced from newspapers and news agencies in the area. Sidey convinced Frank Gillard, then Director of Sound Broadcasting, and others that he "wanted to collect my own news in Leeds and construct my own bulletins, mixing the local with national and international news," a scenario which is now, of course, the norm.


His news team included the Yorkshire Evening Post's Allan Shaw as news editor (who went on to manage Radio Teesside in 1970 and then Radio Manchester from 1975), Jim Brady as sports editor, Derek Woodcock (later station manager at BBC Radio Newcastle and then BBC Radio Bristol), Geoff Hemingway and Stephen Phillips.

A camera crew from BBC1's Twenty-Four Hours was on hand to capture the opening of the new station.



As this page from the Radio Times week commencing 26 April 1969 shows the station pinned its news credentials to the mast. "Leeds and the World. New-style bulletins of international, national and local news, and interviews; with direct lines to Leeds City Police and the West Yorkshire Police Headquarters  and live reports from the Radio Car."

Amongst the names in the 1969 schedules are Liz Oyston who opened the station and worked at Radio Leeds for nearly 20 years, mainly under her married name Liz Ambler.  Experienced broadcaster Rory O'Dowd was also on air at the launch, he'd worked in New Zealand radio and TV for years and Diana Stenson moved on to Radio Manchester in 1970 and later network radio in the city as a producer for Woman's Hour and Gardeners' Question Time.     

Joan Elliott, with her programme "for women to interest the men", was a former local news journalist with the Leicester Mercury and Portsmouth Evening News. Married for a time to Gerald Nethercot - who went on to be the BBC's man in the Midlands and the first station manager at BBC Radio Nottingham - she started to freelance for the BBC and contributed to Sunday Out, for the Midlands Home Service, Woman's Hour and Today.  Moving to the north east she was the woman's editor on the Newcastle Evening Chronicle and began to appear on Tyne-Tees  and the BBC. When her then husband Jeffrey Slack moved to Leeds, Joan eventually joined the new local station. Her show Joan Elliott Calls came complete with a Delia Derbyshire composed theme tune. A further move to London meant that Joan would work for BBC Radio London becoming a senior news editor. On retirement the family moved up to Durham. She died in 1999 aged 81.   


One of Radio Leeds' regular broadcasters in the twenty years or so was organist Arnold Loxam. Bradford-born Loxam had been playing the theatre organ since the 1930s and made many post-war broadcasts on the Home Service and Light Programme. Here he's listed presenting Sit Down and Sing recorded at Leeds City Varieties.

Geoff Leonard's radio experience was all behind the scenes. He'd joined the BBC as a junior engineer in 1941 in the Birmingham control room, later at 200 Oxford Street, a Studio Manager for the Features department and attachments to TV presentation, TV news and the BFN as a producer before the move to Radio Leeds as a production assistant and then engineer. Geoff moved south again to BBC Radio Medway until his retirement in 1980. He died in 2004.

Listed under Leeds on a Sunday is a young Phil Hayton who'd cut his broadcasting teeth on pirate Radio 270 and in the early 70s went off to Look North and then BBC News in London as a reporter and newsreader. His co-presenter Dave Williams was also an ex-pirate as a newsreader on Radio Caroline North.

Angus Turner, presenter of Sounds Interesting, had worked for the BBC in the Leeds regional office on Woodhouse Lane. Journalist Michael McGowan was, from 1984 to 1999, the MEP for Leeds. Second engineer Bill Holt was also a  folk artist and is here listed as producer of Country and Folk. His engineering colleague John Orson also appeared on air presenting Sweet and Low, he went on to be chief engineer at Pennine Radio. Robin Worman later joined Radio Solent and was the first voice on air when it launched in 1970. 

Not listed here but working at the station in 1969 was Gerald Jackson who moved over the Pennines in 1971 to help launch BBC Radio Blackburn (now BBC Radio Lancashire) where he remains to this day.

The prize for the best title must surely go to Hoof Beat the Friday evening programme on horses and show jumping.

As for Phil Sidey he went back to television in 1970 first as an assistant editor on Nationwideand then as Head of Network Production for the BBC in Birmingham. In 1994 he wrote a superb insight into the early days of BBC local radio called Hello, Mrs Butterfield..., grab a copy if you can. He died the following year.  

Page from the 1978 booklet Serving Neighbourhood and Nation
When Radio Leeds launched on Monday 24 June 1968 its studios were in that testament to sixties concrete brutalist architecture the Merrion Centre; later they moved to Woodhouse Lane and then in 2004 to St Peter's Square. This wasn't the first time that the city had been the home of a local radio service. From 1924 until the early 1930s BBC operated the Leeds-Bradford relay station (initially called 2LS) which carried the programmes of 2ZY in Manchester, and later the Regional Programme,  but with occasional local input. The studios were on Basinghall Street before a move to Woodhouse Lane in 1933 on the site of an old Quaker Meeting House. This would remain the main Yorkshire outpost of the BBC for the next seventy years and for a while in the 50s and 60s had a strong drama production base for the radio network under the direction of producer Alfred Bradley.

1968 was a good year for broadcasting in Leeds. In March the BBC TV regional news magazine from Manchester, Look North, split and a Leeds-based alternative east of the Pennines was launched with Barry Chambers, David Seymour, James Hogg, John Burns and David Haigh. Meanwhile a month after BBC Radio Leeds came on air down at Kirkstall Road Yorkshire Television opened.    

A couple of years after launch (for the week commencing 21 August 1971) the Radio Leeds schedule looked like this.




On Saturday John Helm is listed as the sports editor. John, of course, went on to work for Sport on 2and then ITV as a football commentator. Co-presenting Sweet and Low is Nigel Fell. Nigel had made his radio debut sending in taped shows under the name John Martin to the pirate station Radio City. He joined Radio Leeds in 1969, staying with the station for 30 years.

For the week commencing 29 March 1980 Radio Leeds had this line-up.




