UPDATE - 26 February 2010:
The BBC is set to close the unpopular BBC 6 Music, as part of sweeping changes to TV and radio services which are to be announced next month.  The Times is also reporting that the BBC Trust has acknowledged that “it must pick up more listeners over the age of 65 and become more distinctive“, with the review ordering “Bob Shennan, the station controller, to air more jazz“. 

Our article from 2008 (below) highlighted some of the failings of 6 Music - we are not surprised this decision has been made.  It also seems that the message of supporters of the Campaign For Real Music is getting through at last, as we have been lobbying the BBC for several years regarding its music policy, which overlooks many of us entirely.  Hopefully this is set to change soon, and we will see more dance bands, light music and American popular song featured on BBC radio.

These are interesting times for those of us who care passionately about music and radio, and the cause of real music.  Now is the time to keep up the momentum and ensure that the BBC does what we know it can do better than any other - provide the very best quality music programming for a discerning audience.

We look forward to hearing your views on this important decision.

Radiocafe
February 26 2010
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ORIGINAL ARTICLE FROM 2008

According to RAJAR (the people who work out how many people are listening to what stations), BBC 6 Music forms a one fifth of one per cent share of the radio we listen to.  To put that in a bit more perspective, as of June ‘07, BBC Radio 2 is listened to about 63 times more than BBC 6 Music.

Why does BBC’s fellow digital-only station BBC7, which provides re-runs of old comedies, get almost twice as many listeners as 6 Music? 

What in fact does BBC 6 Music do? 

Okay, so the station has won a few awards, and this article is not here to knock the quality of its programming or presenters (although if you have any particular thoughts, do let us know).   As the first national music radio station to be launched by the BBC in 32 years, albeit only through digital sources, the question we ask is what does it provide that isn’t already catered for elsewhere? 

As Radio 2 goes from strength to strength, if you care about figures, which the BBC clearly does, there are many of us out here who are starting to suspect we may have been subject to a rather  sophisticated confidence trick.

You see, in the old days it was easy to work out what each of the stations did.  Radio 1 was clearly a pop music station, aimed towards the youth market.  The station gave us poptastic DJs, roadshows, a production line of presenters for Top of the Pops and a daily mix of the latest chart music, plus some more focused music shows in the evenings.  Radio 3 provided the classical music, Radio 4 all the talk, which left Radio 2 to serve up things such as comedy, easy listening, light music, big band, dance bands, country, folk and other specialist music.

But over the years, as listening figures became the priority, those who grew up listening to Radio 1 - and many of its presenters - have long since migrated to Radio 2.  The figures for Radio 1 may have declined, but the BBC’s statisticians are happy, since the figures for Radio 2 have gradually increased, as have the number of “pat on the back” awards from the industry to itself.

But here’s the trick.  If, say, I was 15 in 1985, and therefore likely to be one of the BBC’s Radio 1 demographic back then, the BBC now caters for me as I approach the age of 40, by serving up a Radio 2 which plays the kind of music which Peter Powell and DLT spun on Radio 1 back in the 80s.  But Radio 2 has gone further, to also try and attract today’s 20-somethings, and it has further increased the youth appeal.  This means disgruntled Radio 1 listeners can also join the new, younger, BBC Radio 2 big happy family.

So here is the problem. What if I was approaching 40 back in the 1980s, was a Radio 2 listener then, and am now entering my pension years?  What if I grew up with the Light Programme, and am now well into retirement?  Or what if I just happened to like easy listening, light music, big band, dance bands, country, folk and other specialist music, irrespective of my age?  What if I am a teenager who likes Vic Damone and Julie London and am not into the Sugababes and Atomic Kitten?

Let’s take a closer look, then, at what the BBC offers for this group of listeners.  Say I want to listen to some easy listening, perhaps the classic vocalists of the 1950s and 1960s.  Radio 2 has David Jacobs from 11-midnight on a Sunday and… is that it?  Light music - let’s take a look… where is it?  I won’t find any at all.  Big bands and dance bands?  About an hour a week across all stations.  And the same story for other specialist music too.  Even soul music gets only a handful of hours across the BBC networks.

I wonder if those who control the stations are perhaps fans of rock and pop?  Because BBC Radio 2 plays this genre for the vast majority of the time, and BBC 6 Music is clearly a rock and pop station with a couple of token gestures to other types of music.  Which seems strange, given that the majority of commercial stations out there, national and digital, all seem to play… rock and pop. 

What about those of us who do not want rock and pop all the time?  What about those of us who quite liked Radio 2 as it used to be, but accept and appreciate that times move on and the station needs to change, but in a digital age of plenty feel that we are being offered nothing?

If you try writing to the BBC to tell them this, as hundreds of us have done, they are delighted to receive your comments and then tell you about all the wonderful things that are coming up on BBC Radio 2 and the BBC’s new digital stations.  So when you ask them for more light music, classic vocalists and so on, the best you are likely to achieve is more rock and pop.

