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01 Cover_v3_.27/06/1317:08Page1 CELEBRATING40 YEARS OFCOMMERCIAL RADIOWITHRADIOCENTRE

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40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, , classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch ’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22. RADIOCENTRE’S Roll Of Honour - which applauds 40 individuals who have truly changed ROLL OF HONOUR: the game of UK commercial radio in the PROFILES OF ALL past four decades. That’s not just because the list (sponsored by Audioboo and 40 COMMERCIAL revealed at the 2013 Awards in July), celebrates the work of true pioneers RADIO ‘LEGENDS’ both in front of and behind the microphone, but because the music and commercial radio industries face exactly the same challenges. Whether the inevitability of digital transformation or proving value to commercial partners; debates over consolidation at the top or a lack of Government recognition, we stand arm in arm fighting these battles. Long may this very special relationship between two natural allies continue. Tim Ingham, Editor, Music Week

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ALL TOGETHER ... THOSE WERE THE DAYS The 40-year history of UK commercial radio is awash with moments that not only changed the face of in this country, but gave advertisers a genuinely new, creative outlet on which to market their wares. These achievements have been driven by smart thinkers, innovative DJs and determined business execs. As shown by the timeline presented below, it’s a story of pioneers, near-misses and triumph over adversity - plus a healthy dose of silliness...

1960s - 1970s

29 June 1964 12 July 1972 November 1973 launches in the Television Authority The Association of Independent Radio using a Post Office licence, almost ten becomes the Independent Broadcasting Companies (AIRC) is established as years before commercial radio is licensed Authority (IBA) as it takes over responsibility commercial radio’s trade body. in the . for awarding radio franchises. It also transmits the programmes. John Thompson December 1973 is hired by the IBA to set things up. New Year’s Eve welcomes The 8 October 1973 Hogmanay The birth of UK commercial radio arrives with launch of Radio the launch of LBC in . An ad for Birds Clyde in Eye fish fingers is the first radio commercial. at 10.30pm. Jimmy Gordon, now Lord Gordon of Strathblane, was Clyde’s first MD, between 1973 and 1996.

30 September 1967 The BBC launches Radio 1 and Radio 2 as a direct response to the popularity of the music being played by pirate stations such as , which had been outlawed by Parliament in August.

16 October 1973 Radio (now Capital FM) launches. The first pop song played on the station is Bridge Over Troubled Water by Simon and 12 June 1972 Garfunkel. John Whitney The Queen was MD of Capital Radio signifies Royal from 1973 - 1982, whilst Assent to the Sound was its founding Broadcasting Act, chairman. Attenborough paving the way for later admits that the late commercial radio. Seventies almost saw Capital shut down due to lack of funds.

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1970s

29 February 1974 15 July 1974 21 October 1974 BRMB (now ) launches in Newcastle. Neil 96.7 launches in , Robinson later becomes MD, the first launches, with Stevie the first English engineer to lead an ILR company. Young Wonder’s You Are The commercial station Giles Squire is on board, aged just 20. Sunshine of My Life. outside London. Les Terry Smith is Radio Ross (pictured below) City’s launch MD, would later become the staying with the station biggest BRMB personality. for the next 17 years. He would later pick up a Fellowship of the (pictured below). is founding programme controller at Radio City.

30 September 1974 ILR arrives in , as Sound in launches.

1 October 1974 2 April 1974 Radio Hallam (now Hallam FM) launches in Roger Day . The first presenter is ex-BBC Radio 1 launches Piccadilly DJ, Johnny Moran. His first song, I've Got The 19 May 1975 Radio (now Key Music In Me by Kiki Dee, stuck. Sound 103/Magic) from launches, the first Piccadilly Gardens of the four ‘small’ in . stations in the Philip Birch early experiment. becomes founding managing director of Piccadilly Radio and continues as CEO 9 June 1975 until his retirement in 1984. Trials begin of broadcasting of Parliamentary proceedings on commercial radio.

24 June 1975 Radio Tees launches (later TFM) with Les Ross, and the call-sign ‘You've got a friend on 257’. The MD is John .

3 July 1975 Radio Trent in launches, having fought off competition from rival franchise applicant Radio Robin Hood. (Pictured below, Kid Jensen at Radio Trent 22 January 1975 with David Cassidy.) in begins broadcasting.