On Radio Leeds AMis former teacher John Hendry, later a freelance actor and now a spiritual healer.  Alongside Liz Ambler on West Riding is Dave Hodgson, most recently associated with Kirklees Local Television, as is Barrie Davenport, listed here as a producer on Concert Pitch and Just Jazz (later he presented Great Northern Brass). Simon Says presenter was Simon Peters who was also a matchday announcer at Elland Road in the 70s and 80s. Simon's co-presenter was Claire Hansbro, later on BBC Radio Sheffield as Claire Kavanagh.

Note that Sports of Good Friday lists Yorkshire broadcasting legend Harry Graton (sic) as one of its presenters.  

Finally this schedule dates from week commencing 16 December 1989, and there are some very familiar names here amongst them Alvin Blossom, Peter Levy who now woos viewers to Look North from Hull and Miles Harrison who moved onto BBC sport, ITV and is now Sky's rugby union commentator.  

Ex-Pennine jock Tony Fisher was on breakfast show duty. He's had an extensive radio career, moving on from Radio Leeds to Radios Cleveland, Newcastle, Minster FM, Century, Kiss 105, Galaxy 105, Invicta, Wyvern, Southern Counties, Hereford and Worcester and currently appearing on BBC Essex. On mid-mornings was ex-Radio Aire's Jon Hammond. The lunchtime DJ is Ian Timms who then went to BBC Radio Devon and is currently on BBC Radio Cumbria.

Two presenters are still on air at Leeds: Gary Copley playing big band and swing music and Tim Crowther who's looked after the Sunday morning gardening slot for over two decades, first with the late  Joe Maiden and now with Graham Porter.     

BBC Radio Leeds is celebrating its 50th birthday this weekend with a Sunday afternoon special narrated by Tim Daley followed throughout the week by a number of special shows from a pop-up studio in the Merrion Centre.

Big Dan

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The epitome of US top 40 radio in the 1960s must surely be the deep, fast-talking voice of Dan Ingram and those fabulous PAMS jingles where every link reinforces the station brand. "It's 20 WABC minutes to 7". Cue jingle "Dan Ingram."

It was a style and pace that must have influenced a generation of US jocks and even permeated to Britain via the offshore pirates who were encouraged to listen to tapes of those WABC airchecks.


Dan Ingram's radio career had started in 1958 but his greatest on-air reign was at WABC beaming out across the eastern seaboard from the studios in New York City from 1961 to 1982 alongside other legendary voices like Ron Lundy, Cousin Brucie and Harry Harrison. When the station flipped formats to talk radio he would eventually find a new audience at WCBS-FM until his retirement in 2003. The news of Big Dan's death was announced this week.  

Thankfully there are dozens of recordings of Dan online but here's a scoped aircheck I have from late 1976 with his show punctuated by JAM shotguns.


JAM Creative Production head and lifelong Dan Ingram fan Jon Wolfert wrote this tribute.     

I grew up hearing this man's radio show on WABC New York in the 60s. He influenced everything from my love of radio to my sense of humor. There were many days when listening to him after school was the best thing that happened. Fortunately, in later years I got the opportunity to tell him so and thank him.
At JAM we sang his name in jingles many times. He narrated several of our demo tapes. We even worked together on a syndicated radio show for a while in the 80s.
'Big Dan' was simply the best top-40 DJ of all time. He influenced countless people in our industry, and touched millions of listeners. His ratings in the afternoon are legendary. I'm sure you will find tributes all over the web today that will explain the details, and they are well deserved. There will never be another with his wit, timing, and feel for the medium.. Dan Ingram was truly one of a kind. Our condolences to his family.
Bye now, Kemosabe. And thanks again.

You can read and hear more about Dan on the musicradio77website. Allen Sniffen presented a tribute programme yesterday and there's also a 6-hour Rewound Radio special from 2016. This coming weekend Rewound Radio will feature a selection of Dan's show at WABC and WCBS-FM.  

Dan Ingram 1934-2018

Inside the Enigma

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Famously it was Winston Churchill who, speaking in 1939,  said of Russia that "it is a riddle wrapped in a mystery inside an enigma".

By 1988 it was becoming less of an enigma as Gorbachev was extolling the virtues of glasnost in a period of rapid change in what proved to be the dying days of the Soviet Union. In this Radio 4 documentary Erik de Mauny, the BBC's first Moscow correspondent, returned to the country to reflect on the changes in the intervening years since he first reported on Wynne-Penkovsky trial in May 1963. And there's a hint of the seismic events that are just around the corner as he talks about "repressed nationalist sentiments." 

Joining Erik (pictured above) on Inside the Enigma are a number of former BBC Moscow correspondents: Dennis Blakely, Daniel Counihan, Philip Short, Kevin Ruane, John Osman and Peter Ruff as well as the then-current incumbents Jeremy Harris, the radio correspondent and Brian Hanrahan who reported for BBC TV.  

Inside the Enigmawas first broadcast on Thursday 28 April 1988 and was produced by Harry Schneider.   

Down Your Local - BBC Radio Durham

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The eighth of the BBC's experimental local stations opened in Durham fifty years ago today. It enjoyed just a tad over four years on air, its final fate sealed by the introduction of two neighbouring stations based in Middlesbrough and Newcastle.

In January 1962 Durham had hosted one of the closed circuit experiments that Frank Gillard instigated to convince the government and the BBC of the need for local hometown radio. Six years later when the Corporation was still trying to get political, and financial, buy-in from local authorities   for a full broadcast service it was a toss-up between Lincoln and Durham. In the event Lincoln had to wait until 1980 for its station and another large potential player, Manchester, dropped out of the running so resources that had been earmarked for the city were shifted up to Durham.        


Radio Durham launched on 3 July 1968 on 96.8MHz (it later shifted to 94.5MHz) from studios based in Merryoaks on the southern edge of the city in an old country house called Peak House (pictured above). At the time the property belonged to the National Coal Board and nowadays houses the St Cuthbert's Hospice. 

The station was officially launched by Edward Short, the former Postmaster General who'd just taken up the post of Education Secretary and was a former Durham University student. The station used the theme The Lambton Worm, a tune based on the Durham folklore story of John Lambton. The first station manger was Kenneth Brown who was succeeded by Tim Pitt who later was Radio Carlisle's first station's manager before moving on to manage Radio Sheffield.     