Come on, BBC, you can do better than this.  You are the broadcaster that created the BBC Radio Orchestra, the BBC Big Band and the BBC Concert Orchestra. You introduced us to fantastic presenters such as Alan Dell, Steve Race and Benny Green.  You gave us the likes of John Dunn and Ray Moore each and every day.  Plus you allowed those of us who don’t want to listen to rock and pop all the time a mix of light and easy music which is all but extinct from your current programming.

We are not saying you should replace BBC 6 Music with something for us, as we know what it is like to have something we enjoy taken away, and this would be unfair to others.  All we are asking for is to be given something to replace what we have lost. 

Just a small, simple digital station, playing a mix of light and easy music, with a smattering of vocalists such as Bennett and Sinatra, perhaps some dance bands and big bands, served up by proper broadcasters with years of experience in radio. We don’t even mind if you recycle some shows of old, as you have done so well with BBC 7.  The USA will show you how, too, just take a quick look at the immensely popular Music of Your Life network.

And, when you do, there are thousands of us out here with nothing to listen to who will be more than happy to help improve your listening statistics.

Radiocafe
January 2008

Is there some way, or some where that they could display their talent? Another reason for Radio 4 perhaps!

Mike Redway
February 2010

So what does the report say? As expected, the slant of the report is very much on the good things that respondents said about Radio 2 and 6 Music. We’ve extracted some of the items which the Campaign For Real Music has focused on in depth on this site.

First, it highlights that that:

“commercial radio stations have raised concerns that Radio 2 is targeting younger people at the expense of ‘older listeners’. The average age of a Radio 2 listener is 50 and Radio 2 has been instructed to ‘ensure that this does not fall’ ”.

Importantly, it recognises that there are very few stations that serve older audiences.  Angel Radio aside, can you think of any?

Of greater interest perhaps is that BBC management have also been asked to address the recent decline in listeners aged over 65. There are no indications how it intends to do this, but hopefully this will mean an increase in the sort of music which has been in steady decline over the past 20 years: light music, dance band music, the American popular song.

The recommendation indicates that as follows:

“Radio 2 should investigate reasons for the decline in audience among over 65 year olds and, in particular over 75 year olds, with the aim of addressing this decline. In doing so, the station should consider whether its range of music continues to meet this audience’s expectations.”

The implementation of this, however, involves management taking:

“corrective action if the average age of the station’s audience falls below 50 for a sustained period”.

The report does touch upon some specifics:

“Should the number of over 65 year old listeners continue to decline this will be a cause for concern. Our audience research and public consultation indicated that one of the most important factors which determines whether Radio 2 appeals to an individual is the station’s choice of music. Some respondents feel strongly that older music genres from the 40s, 50s and 60s are no longer sufficiently featured in Radio 2’s output. In particular, a number of respondents suggested that a lack of traditional jazz put Radio 2 in breach of its service licence. This is not the case as Radio 2 does not have a specific requirement to play traditional jazz. However, Radio 2 does have a requirement to play music which appeals to a wide range of age groups and as one of the few popular music stations catering for over 65 year olds Radio 2 has a particular responsibility to ensure that this age group are satisfied with its music selection.”

We think there is already a cause for concern. Those of us who feel disgruntled by Radio 2’s music policy should focus on this part of the report, in particular the acknowledgment that Radio 2 has a particular responsibility to ensure that this age group are satisfied with its music selection.

While we feel that age and music preference are not necessarily connected (many of us - me included - are in our 30s, but our music choice seems to accord with that of the over 65s), if this is the best angle for us to get Radio 2 to reconsider some of its decisions, then so be it.

What we now need to see/hear something tangible which is reflected in the regular Radio 2 schedule. If you want to see the return of dance bands, light music and some classic American popular song to the airwaves, now is the best time in ages to ramp up the pressure on BBC Radio 2 management to deliver.

The full report can be viewed here: http://www.bbc.co.uk/bbctrust/our_work/service_reviews/service_licences/reviews_r2_6music.shtml.

We look forward to hearing your views.  

Radiocafe
February 2010

While London radio schedules offered up portions of funk and soul fit for a musical anorexic, a Family Feast of re-releases, Big Mac portion of soulful grooves and exciting new menu of house music were all being devoured by a starving-hungry Joe Public. Following huge demand, all the classic Roy Ayers albums were being rush re-released; scarce vinyl from the likes of The Bar-Kays and Leroy Hutson was changing hands for over fifty quid a go; Jack Trax released album after album of the latest house and acid tracks; and there was a plethora of “new”, young soul artists such as Miles Jay, Surface and Juicy. But with little-to-no airplay by the mainstream radio schedulers, how could this be? The answer: “street-radio”.

Radio for the people, served by the people.