Tony Baynes at the controls
Typical of the early local stations Radio Durham offered a variety of short programmes totalling about six or seven hours each day but in between times dipping in and out of the national programmes on Radio 2 and Radio 4 . It's breakfast opt-out from Todaywas The Daily Durham and the teatime news round-up Durham Tonight. There were the usual smattering of record request shows, coverage of local events, consumer news, children's programmes, sports news and its own version of Women's Hour called Bird's Eye View. Reflecting the areas' industrial cultural heritage meant the station gave prominence to farming , with regular livestock prices and a weekly review in  The Durham Farmer, and mining with coverage of the Durham Miners' Gala and performances from colliery and other brass bands in The Town, The Place and The Music (and later in Brasstime). Being just a stone's throw away from the university it also offered budding student broadcasters airtime on University Term Time - future BBC news correspondent  Gavin Hewitt was one such student.      

Here's an early Radio Times schedule for the week commencing 5 October 1968.    
   

Best known of the Radio Durham alumni was Kate Adie (pictured below) who spent a couple of years at the station before moving on to Radio Bristol. Her initial broadcast was supposedly reporting on a pigeon race. "My own minor part in this was to be stuffed into a pigeon loft on the outskirts of Ferryhill with the birds' owner."




Other broadcasters heard on the station include:
  • Mike Hollingsworth - had worked as a newspaper journalist and for BBC TV in Newcastle and Anglia TV before joining Radio Leicester in late 1967. At BBC Radio Durham he presented the opening programme.  Moved down to London to help set up the General News Service, working as an assistant editor on Today and then running BBC TV's Breakfast Time, TV-AM and BBC1's daytime output. 
  • Eileen McCabe - a former Northern Echo journalist who joined Radio Durham and moved on to Radio Newcastle. At Tyne-Tees Television she was a presenter and producer went on to be one of the anchors of Northern Life. Died in 2015.
  • Barbara Bailey - presenter of the station's answer to Down Your Way called Barbara's Travels.
  • Nigel Holmes - went to work at Radio Carlisle (later Radio Cumbria). Becoming a lay minister from 1985 to 2010 he worked for the Diocese of Carlisle.
  • John Forrest - moved to Radio Manchester in 1970 then LBC, Thames TV and BBC Network radio mainly producing religious programmes. Was a director on Songs of Praise.  
  • John Jefferson - moved over to Radio Carlisle, became Programme Organiser at Radio Humberside and then station manager at York and Leeds.
  • Geoffrey Lally - the programme organiser
  • Laurie Giles - a former teacher he was a music presenter with Radio Durham with a particular interest in classical music. Later appeared on Metro Radio and GNR.
  • Ken Franks - transferred over to Radio Carlisle
  • Tony Baynes - later had a long association with Radio Teeside (Cleveland)
  • David Self - listed as presenting Write About in the 1970 schedule below. A teacher and then lecturer he began to work freelance for the BBC mainly as a drama writer and feature maker for BBC Schools.
  • Keith Proud - later on Radio Teeside (Cleveland)
  • Geoff Coates - moved to Radio Carlisle and was Metro Radio's first Programme Controller.
  • John Stoker - later on Metro Radio.
  • John Pickles - moved into management firstly as head of radio at BBC Scotland, then station manager at Radio Birmingham (later WM) and Radio Hereford and Worcester
  • Chris Lewis - moved to Radio Carlisle (Cumbria)
  • Anna Duffy - the programme assistant for education
  • Ernie Brown, a news reporter who went on to work for Radio Teeside
  • David Broomfield - former Home Service and Radio newsreader who joined the station in 1972 and then moved over to Radio Carlisle. 
  • Philip Penfold
  • David Ward
  • John Reynolds
  • Peter Hawkins
This schedule from 30 May 1970 shows in some detail how the station weaved its service in between Radios 1, 2 and 4.



This documentary charts the history of Radio Durham. It appears to date from 1971 but I have no idea of the exact date nor who is narrating.



This schedule dates from 20 February 1971.




Following the opening on Radio Teeside on 31 December 1970 and Radio Newcastle on 2 January 1971 Radio Durham was effectively squeezed out and closed on Friday 25 August 1972. The Government had capped the number of BBC local stations at twenty and it was felt that the proximity of the neighbouring stations would hinder the expansion of the remaining proposed areas. This is how the  BBC Year Book reported the news: "The BBC took the decision to close down Radio Durham and to replace it with Radio Carlisle. It was felt that although Radio Durham had provided an excellent and worthwhile service since its opening in 1968, the arrival of Radio Newcastle and Radio Teeside had proved that there was no need for three stations in the North east. The whole of Radio Durham's area has now been duplicated by one or other of these stations. Radio Carlisle, however, will from its opening in 1973 fill a broadcasting gap in its locality. "

The station closed with a concert recorded a Durham Cathedral followed by The Programme to End All Programmes, 3 hours of  "nostalgia, reminiscences, humour and entertainment from one thousand five hundred and fifteen days of local broadcasting".

With thanks to David Ballard.

Changes are being made

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It was DLT's Networkmoment. But the Hairy Monster wasn't "as mad as hell" rather than miffed that the writing was on the wall for his Radio 1 career. "Changes are being made here which go against my principles, and I just cannot agree with them,' he told listeners towards the end of his Sunday lunchtime show twenty-five years ago today.

The Guardian reports on DLT's resignation 9  August 1993
Those changes were, of course, the incoming controller Matthew Bannister with a mission to bring down the average audience age of the station. Travis, then 48 years of age and with 26 years' service - along with John Peel the only member of the original line-up still on air at that time - in his own words  "snapped on air and thought, No, tell the listeners before I tell anybody else".

Speaking to The Sun's Piers Morgan  (Saturday 14 August 1993) . "I have sat back for the last two years and watched
 a once great organisation collapsing."
Chances are he could have stayed until the end of his contract in October 1993 but as he'd already spoken to the press, in this case The Sun and a certain Piers Morgan, outgoing controller Johnny Beerling had little option be to let him go immediately. Press speculation at the time was that DLT could have moved across to Radio 2 but he'd already met with controller Frances Line who'd nixed that idea. 

The Independent 11 August 1993
Although seen by many at the time as something of a radio dinosaur DLT's show was still immensely popular, attracting an estimated audience of 4 million. Beerling accepted that he was "a good DJ" but that he "continually showed he was out of touch with the direction in which Radio 1 was going".

The Sunday Times 15 August 1993
For many years DLT's on air resignation seemed to define his career, overtaken, of course, by more recent allegations. But surprisingly there's no recording of that show from Sunday 8 October 1993 in circulation other than the now famous 10-second "changes are being made here" extract, presumably taken from the logging tape; though Paul Donovan of The Sunday Times seemed to be aware that before that link he'd asked his producer Saira Hussain to record it on quarter-inch tape. "DLT clearly has a firm idea of his own place in pop radio history"


Following DLT's resignation from Radio 1 he moved to commercial radio, Classic Gold and so on, though he continued to work for the BBC World Service on A Jolly Good Showuntil 1999. Claire Sturgess was drafted in to cover the Saturday show and Nicky Campbell the Sunday one. By mid-October Matthew Bannister had signed up Danny Baker for both the weekend shows. Dave Lee Travis can be heard on the online station United DJs.

Here's DLT on Radio 1 in 1992. First my own recording from 12 January 1992 and a fiendish Think Link. Did you get the fourth record?



From my fellow collector Noel Tyrrel is this recording of the 29 November 1992 show with the Face Race quiz and the Garage Sale.


Like You've Never Heard It Before

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"And now a choice of listening on Radios 1 and 2. For Radio 1 listeners on 247 metres and VHF John Peel is your host while on Radio 2 1500 metres there's the news summary followed by Brian Matthew with Round Midnight."

How quaint this now seems. Flicking between wavebands to continue listening to your station of choice and the nation's favourite allocation of stereo listening rationed to an hour a day last thing a night and Saturday afternoons. The sharing of the scarce VHF/FM resource continued for twenty years until the 1980s when the FM spectrum was eventually opened up. A low-key launch of Radio 1 on FM in London went ahead on 31 October 1987 but the big switch-on for vast swaths of the country took place nearly a year later. The FM switch-on date was 1 September 1988.

Robin Forrest bemoaning the lack of stereo Radio 1 in the
Radio Times letters column of  8 February 1986.
Throughout the day the band de jour Bros were helicoptered around and ceremoniously pushed the buttons in central Scotland, the north and the Midlands. The switch-on for South Wales and the west of England happened on the 29th, other areas followed in November and in December 1989.

The schedule for Radio 1 (and Radio 2) on 1 September 1988
This is most of what I recorded that day up in Yorkshire as 98.8 MHz went live from Holme Moss. First its Adrian Juste with an FM test transmission taped on 29 August and the barker announcing the switch-on on the 1st at 12 noon, though in fact it took place at 1pm. 

The lunchtime Newsbeat follows with Ian Parkinson and Sybil Ruscoe joined by Simon Mayo, though the messing about with left and right channels is lost on my medium wave recording.

With Gary Davies touring the south coast on the Roadshow it was Roger Scott covering the lunchtime show and he hands over to Dave Lee Travis and Bros for the 98.8 switching. We hear more of Roger in super stereo and then Steve Wright with a little help from Sid the Manager. Bruno Brookes (your compact disc DJ) follows before a complete recording of the BBC1/Radio 1 simulcast of Top of the Pops with Wrighty and Goodiebags. These simulcasts continued until August 1991.  

The evening listening continues with clips from the Kershaws, Liz and then Andy.

At 1 hour 26 minutes in its the moment when every radio nerd hit the record button to capture the 5-minute opening jingle sequence in stereo. These recordings come from 2 September and feature Adrian John, Simon Mayo and Simon Bates. At this point you'll gather that Jane Wiedlin's Rush Hour was getting plenty of radioplay. To round it off a couple of clips from Saturday 3 September with Robbie 'If it Moves, Funk It' Vincent and Mark Goodier.


The Radio Show Exhibition

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It was in 1922, just months after the launch of 2MT and 2LO, that the nascent radio industry held its first exhibition at the Horticultural Hall in Westminster. It offered the opportunity for the public to experience the new technology and encouraged the sale of wireless sets and all the various components for building your own receiving equipment. Further demonstrations were held at the Daily Mail Ideal Home Exhibition in 1923 the Royal Albert Hall in 1925.

Annual shows were established in 1926 coming from the Empire Hall in Olympia organised by the Radio Manufacturers Association. When the BBC came onboard the Radiolympia exhibitions included live broadcasts from the hall and gave listeners the opportunity to meet the stars and to fill their autograph books. After the August 1939 Radiolympia there was an interregnum until 1947.  

In the 1950s the exhibition moved to Earls Court and it regularly generated a special cover on the Radio Times.  From my archive are these editions from 1955, 1959, 1961 and 1962.






These extracts come from the 1956 Radio Show booklet by which time it was organised by the Radio Industry Council. Exhibits and demonstrations weren't confined to radio of course as stands included BBC television and the newly launched ITV.








The Radio Show was discontinued in 1966 but there was a one-off revival in 1988. More on that tomorrow.     

The Radio Show (Revived)

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In October 1988 to celebrate the 21st anniversary of the national radio stations the BBC revived the old Radio Show format: an exhibition at Earl's Court to celebrate the medium. These national exhibitions had been running since the 1920s until the mid 60s, with a break for the war, styled as Radiolympia and later The Radio Show.

For the 1988 show the BBC had two working studios and a purpose built theatre for recordings of Gardeners' Question Time and Any Questions?The Radio Times joined in with a special cover designed by Bob Murdoch and six feature pages looking at each of the four radio networks, local radio, the World Service and the latest technology, Radio Data Systems.  








A number of shows were broadcast live or recorded at Earl's Court including Bruno Brookes, Gary Davies, Singled Out, Woman's Hour, You and Yours, Desert Island Discs, Folk on 2 and Friday Night is Music Night. On Saturday 1 October Adrian Juste was live on Radio 1 (in this recording uploaded by David Cunningham).