London radio schedules offered up portions of funk and soul fit for a musical anorexic

STREET-RADIO

“Street-radio”? Don’t we just mean “pirate radio”? The name “pirate radio”, so fitting for the pop music Captain Birdseyes of the 1960s out at sea, didn’t really reflect what was going on deep in the inner city without the safety buffer of a perilous ocean between the jocks and the authorities. What was happening in London was happening down on the streets, in the heart of the Capital, and its effect was nothing short of radical. In an era where “StreetSound” had a distinct meaning (so much so that it should have a place in the dictionary), street-radio sent a ripple through London that, for a short while, turned into a tidal wave of great music. It was a simple formula: music for the people, served by the people.

Today’s street-radio owes much to its 1980s cousin. In fact, listen to the sound clip here, and you’ll be treated to a young up-and-coming star of street-radio in the days before his dj voice broke and he became one of today’s true pioneers of the good music cause. Remember, these were the days before mobile phones and the internet; how many street-radio stations would dare to take calls live-to-air these days?

Many of yesteryear’s street-radio stars have gone on to celebrated careers in the music industry: Ron Tom, the main man behind the almighty and wonderful LWR (more on LWR to follow in future editions), the station which along with Kiss 94fm led the street-radio way in the 80s, has become one of the leading record producers in the business (he’s the man behind Don E, Sean Escoffrey and Omar, and he came up with the name “Sugar Babes”); Trevor Nelson needs little introduction, being one of the many success stories out of the huge Kiss 94fm pool of talent; Steve Edwards promoted the good jazz philosophy on LWR for years, then rapidly worked his way up the local radio ranks before ultimately presenting a soul show on BBC Radio 1; Ralph Tee (Solar Radio), virtually single-handedly pioneered the genre of New Classic Soul and now runs the incredible Expansions Records, responsible for the re-release of classic and new recordings from the likes of Leroy Burgess and Don Blackman. But arguably the man who stayed most true to his street-radio roots is Norman Jay - or rather, Norman Jay MBE - who is still pursuing the good music cause in earnest to this day (albeit courtesy of the BBC).

DOUBLE STANDARD

But here’s the irony, or even hypocrisy. The very man who achieved so much for good music, uncovering hidden musical treasures and promoting new gems to the masses did so predominantly through the medium of street-radio. The Government clearly agreed - after all, it recognised Norman’s supreme efforts by proclaiming him Member of the British Empire. Yet this is the same Government which (via the BBC) provides us with a dedicated house music station which plays virtually no house (1xtra); offers those who wish to selflessly follow the lead of Mr Jay with the prospect of heavy fines, or worse; and helps to perpetuate a system which provides nothing other than randomly PC-selected Atomic Kitten followed by G4 followed by Abba, intermingled with annoying competitions sponsored by the Wild Bean Cafe, interspersed with travel reports for streets you’ll never travel, all served up by a couple of loud mouthed teenagers with great hair and teeth but who wouldn’t know Roy Ayers from Pam Ayres. Were it not for the likes of Ron Tom, Norman Jay and Trevor C, the music we listen to today would undoubtedly be very different. Tracks such as Cool and the Gang’s “Summer Madness”, Aretha Franklin’s “Jump to it”, Donald Byrd’s “Think Twice” and Roy Ayers’ “Everybody Loves the Sunshine” gained unprecedented exposure on street-radio. Don’t know these tracks? Think again, as these have formed the underpinnings of numerous house and hip-hop tracks during the last decade, and many have been reworked by talented production companies such as Z Records and Candy Apple Productions.

Street-radio sent a ripple through London that turned into a tidal wave of great music

THE ROOTS OF STREET-RADIO

By 1986 street-radio had matured and covered a whole spectrum of musical styles. The main players on the FM dial tended to opt for a popular blend of soul, funk and reggae; but the electro sound which had morphed into acid house was also gaining airplay and by 1986 was featured extensively by such stations. Intermingled between the sounds of Glenn Jones, David Bendeth and Gwen McRae could be found Farley Jackmaster Funk, Scott Le Rock and Marshall Jefferson; but the mix simply represented what London wanted: real music. This was the music we wanted to listen to in our clubs, in our bedrooms, in our Escort XR3i’s. Whereas, if we check the Radio Times again, the BBC wanted us to listen to Gary Davies, followed by Steve Wright followed by Bruno Brooks, with a blend of Rick Astley, Bros, The Housemartins and Communards. It seemed the BBC censors would analyse a song to see if it contained any bass and if so, deem it unfit for public consumption.

TOP OF THE POPS - MAY ‘86
1. Living Doll - Cliff Richard
2. Different Corner George Michael
3. Rock Me Amadeus - Falco
4. Touch Me - Samantha Fox
5. A Kind of Magic - Queen

STREET TRACKS - MAY ‘86
1. Luther Vandross - See Me
2. Miles Jay - Let’s Start Over
3. Heart’s Desire - Don Blackman
4. Jim Silk - Jack Your Body
5. Bar-Kays - Open Up Your Heart

And so Londoners in the late 80s were spoiled for choice: beyond LWR and Kiss was a multitude of stations playing the sort of grooves the street wanted to hear: TKO, City Radio, Solar Radio, Studio FM, Laser 88.4fm, WLIB and Horizon all offered a breath of fresh air to a London which was choking on a force-fed diet of Sam Fox, Su Pollard and Shakin’ Stevens.

BBC censors would analyse a song to see if it contained any bass and if so, deem it unfit

HAS ANYTHING CHANGED?

Twenty years later, and the digital age is with us, the rigid non-commercial structures have been de-regulated and London has the radio it always wanted. Does it? If it does, then there is surely no place for street-radio? Quite the contrary, London needs street-radio now like Spurs need a decent manager - stations such as Unkown FM, Passion FM and Push FM serve to selflessly provide London with the music Londoners actually want to listen to. Yet those who seek to do nothing more than fill a gaping radio hole face the wrath of the authorities; while overpaid, musically retarded dick-jokeys fill our airwaves with low grade dross and idiotic drivel.

Twist the dial on your Pure Evoke-1 and surf through the long league of “new stations”: Arrow (rock/pop); Century (rock/pop); Chill (pop/chillout); Core (pop); Gaydar (gay/pop); Heat (pop); Kerrang (rock); Jackie (pop); Smash Hits (pop)… notice any trend here? Before listing the thirty or so other rock and pop stations, let’s take a listen to the funk and house stations: must be one there somewhere, but I can’t find it. What about the jazz station? Isn’t there a station called Jazz FM there somewhere? Hrmm… Or - let’s be generous to other tastes - how about a country and western station? Nope. Big band and forties music? Erm… Gospel? Ah… Sixties soul? Er…

In 1986, it seemed everyone was going crazy over the 1982 Don Blackman self-entitled classic, so much so that as a result of street-radio exposure four of its tracks were re-released on limited edition 12 inch ep. Twenty years later, the chances of hearing a track from this album - or anything like it - on mainstream radio are about as high as seeing Lord Lucan gallop home on Shergar to win the Grand National. It’s no surprise that Don himself is so frustrated by the current music industry that he’s talking of quitting (click here for Radiocafé’s interview with Don).

The point is a sharp but simple one: mainstream radio falls way short of the mark. In an era when every music taste should have a slice of the airwave cake, an influential minority seems to have all the radio gateaux for itself, and it sure ain’t made up of the vinyl junkies or rare groovers or the acid house trippers so well catered for by the much needed street-radio of 1986. It’s a fact, our radio is controlled by the music industry equivalent of Krispy Kreme, with no place for the small, local bakery which would, if given the chance, produce something exceedingly good.

Overpaid, musically retarded dick-jokeys fill our airwaves with idiotic drivel

We badly need to maintain and nurture the true, home-baked talent, which is why street-radio has a place now more than ever. Perhaps certain negative factors and characters have blurred the street-radio scene a little in recent times; but there are those who continue to give their time and effort to an utterly worthy cause, for listeners who simply have nowhere else to turn.

Radio for the people, by the people.

In the next edition of STREET RADIO: Back In The Days, we take a closer look at the street-radio stations and the music which influenced a generation of vinyl junkies - click here to visit

ALAN DELL
Broadcaster and producer

Vocal fans will remember Alan Dell’s wonderful Sounds Easy and Dance Band Days and Big Band Sounds shows, but Alan has done so much for the cause of good music. A superlative producer who worked with the biggest names.

RAY MOORE
Broadcaster

Mornings have never been the same without Ray Moore. His early show on Radio 2 had a huge following, Ray being one of the funniest, yet most professional, broadcasters of all time.  We miss Ray very much.

BENNY GREEN
Broadcaster and musician

Jazz man Benny presented one of the most entertaining shows on radio for many years, and had an encyclopedic knowledge of music. Sunday afternoon’s really are not the same without him.

DAVID JACOBS CBE DL
Broadcaster

One of the finest broadcasters of all time, who continues the good music cause with one of the most enjoyable shows on air.  He’s had an amazing career which has spanned decades. Surely the greatest living broadcaster?

HUBERT GREGG MBE
Broadcaster, singer, songwriter, actor & more!

Hubert Gregg: singer, songwriter, actor, broadcaster - so much talent!  He kept fantastic vintage music alive as he said Thanks for the Memory every week. Very much missed.

RUSSELL DAVIES
Broadcaster and journalist

Few people have the knowledge about popular song of Russell, one of our most talented broadcasters and a top music journalist too.  His Radio 2 show remains one of the “must listen to” programmes on air.