To celebrate 21 years of Radios 1, 2, 3 and 4 David Frost presented a live variety show on Radio 2 on the evening of Friday 30 September titled The Radio Show Radio Show. Unfortunately I've only got 30 minutes of the hour long show so if you a complete copy please contact me. The opening announcements come from Stuart Grundy for Radio 1, James Alexander Gordon for Radio 2, Piers Burton-Page for Radio 3 and Peter Donaldson for Radio 4. In this recording  you'll also hear the BBC Radio Orchestra, the Stephen Hill Singers, Richard Murdoch, the Week Ending team of Sally Grace, David Tate and Jon Glover and star guest Frankie Howerd.

Any Questions?

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Have you ever spent Thursday night shouting in indignation or exasperation at the telly? Then you've probably  been watching another edition of Question Time. That programme has been running for just over 39 years now and when David Dimbleby's tenure comes to end this year he'll have been just the third regular host. However, that's nothing compared to the programme that Question Time is based on, radio's Any Questions?  This week this venerable radio institution celebrates its 70th anniversary. It too is presented by a Dimbleby, Jonathan in this case, who's the fourth incumbent in the role of chairperson, and he's been in the job for 31 years.

To trace the programme's early history you have to go back to the post-war days of the Home Service which was very much run on a regional basis. The regions took programmes from the centre, what was known as the Basic Home Service, and supplemented this with their own locally produced material which may or may not have also gone on to enjoy a national audience.

Freddy Grisewood on the  cover of the Radio Times
for the 10th anniversary in 1958
Head of the West Regional Programmes was Frank Gillard, at the time best known to radio listeners as one of the team of War Correspondents on the BBC's War Report.  It was Gillard that was instrumental in getting Any Questions? on air and giving it the support to ensure that it was heard across the BBC on the Light Programme and the full Home Service.  

The programme had come about quite accidentally when in the summer of 1948 the West region had been thinking about an inter-county quiz to plug a gap in the winter schedule. The quiz idea was dropped in favour of a kind of Brain's Trust but one that, according to Gillard, was aimed at "the masses" and would have "an audience of millions". He was keen to "get away from the artificial atmosphere of the studio as much as possible and take the microphone among the people."

Producer Michael Bowen looks back after the first ten years

An initial series of just six programmes was planned and the inspiration for programme format came from another touring programme that had started in 1947 called Speak Your Mindin which chairman Gordon McMurtrie put a number of questions (sent in by listeners) to a representative audience in whatever town it was visiting. Audience members were encouraged to express their views openly and spontaneously at the microphone. Whereas Speak Your Mind posed questions on "matters which can be usefully discussed in terms of everyday experience and ordinary common sense"Any Questions? raised subjects "upon which the ordinary listener feels he needs help and guidance of expert opinion."

The first programme on 12 October 1948, came from the Guildhall in Winchester, with a team consisting of Naomi Royde-Smith, the novelist, who lived in the city, Honor Croome of The Economist, Jack Longland, then Chief Education Officer for Dorset, and Hampshire-born John Arlott at that time a BBC talks producer. The first question - from the Lady Mayor of Winchester - was "What effect would it have if women were able to exert more power in professional politics and diplomacy?"

The programme's second producer Michael Bowen, who worked on the programme for 25 years, takes up the story:

In the wartime Brains Trust (originally called Any Questions?) the team had sat in the cosy isolation of a studio. That evening in Winchester the presence of the audience and the fact that the team was confronted by the questioners revitalised the formula in precisely the way Frank Gillard had hoped, and he was sure they were on to a winner. At the end of the half-hour, while the members of the team were thankfully sipping drinks in the Mayor's Parlour, he was on the phone to the Radio Times printers, where the presses were already rolling, to extend the next programme, a fortnight later, to forty-five minutes.

There was soon no more thought of a limit to six editions. Frank's aim became more ambitious - to attract a mass audience and, by making the programme as entertaining as possible, to set up a wave of conversation in millions of homes where perhaps they wouldn't listen to conventional talks programmes. The first producer was Nicholas Croker, and he and Frank had eighteen months to develop and mould the programme in the comparative obscurity of Regional broadcasting. It gradually became more topical - hints to the audience that questions on current affairs were more likely to be selected than purely general ones had their effect - and this became an important factor in the programme's longevity. The number of politicians on the panel increased. teams were gradually persuaded t discuss issues rather than deliver four separate monologues. John Arlott appeared every week at this formative time, and with his producer's instinct was able to help shape the discussion by his own example. Jack Longland was also helpful.
In June 1950, the Friday evening broadcast moved on to the Basic Home Service, heard all over the country. But the real breakthrough came three months later on 22 September when Any Questions? moved to the Light Programme, with a repeat on the Basic Home Service on Tuesdays. Within quite a short time, sixteen million people were regularly listening to the programme. Frank Gillard had got his mass audience.   

Here's Frank Gillard talking about Any Questions? on the occasion of its 40th anniversary in 1988. 


Radio Times article marking the 40th in 1988

The programme's first presenter, initially billed as the "travelling question-master" was Freddie Grisewood. He'd been broadcasting since the mid 1920's firstly as a singer and then joining the staff of the BBC as an announcer and commentator in 1929. He presented hundreds of programmes including The Kitchen Frontand The World Goes By during the War and Those Were the Days, Victorian Album and Film Times post-war. For many years he was one of the BBC's tennis commentators at Wimbledon, alongside Max Robertson and Dan Maskell on both radio and TV. As well as touring with Any Questions? he was also covering the country as the chairman of Gardeners' Question Time between 1953 and 1961.

Freddie's failing health in 1967 led the producers to search around for a replacement. Bamber Gascoigne was considered - he was an occasional panellist - before David Jacobs eventually took over in early 1968. John Timpson replaced David in 1984 when producers wanted a sharper more journalistic edge to proceedings.  From September 1987 Jonathan Dimbleby became the chairman, coming from a mainly ITV current affairs background.       

Panel for the 16 July 1982 programme: David Owen, Patricia Hewitt, chairman David Jacobs, Clare Francis
and John Hannam (Illustration by Richard Ansell for the Sunday Times Magazine)

There are extracts from Freddie's era on Any Questions? on the BBC Archive site.