NEIL RICHARDSON
Composer and arranger

Neil Richardson is one of the country’s finest arrangers.  Working with the BBC Radio Orchestra for many years, he produced some of the all time great arrangements and compositions. 

FRANK WAPPAT
Broadcaster and producer

Frank has an encyclopedic knowledge of music, and continues to promote the good music cause with his weekly radio show - a real education in good music. Has a lifetime of great stories to share, too.

JOHN FOX
Composer and arranger

John Fox worked with the BBC Radio Orchestra for many years, having arranged for orchestras of over 100 musicians. A prolific composer/arranger, few have contributed so much to good music.  

MIKE DUTTON
Founder of Dutton Vocalion records

Mike Dutton should be commended for uncovering and remastering so many great recordings.  His efforts have resulted in the release of many Farnon and other light music CDs on his Vocalion label.  Light music owes much to Mike.

STEVE RACE OBE
Broadcaster and pianist

A fantastic pianist, who in the latter part of his career was one of THE voices of radio.  Presented for years the Radio Orchestra Show, his knowledge of music and relaxed manner are very much missed on the airwaves these days.

HUMPHREY LYTTLETON
Jazz man and broadcaster

Humphrey Lyttelton presented The Best of Jazz on Radio 2 for an incredible 40 years! A fine trumpeter, who pioneered the cause of traditional and contemporary jazz.  Very much missed.

MACLOLM LAYCOCK
Broadcaster

Malcolm took the baton on Radio 2’s Dance Band and Big Band shows when Alan Dell passed away, and has  made the slot his own.  He had the rare ability of making listeners feel he is talking to each one individually. Sadly passed away in November 2009. A huge loss.

SHEILA TRACEY
Musician and broadcaster

Sheila Tracey is a fine trombonist who became one of the country’s finest broadcasters. One of Radio 2’s favourites, sadly we no longer have the privilege to hear her lovely voice on the network, which is a great loss to lovers of good radio!

SIR ALAN KEITH
Broadcaster

Sir Alan presented “Your Hundred Best Tunes” on Radio 2 with style and panache for 44 years, broadcasting well into his nineties. In doing so, he did so much for the cause of great music. Sunday nights have never been the same.

BILL RENNELLS
Broadcaster and producer

Bill is one of the stalwarts of radio, and a familiar voice on both local and national radio. As well as his own shows, listeners will recall him as the presenter of shows featuring the BBC Radio Orchestra, in particular String Sound.

CHRIS STUART
Broadcaster and pianist

Chris was one of BBC Radio 2’s most talented and popular presenters yet for no good reason he was dropped by the station. What a loss to radio! Very few have Chris’s level of charm, professionalism and talent.

DESMOND CARRINGTON
Broadcaster and actor

Desmond represents everything a good broadcaster should be: charming, knowledgeable, entertaining and professional. We still cannot fathom why the BBC moved his Radio 2 show from a Sunday.

NIGEL OGDEN
Broadcaster and organist

Nigel is a fantastic organist, who has furthered the cause of the cinema/theatre organ genre for decades with his legendary show, The Organist Entertains, which continues weekly on BBC Radio 2.

MIKE REDWAY
Singer

One of our truly great vocalists who has appeared extensively on radio and TV - Mike’s voice is up there with the very best. Coupled with arranger Neil Richardson, music doesn’t get any better.

Radiocafé
November 2009

DAVID JACOBS CBE DL
BBC Radio 2, the David Jacobs Collection

One of the finest broadcasters of all times, sadly only given a late night Sunday slot for his hour of magical musical items.  Always features something wonderful from his own extensive collection.
LINK TO BBC PAGE »  LISTEN TO SHOW »

DESMOND CARRINGTON
BBC Radio 2, the Music Go Round

Desmond’s show provides the sort of quality that we’ve enjoyed from Radio 2 over the years, but now seems to be in short supply.  He can be relied upon for some light and easy classics.
LINK TO BBC PAGE » LISTEN TO SHOW »

RUSSELL DAVIES
BBC Radio 2

Russell’s Sunday show focuses on the great songs and the legendary singers, and is an education in music.  For unique and rare examples, no other show can match this education in good music.

LINK TO BBC PAGE »

DEWI GIRFFITHS
BBC Radio Wales, A String of Pearls

As the name suggests, “A String Of Pearls” provides a fabulous mix of music including lots of big band classics, plus a wealth of information too.  A truly classy show for lovers of this kind of music.

LINK TO BBC PAGE » LISTEN TO SHOW »

GERALD JACKSON
BBC Radio Lancashire, Unforgettable

Gerald’s show - “Unforgettable” - provides a wonderful selection of musical memories from the musical greats. Also features some light and instrumental classics.

LINK TO BBC PAGE »  LISTEN TO SHOW »

JOHN BENNETT
BBC Radio Ulster, Sunday Club

John plays a fabulous mix of music from over the decades, in his weekly Sunday show on Radio Ulster.  Harking back to earlier years, John can be relied upon for some quality light and easy music.

LINK TO BBC PAGE »  LISTEN TO SHOW »

FRANK WAPPAT
BBC Radio Newcastle

Frank Wappat ’s show is one of the most entertaining and educational on radio.  Frank plays such an incredible selection of music, so some light and easy gems are always guaranteed.

LINK TO BBC PAGE »  LISTEN TO SHOW »

PAUL BARNES
BBC Radio Norfolk

Paul’s show is another one that demonstrates the wealth of good music that BBC local radio offers.  Features a fantastic mix of great music, with plenty of classic and jazzy vocalists on offer too. 

LINK TO BBC PAGE »  LISTEN TO SHOW »

BILL RENNELLS
BBC Radio Kent, Melody Night

Bill has been broadcasting for years, and has one of the best voices on radio. For many years one of the regulars on BBC Radio 2, Bill now presents “Melody Night” each Sunday night on Kent. Smashing! 

LINK TO BBC PAGE »

NIGEL OGDEN
BBC Radio 2, Organist Entertains

Nigel’s “Organist Entertains” show is really worth a listen, whether you are an enthusiast of the genre or not. This is fantastic music that has so much to offer a whole new generation of listeners!

LINK TO BBC PAGE » LISTEN TO SHOW »

Radiocafé
November 2009

But just look at how the BBC treated this man.

First, some facts: Malcolm started broadcasting in the late 1960s, was a producer and presenter on BBC Radio London for 20 years, helped set up and then ultimately save Jazz FM, worked for LBC, introduced numerous big band and other concerts, and spent 14 years presenting over 700 of the best crafted radio shows on air, which he also produced. Each show would take best part of a week to compile and prepare. He spent many more hours researching for his show and attending functions with musicians. Despite being relegated to a graveyard slot on the radio schedule, he still commanded an audience of over 350,000 loyal listeners.

But the trendy, young producers decided to impose big changes to his show. Because, despite Malcolm’s 40 years’ radio experience, not to mention a Sony Radio award among other accolades, and the fact his show was loved by so many, clearly they knew better.

Many of us complained, but the young BBC executives didn’t care for our views. (See our other feature here for ample evidence of this, and the many tributes to Malcolm by his fans).

He was paid £24,000 year or this.

He requested a further £14,000 for also doing the job of producing his show. He was effectively given his marching orders for daring to take make such an unreasonable request, and for putting up some resistance to changes to his show which his fans did not want. (It should be added that at this time, Malcolm was a carer for his terminally sick wife, who died just a couple of months after he lost his job).

Does £24,000 do justice for “talent like this”?

Let’s look at some more facts. If reports are to be believed, Steve Wright makes £440,000 for his afternoon show. Chris Evans is on more than half a million, and this is before his inevitable hike in pay when he takes over from Wogan, who is currently on £800,000 a year. The extent of Jonathan Ross’s salary needs no mention. Radio 2’s current controller, Bob Shennan, earns £212,000.

Malcolm Laycock was paid £24,000.

We suspect his replacement, celebrity musician Clare Teal, earns well in excess of this and we are keen to confirm whether this is true. We also suspect that, as a result of her taking over at the mic, it is more than likely that the audience has gone significantly down.

Yes, the BBC was going to face criticism either way regarding its tribute to Malcolm. At least they didn’t completely ignore the gentleman’s passing, as effectively they did when another of the BBC’s veteran broadcasters recently passed away, the late great Steve Race.

Unfortunately, the timing of Malcolm’s death couldn’t have been worse for BBC Radio 2 management. But then, if reports are to be believed, they are guilty of effectively forcing one of Radio’s great presenters out of a job, over not just a paltry sum of money but because certain middle management interfered in a show they were ill-equipped to understand. It is widely reported that the sweeping changes to Malcolm Laycock’s show were brought about because Bob Shennan’s predecessor, Bob McDowell, disliked dance band music.

BBC Radio 2’s management should be ashamed of themselves. While they rake in thousands of pounds, they continually ignore our complaints and requests and fob us off with bog-standard letters of reply. Because of personal dislike for certain types of music, certain individuals at BBC Radio 2 have shaped the station they want to listen to, not the one that many of us ever asked for. They gladly disregard our views because they can.

And it is clear that some of its management are hell-bent on obliterating so much of which made the station special to so many, for their own personal satisfaction. We just hope you pay David Jacobs a salary that is commensurate with his role as the greatest living broadcaster. Given you have farmed his show off to the worst shot on the radio schedule, we suspect that may not be the case.

It is how it has treated so many of its most honourable servants that is most shameful.