These clips include some lively discussions during David and John's tenure and the introduction to Jonathan's first appearance.




Radio 4 is marking the 70th anniversary with a special editionthis Friday evening. Coming live from the House of Commons the panel and the audience are all aged 18 to 30.

And then on Saturday night Archive on 4 includes plenty of archive recordings and features a discussion about the programme recorded in the Radio Theatre with a panel consisting of Bonnie Greer, David Blunkett, Matthew Parris and Ann Widdecombe.

Radio 1's New Broom

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The summer of 1993 and outgoing Radio 1 controller Johnny Beerling is trying to keep his in-tray clear ahead of his departure that coming autumn.  Beerling is a BBC-man to the core, starting with the Corporation in the late 50s as a TO and later studio manager. He'd produced music shows for the Light Programme and Radio 1 - there on day one producing Tony Blackburn's opening show - moving up the executive ladder to become the station boss in 1985. In June 1993 it was announced that Johnny would be stepping down later that giving the incoming controller time to set his or her own schedule for the autumn.


The following month it was announced that Matthew Bannister had bagged the top job. Bannister brought experience from both the BBC and commercial sector with time at Radio Nottingham, Radio 1's Newsbeat, Capital Radio and the transformation of Radio London into GLR. Director-General John Birt had then hired Matthew to co-ordinate the internal task forces that were considering the charter renewal and it was probably that involvement the triggered alarm bells amongst some of the time-served veteran DJs. As a sign of things to come during his interview for the Radio 1 controllership BBC chairman Marmaduke Hussey had asked Bannister: "How do you feel about being Mr Nasty in the national newspapers".  

Under John Birt's stewardship the BBC was wrestling with that charter renewal, the introduction of internal markets and for radio, increased competition from commercial radio. There was talk, in the corporate blueprint  Extending Choice, of Radio 1 being "more informed and intelligent" and that any speech content should be "more demanding"  whilst at the same time ensuring that it stayed relevant to a younger audience. The issue was that people who'd been listening to Radio 1 since the late 60s and early 70s were still listening, myself included, and some of the DJs were voices from that period too. The problem for Radio 1 and the listeners that had grown up with the station was summed up in a July 1993 article by Giles Smith of The Independent: "Honouring them while keeping the kiddies happy, Radio 1 is forced to chase from side to side, and you can hardly blame if for occasionally looking slightly giddy".

In the same article Simon Mayo addressed the dilemma of Radio 1 distinctiveness: "We have to able to argue that a presenter, a friendly voice behind the microphone like Johnny Walker (sic) playing two hours of music, with minimum intrusion, satisfies the criteria of difference and distinctiveness, because of the variety of music being played. Now some of the BBC governors perhaps do not recognise that there are different types of pop music. To some of them it all sounds thump thump thump. But that is the message Bannister has to get across".  

Sunday Times 26 September 1993
Matthew Bannister talked about wanting Radio 1 to be "more appropriate for a generation of younger people" but, as he recalls, "we never discussed any names". Speaking to The Guardian he expounded on his plans: "The only way I will judge who presents shows is on ability, not on age. I do not intend to define audience by age , nor do I intend to define presenters by age. Everyone pays the licence fee - and I am not going to say this is not a radio station for you. It is for anybody open to ideas, popular music and entertainment."

Nonetheless, the reaction was swift and by August Dave Lee Travis made his now famous  "changes are being made here" speech and set off a domino effect as one by one DJs left the station. It was Johnny Beerling that had to deal with DLT's departure (Bannister was on holiday in Minorca) and dismiss the Hairy Cornflake after he had given an interview to The Sun, despite a request not to speak to the press.

Radio 1's new Autumn schedule was announced in September. To clear the decks some big name departures were mentioned. Simon Bates had already tendered his resignation knowing that he wouldn't be offered a new contract. "Frankly, I'd been there two or three years too long" he said  later. "I was old even then, and could hardly be considered a hip, groovy thing, so there was a great deal of work to be done to make up for that."

Bob Harris remembers being let go when Bannister told him that they were repositioning the network. "What from 16 hours to nothing?. Although I was expecting drastic news, this still came as a jolt."       

The Independent 25 September 1993
The other big name casualties were Alan Freeman who been asked back to Radio 1 by Johnny Beerling in 1989, though he didn't disappear from Radio 1 completely as he was heard in 1994 in the 52-part revamp of The Story of Pop. Also on the way out were Gary Davies, who by now was just on at the weekend and Adrian Juste who's one hour Saturday lunchtime shows melding  comedy and music were works of art. A not unnaturally annoyed Adrian was quoted as saying "Anybody above the age of puberty is being pushed out." Others dropped were The Man Ezeke and Paul Gambaccini who was doing the odd special for the station. 

Both Johnny Beerling and Matthew Bannister had floated the idea of moving some of the outgoing Radio 1 DJs over to Radio 2, an idea that was rejected by Frances Line, after all what would happen to the existing Radio 2 stalwarts? Mind you in time some did eventually make it over the Radio 2 with Fluff and Whispering Bob enjoying regular shows on the network from 1997 and even Gary Davies taking up residence, though  that was some 20-odd years later. 

Aside from that is was a case of shuffling the deck. John Peel got a Saturday afternoon slot, Simon Mayo got the weekday mid-morning show, Mark Goodier looked after the breakfast show, albeit temporarily.  In came Danny Baker, Mark Tonderai and, replacing Jakki Brambles in January 1994, Emma Freud. There was a new late-night show for Mark Radcliffe.  As for the rest of the DJ team most stayed put or were subject to minor changes in time slots. That team consisted of Steve Wright, Bruno Brookes, Pete Tong, Jo Whiley, Steve Lamacq, Lynn Parsons, Andy Kershaw, Annie Nightingale, Claire Sturgess, Steve Edwards, and Neale James and Johnnie Walker. 


Matthew Bannister interviewed for the Radio Times w/c 23 October 1993

Radio listeners are creatures of habit. As the controllers of the BBC's other national networks knew to their cost, any tinkering with the schedule didn't tend to go down well. Bannister's one regret was that too many changes were foist upon the listener in a short space of time. "Sometimes when you're up against the wire you can cause some distress, and I'm sorry if that's happened", he told the Sunday Times a year later. "And I see that the speed of the changes is something that our audience has been concerned about. But since change was overdue and certain people were leaving anyway, I thought it was better to get on with it and send out a clear signal that Radio 1 was on the move."

Now, of course the age of those on-air itself is largely irrelevant if they continue to be enthusiastic about the music they play and their style appeals to the audience. The problem for Radio 1 was the dramatic change of gear and the purge of some much-loved names hit the audience figures. In June 1993 the station had 19.23 million listeners. By January 1994 they had haemorrhaged just over 4 million of them, down to 14.84. By the end of 1994 just 11 million adult listeners (15 plus) tuned in although as Matthew Bannister later admitted "the biggest turn-off was the departure of Dave Lee Travis" an event that predated his arrival. The figures never again reached their summer 1993 height and bubbled around 11 or 12 million for the next 20 years or so (the latest RAJARs show 9.6 million), though they did receive a fillip when Chris Evans was signed up in 1995 to host the breakfast show.   

1993 did indeed mark the watershed for Radio 1 and, after 25 years on air,  many long-time listeners seemed to switch off and go elsewhere. And that's certainly the admittedly skewed consensus you glean from reading messages on some Facebook groups where folk often lament that Radio 1 was never the same after that. But perhaps these are the very listeners that the station needed to shed. In fact there was still much to enjoy on Radio 1 and in the mid-90s the station benefitted musically from Britpop and a thriving dance music scene, more comedy including Chris Morris, an increased number of independent productions,  shows from Mark and Lard, Kevin Greening and the first year of Chris Evans's brekkie shows. There was even a glossy new marketing campaign in 1995 called As It Is to highlight what was on offer.

Daily Telegraph  28 September 1993
Time to listen to what was going on in October 1993. This collection of archive audio comes from my own tapes.

Late night changes were scheduled with Nicky Campbell's Into the Night show ending after five years. Nicky took a couple of months off to look after his sick wife and returned to the station in January 1994 on the drivetime show. Into the Night would feature an eclectic mix of music and guests from the world of music, film, literature, comedy and politics. A regular guest was Frankie Howerd, hence his brief appearance at the start of this show which gets off to a false start. This is part of the final show broadcast from 10 pm to midnight on Thursday 21 October 1993.



Bob Harris had rejoined Radio 1 in 1989 and took over the post-midnight show the following year. Bob would champion many new bands and singer-songwriters, often in live sessions, that most other shows and stations overlooked,all mixed with a dash of rock 'n' roll. Although forced off Radio 1 he would return in 1997 on Radio 2 with a Saturday late night show. This is just half of Bob's Radio 1 swansong that was broadcast from midnight to 4 am on Friday 22 October 1993. Bob's final record choice may surprise you.  



The Independent 23 October 1993
The biggest departure was Simon Bates who'd ruled the mid-morning slot since 1977 with The Golden Hour (inherited from Tony Blackburn) and Our Tune becoming features that listeners would specifically tune in for. (In the words of John Peel: "At eleven in the morning every layby on every major road in the country was full of weeping truckdrivers.") For his final show the BBC splashed out on an OB from the Carnegie Deli on New York's Seventh Avenue. "I wanted a weekend in New York it's an excuse to be with people I like." This is most of that final show as broadcast on Friday 22 October 1993. Note the Tommy Vance into at the start presumably resurrected from his 1987 Bates in the States week. "I've suddenly realised he works for another radio station as well"    



Johnnie Walker survived the initial clear out of the old guard, for a while at least. Johnnie had worked for Matthew Bannister at GLR until he was sacked for breaching BBC protocol and putting live phone calls on air. He'd returned to Radio 1 in 1991 with an independently produced Saturday afternoon show, not dissimilar to The Stereo Sequence that he'd presented in 1987 and 1988. His show continued under the new schedule but shifted to a 7 pm start. However, it too came to end, with just two weeks notice for Johnnie's Wizard Radio production company that he'd set up with Phil Ward-Large, in October 1995. This is Johnnie's show from Saturday 23 October 1993.    [AUDIO TO FOLLOW]

Of all the Radio 1 DJs it was the legendary Alan Freemanthat had been with the Beeb the longest, starting on the Light Programme in 1960. He'd left in 1978 to work for Capital Radio but was enticed back in 1989 to present Pick of the Pops as a retro chart show and to resurrect the much-loved rock show. Fluff's final Saturday rock show was broadcast on 23 October, this is how it sounded.



Ezekiel Gray, aka Man Ezeke, had been broadcasting his Sunshine Show on BBC Radio Bedfordshire when he joined Radio 1 in 1990. That show ended in December 1992 and the following month he was given the Sunday lunchtime replacement for Pick of the Pops - Alan Freeman having stepped down from that show - another retro charts show called Number Ones on 1FM.  He seemed ill-suited to that format and his contract was not extended beyond October 1993. This is an hour of his last show from Sunday 24 October.



In March 1992 Gary Davies left the weekday lunchtime show - Jakki Brambles took over - for weekend breakfast and a Sunday late-night show. His contract was not renewed beyond Beerling's tenure and he left to join Virgin 1215 and later set up his music publishing company Good Groove. Davies supposedly told Bannister that "mine is the most popular night-time show you have on radio" to be told that he preferred "shows that lead". Davies had "no idea what that means."

This is the last half hour of Gary's Sunday night/Monday morning show from the early hours of 25 October. Like Nicky Campbell and Alan Freeman he plays out with The Endfrom Abbey Road.  



Matthew Bannister took over as Radio 1 controller from 1 November but the re-vamped schedule kicked in from 25 October. On the breakfast show was Mark Goodier, billed as his "first official day in charge". Mark had been standing in for Simon Mayo for a couple of months whilst he'd taken some paternity leave. Matthew's plan had been to move Steve Wright into the breakfast show but he couldn't persuade him to start until the following January giving Mark the shortest stint as a Radio 1 breakfast show presenter. Here's 48 minutes of Mark from 7 am on Monday 25th. The newsreader is  Peter Bowes and Steve Mann provides the sports news.