Hopefully, if some good can come of Malcolm’s passing, it will serve to highlight some of what goes on behind the scenes at Radio 2. The sad truth is that the likes of Malcolm Laycock, dance band music and clearly many of his fans were (and are) perceived as being neither young nor trendy enough for these mid-life crisis, rock music fan, overpaid executives.

Radiocafé
November 2009

UPDATE: 10 November 2009:

____

Original story:

Dance bands are the latest to get the chop from the new “supercool” Radio 2. Malcolm Laycock’s producers have decided to (or, we suspect been forced to) dump the dance band section of his 10-11pm show on a Sunday evening. The first half hour is now dedicated to the modern swing bands instead. What a shame for the genre!

In fact, it may mark the demise of this type of music altogether, as it now has no presence whatsoever on mainstream national and DAB radio. A few tokens will feature on BBC local radio, courtesy of pioneers such as Frank Wappat, but unless it finds a small home somewhere on the BBC’s vast and increasingly homogenous national radio network, it is set to be lost to future generations.

This is not just a shame but a tragedy. BBC: you are wrong to assume we want a Radio 2 that is all about being young and trendy. There are many of us under 40 who are bored silly of what you have done and are doing to the network. We don’t want endless James Blunt, Coldplay and Amy Winehouse, we can get that elsewhere in abundance. But we can no longer get decent dance bands, light music, or new country anywhere at all. Genres which, presumably, you have decided are not “cool” enough for the audience which you seek.

Is it really all about ratings? Or is it that the loud minority always gets its way? Just because the internet generation sends posts to various BBC message boards proclaiming Radio 2 has a “pipe and slippers” image, you respond, BBC Radio 2 controllers, by removing the few small morsels of varied music that you provide.

How long is left for The Organist Entertains? Or David Jacobs? Or Listen To The Band? Or are these “trendy” enough for you to leave them alone? Is it really too much for us to have an hour of light music each week (cancelled last year by Radio 3), or half an hour of dance bands, or an hour of Sounds Easy on a Sunday?

We know there are many people like us, both young and old, for whom the BBC no longer caters. If you feel the same way, let us know, and perhaps we can form a loud minority of our own to help redress the unjust imbalance that has taken away that which we loved so much.

Radiocafe
December 2008

UPDATE: JULY 2009

Malcolm presented his last show on Radio 2 and it seems was forced out of the radio station - for more on this, read the latest reports below.

SIGN THE PETITION!

Please visit BRITISH DANCE BANDS RADIO 2 PETITION if you wish to sign to petition against the BBC’s decision regarding Dance Band Days.

LISTEN TO ALAN DELL’S DANCE BAND DAYS HERE:

Click on the player below to hear an Alan Dell Dance Band Days edition from over 30 years ago.  This show was broadcast on 2nd July 1979.  It is being presented here for a limited time only:

What it does is cater only for a certain type of over 35. It will tell you that it knows of 60 year-olds who want to hear “The Killers”. But we know that a lot more absolutely do not want to. What does the BBC currently offer for the 70 year-old who wants to listen to Bing Crosby? Or to Duke Ellington? Or to Robert Farnon? Nothing.

If you don’t particularly like rock or pop, don’t necessarily want to listen to classical music, then quite simply BBC music radio offers nothing. Not even a few hours on Radio 2 every week. If offers absolutely, completely nothing.

Where will you find a regular supply of Frank Sinatra, Henry Mancini, Lionel Hampton and Ray Noble? Not on BBC national radio, (FM or DAB). It provides a minute, and excellent, selection on BBC local radio. What about commercial radio, then? Nothing is offered there at all. The few weak attempts to do so have all faltered. Where you can find this music offered properly is in the States, which (unlike the BBC) seems to value its musical heritage.

Is there really an audience for such music, you may ask? Quite simply, yes there is. Take a quick look through the pages here and you will see thousands of posts from disgruntled listeners who are being offered nothing. Read the letters page of the Robert Farnon society magazine, and you will see the same. Check out other message boards, and the message is consistent. Many older listeners do not perhaps frequent these message boards and social networking sites as much as the younger generation, but this doesn’t mean they are not there. Nor that their opinion doesn’t count.

Plus it is not just older listeners who are being denied this sort of music. There are many of us who are under 40 who would love to hear some Vic Damone, some Count Basie, some Julie London. And there are many of us who are under 20 who may never obtain any exposure to this wonderful music at all.

Not so very long ago, the BBC had an entire station dedicated to light and easy music (up to 1990 - this was called BBC Radio 2). The previous incarnation of the network was even named after this type of music (the Light Programme). Yes, times change perhaps but good music doesn’t die out unless you want it to. The BBC is not serving us properly by failing to provide certain types of music for a large portion of the nation.

So the time has surely come and the BBC cannot overlook us any longer. To make life easier for all of you BBC executives out there, here is an outline of the sort of schedule that such a station could provide:

§  Throughout the day, some mainstream shows featuring a mix of American popular song, some big bands, some dance bands, some light jazz, some of the modern “crooners” (for want of a better term). The sort of shows that the American “Music Of Your life” network plays.

§  How about some repeats of “Music While You Work” throughout the day? Evenings could be dedicated to more specialist shows: jazz, dance bands, big bands, jump jive, profiles of leading singers, and repeats of classic Radio 2 shows, such as “Thanks For The Memory” and the many half hour recordings from over the years. The BBC is able to recycle old comedy shows on Radio 7, so it should be able to do the same on our station.

§  At the weekend, how about some concerts and live performances from years bygone? We would love to hear some of the old BBC Radio Orchestra performances, or a 1970s Tony Bennett concert, or some live jazz from the 1960s. In fact, there is so much that a BBC station like this could do, with its vast archive of good music.

The sad fact is that the BBC has probably dumped much of its light and dance band music shows of old. But there are enthusiasts out there who retain top quality recordings of these shows. We have around 200 or so perfect recordings of Alan Dell’s Dance Band and Big Band Shows and about the same again of Sounds Easy. We have hundreds of the BBC Radio Orchestra Show recordings (these present trickier re-broadcasting issues for the BBC, given the number of musicians who appear, but the legal issues the BBC will raise can always be overcome). We have lots of other shows too.

Light Music expert Brian Reynolds has masses of archive material of Music While You Work and other recordings. The Robert Farnon Society also has a decent archive of old shows. The BBC has relied on the public to supply lost copies of Dads Army, so it could easily turn to us for its radio heritage.

These are just a few ideas, and we are very keen to develop this idea with yours too.

Come on BBC, the time has surely come for you to give us Radio Eight/Light Radio. “Eight Light” even works quite well as its name.

Ray looked after the 5 to 7.30am slot throughout the seventies and eighties in his uniquely special way.  He was one of the highlights of radio, even managing to make travel forecasts and sports reports entertaining.

Common Moore references included “Gatport Airwick”, “Moore’s ‘Orse”, “Old Moore’s Alma Nag” (a pun on the name of his beloved wife, Alma) and referring to a fellow broadcaster, “the Truckers’ Flussey” (Sheila Tracey). 

Part of his appeal came from the fact that he was a very good (and if necessary) serious broadcaster.  For years he carried out a dual role, his Liverpool accent entertaining in the mornings, while Ray’s more “proper” BBC voice was reserved for continuity announcements throughout the seventies and into the eighties.  He was also the voice behind Come Dancing, Miss World and of the Eurovision Song Contest, in which we got the best of both worlds, both Ray’s “best BBC voice” and Ray the supreme entertainer.

He also featured on a number of other shows for Radio 2, such as his Monday Movie Quiz, and interviewed a number of leading artists, including legendary singer Johnny Mathis. 

In the late 1960s he presented “String Sound”, featuring the BBC Radio Orchestra.  The show continued for a further two decades, with a string of popular broadcasters: Radio 2 favourite Bill Rennells, current early morning presenter Sarah Kennedy, plus Jean Challis and Hilary Obsborne all presented this show.  The show came to an end around the same time as Ray passed away.  The station subsequently changed direction, and one wonders if Ray was still with us if much of the charm of Radio 2 of old would still be too.

But it is the morning shows that so many of us recall, and miss.  It really was worth waking up an hour early just to hear Ray, as he managed to create a special, funny, radio world of his own which his many devoted listeners loved to be part of.  Many will recall “O’ My Father Had A Rabbit”, the funny little poem he used to read out from time to time, which he later released as a UK record, all proceeds going to the BBC’s Children in Need appeal.  It went to number 24 in the UK charts:

“O’ My Father had a rabbit
And he thought it was a duck
So he stuck it on the table
With its legs cocked upHe mixed a bowl of stuffing
And left it on the shelf
But when he came to stuff the duck
The duck had stuffed itself”Terry Wogan said of his record “It makes the Floral Dance sound like Wagner’s ring cycle”.Each of Ray’s shows was a magical performance, but Ray never used a script and just about all of his witticisms were ad-libs.  As Ray once commented, “do you think I’d write this rubbish down?”.We would love to hear more of Ray again, and a repeat some of his fantastic early morning shows would be something many of us would love to hear.  A short clip from 1987 is available in the links section to the right of this page, which provides a small taster of the magic that was Ray Moore.  If anyone has retained any recordings of Ray Moore’s shows we would love to hear from you - please click here to contact us or leave a comment.Today’s radio is not the same without Ray. The likes of him may never pass this way again, but his memory will live on among those who were caught under his spell, for a very long time.

Listen to Ray here!

We have uploaded a full hour of wonderful Ray from 1984, which was kindly supplied by one of his fans.  This is available here for a limited time only.  Doesn’t this bring back the memories of quite how brilliant Ray was?  Oh how we miss the great man.

Radiocafe 
January 2008

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