Taking over from Bates was Simon Mayo, a timeslot he would occupy until early 2001. "It's still The Golden Hour. It's still Simes. It's just a different Simes that's all". This is the early part of Simon's first show. Missing from this recording is the return of Confessions, a guest appearance from Phil Collins, a new feature called God of the Day but we do get to hear Simon answering the calls to his private line 071 636 1111.   




With Mark Goodier covering for Simon Mayo earlier in 1993, the Evening Session was handed to Jo Whiley and Steve Lamacq. They became the permanent presenters of a "remixed and extended" Evening  Session from Monday 25 October. This is the first 30 minutes.



Mark Radcliffe had been working for Radio 1 as a producer since 1983 but had been in front of the microphone since 1991 with the weekly Out on Blue Six and on Radio 5 with Hit the North from 1990. From 25 October Mark finally got a four nights a week late show live from Manchester, that would be nicknamed The Graveyard Shift. "Greetings space cadets and welcome to the new bright young sound of night-time 1FM presented by a bloke who's older than the last one." With Mark was his co-host Marc 'The Boy Lard' Riley. Regular contributors would be Simon Armitage, Harry Hill, Mark Kermode, Mark Lamarr, (just to add to the Mark quota) and John Hegley. On this recording of the first 30 minutes The Tindersticks are in session.



Lynn Parsons joined Radio 1 in late 1991 from Capital Radio. For the next four years she mainly presented overnight shows as well as providing holiday cover. This is the first half-hour of Lynn's show from just after midnight on Tuesday 26 October 1993.




The newest name in the line-up was Mark Tonderai, the station's trainee presenter (did anyone else ever have this role?) with a late night show billed as The Jam. He told The Daily Telegraph"I'm from Harare and have lived here since 1989 working as everything from a fishmonger to a cycle courier as well as doing a degree in architecture at Kingston University. I started as a trainee presenter and only heard last Thursday that they had given me this job." Mark stayed with Radio 1 until February 1996 before moving into radio production elsewhere in the BBC and later as a TV and film writer and director. Viewers of the current series of Doctor Who will have spotted his name in the credits of a couple of episodes. This recording is of the first 30 minutes of Mark's first show at 1 am on Saturday 30 October. By the way I make that opening announcement six words and not five.




Bannister's big name signing was Danny Baker, an mate from his days at GLR. who'd recently been on Radio 5 looking after Morning Edition. The new Radio 1 show carried on in much the same way interspersing the often obscure musical choices with intelligent chat, live 'stunts' over the phone from listeners and discussions about the minutiae of popular culture.

Danny was with Radio 1 for 3 years. He was, he wrote in his autobiography, "never a really good fit and came to a two-pronged tipping point when the new boss of the station, a beleaguered Matthew Bannister once more, was attempting to haul the network out of its ageing complacency at the precise moment the British public began to feel that I was popping up a bit too much in their lives..."     
This is the first 40-odd minutes or so of Danny's first show on Saturday 30 October. With him is Allis Moss and Danny Kelly. Note the reference to Chris Evans "but my goons intimidated his supporters in the north".



Andy Kershaw had been heard regularly on Radio 1 since 1985 most often in evening time slots playing world music or covering for John Peel. So it was perhaps surprising when he was moved to a Saturday afternoon show, though it was relatively short-lived, by November 1994 he was back on the night shift. Kershaw remains pretty scathing about the changes during this period. "It was the arrival of these Birtists, following the loss of our protector, Walters, to retirement in 1991, that we can pinpoint the marginalisation of Peel and Kershaw on Radio 1, in my case eventually into exile as a refugee on Radio 3, and in John's, devalued into a dead of night slot, and having much of his enthusiasm purged in the process". This is the first 45 minutes of Andy's show at 2 pm on Saturday 30 October.



One of the other major schedule changes was a Saturday afternoon show for John Peel, the first time he'd had a regular daytime show since the days of Top Gear coming to an end in the mid-70s. Initially Peel was supportive of the changes at the station. "The new 1FM... has contrived to sound different without sounding as though it is being different for the sake of being different, if you see what I mean." But a couple of years later when his broadcasting hours were chipped away at he expressed concern that "there does seem to be a new orthodoxy in the air which supports narrowly-focussed programmes rather than broadly based ones built on the if-you-don't-like-this-record-wait-until-you-hear-the-next-one principle."

With a Friday night show now being followed by a Saturday afternoon one John Peel rather than drive back to Suffolk he takes to staying in overnight at a small hotel in Paddington. As the BBC baulk at paying his £80 hotel expenses he's forced to pay it out of his own pocket.

This is the first part of John's show from 4.30 pm on Saturday 30 October. "As you may have noticed nearly everyone of the new everyday value 1FM is called Mark. So welcome to the Mark Peel programme."  (A longer recording of this show exists - see the John Peel wiki site).



On Sunday afternoons Rocklinewith Neale James is moved to an earlier and this was followed at 4 pm by the Rockshow with Claire Sturgess. The rock show dates back to 1978 following Tommy Vance's return to the station. He then left Radio 1 in April 1993 to join Virgin 1215 and all of a sudden The Sturge had a regular show, after having  worked as a production assistant on Simon Bates's show and getting her first stab at presenting when covering the Evening Session in March. This is the first 30  minutes of Claire's show on 31 October 1993.




Steve Edwards had joined Radio 1 in January 1993 to present a show of soul and new jack swing. Initially for an hour each Wednesday, under the new schedule Steve was shifted to Sunday night and given an extra hour. Steve left the station in early 1996 and would later broadcast for a US jazz station. Other than that I know nothing about Steve's career either before joining the BBC or after it, so if you know m ore please contact me. This is how The Steve Edwards Soul Show started on 31 October 1993.    



One veteran broadcaster that survived the cull was Anne Nightingale. Her request show, a radio institution, had been running on Sunday evenings since 1982 (an earlier Sunday afternoon request show ran from 1975 to 1979). From 31 October the show's start time shifted from 8 pm to 10 pm and was a Halloween special. This is the first 30 minutes.

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