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1975 - 1980s 16 September 1975 6 August 1977 11 April 1980 Pennine Radio in Bradford launches. ’s first show on commercial radio CBC ( Broadcasting Company) airs at Trent, hotfooting from factory radio launches, the first in the ‘second wave’ of UBN. He later also works at . commercial stations. (Pictured below with .) 23 May 1980 Ian Rufus, later to head the Association of Independent Radio Contractors, opens Mercia Sound in and . 17 October 1980 commences broadcasting from the Angus transmitter, near . A relay in Perth begins five weeks later.

14 October 1975 Radio Victory in launches. 1977 By the end of the year, 'Independent local 28 October 1975 radio' has a £23.1m turnover. Only Radio Radio Orwell launches in , an area Trent and Radio Victory remain in the red. chosen for having no local BBC competition. Meanwhile, Tim Blackmore becomes head of programming at Capital Radio, a role in 8 March 1976 which he remains until 1983. 22 July 1981 (Blackmore pictured below with Lord The Home Secretary announces the areas for Radio 210 in Reading launches, testing the Attenborough and Paul McCartney/Wings. viability of a station on the edge of London. ) 25 new ‘independent’ stations. Stan Park starts his career at LBC in the early 1980s before 16 March 1976 going on to become CEO of sales house IRS. , later known as DTR or simply Downtown, begins broadcasting - the 27 July 1981 same day as PM Harold Wilson resigns. Northsound Radio begins. Bobby Hain plays We've Only Just Begun by The Carpenters.

1 September 1981 begins, using an old BBC Radio frequency.

1979 leaves the BBC for Capital. 12 April 1976 Beacon Radio (now Free Radio) launches in ; the last in the first tranche of 19 commercial stations, pending further Government deliberation.

16 April 1976 Lord Richard Attenborough launches famous charity 'Help a London Child' at Capital Radio. www.radiocentre.org 08 05-11 Timeline_v14_. 27/06/13 12:47 Page 4

7 October 1985 5 October 1982 17 April 1984 Kiss FM’s first broadcast, as a pirate station, Red Rose Radio launches. Viking Radio launches, having applied for the franchise as ‘Humber Bridge Radio’. with Gordon McNamee.

1983 28 June 1986 Chris ‘Nobby No-level’ Evans begins his Radio Victory’s Portsmouth franchise is not career at Manchester Piccadilly Radio. renewed. It is to be replaced by Ocean Sound, Pictured below with Timmy Mallett. ( ) covering a larger area.

1986 The second ILR station in Wales, Cardiff’s CBC, merges with its neighbour Gwent Broadcasting (GB Radio) as Red Dragon Radio.

January 1987 49 commercial services are on-air in the UK, as radio benefits from ‘80s boom years. Later in 1987, Richard Park becomes programme controller at Capital Radio, whilst joins the station from . Jonathan Pearce also moves to Capital, launching Capital Sport a year later. 30 September 1984 Meanwhile, Ian Anderson launches SIBC The Network Chart launches to compete ( Islands Broadcasting Company). against the BBC's chart. Elsewhere in 1984, Paul Brown joins regulator the 18 May 1987 6 October 1983 Independent Broadcasting Authority. The is turned on, Centre Radio in becomes the first combining off-peak Hallam, Pennine and ever commercial station to close. Meanwhile Viking output. in 1983, Alan Robson’s Night Owls (pictured below) debuts on Metro Radio. 1988 leaves the BBC for . Piccadilly Radio programme controller, Mike Briscoe, talks about walking out before being sacked from Piccadilly Radio.

1 June 1988 County Sound Radio becomes the first UK 1985 station to split its FM and MW frequencies Some IBA rules are relaxed. 'Co-funding' of permanently to create 'Premier Radio' on FM; programming is allowed - a careful form of and 'County Sound Gold' on AM. early sponsorship. John Pickford is at the forefront of local journalism, reporting from 18 July 1988 major events such as the Manchester air 'The Superstation' launches. An early disaster in August 1985. networking venture, providing late night programmes across a host of stations 1 October 1985 Radio West in merges with Wiltshire 3 September 1988 1984 Radio and GWR is launched, with Steve Piccadilly Radio splits into two services with joins Capital Radio. Orchard hosting a breakfast show. Key 103 on FM and Piccadilly Gold on AM.

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1988-1990s 20 September 1988 1989/1990 31 March 1990 RDS launches, allowing car radios to retune More new ILR stations are licensed but now on Choice 96.9 starts broadcasting from studios automatically, display station identifiers and FM only: FOX FM in Oxfordshire; Orchard FM in in Brixton: Britain’s first 24-hour black music switch to local travel news. Somerset; Horizon Radio in ; radio station with a licence. from Hawick and South West 4 October 1988 Sound from Dumfries. They are the final ILR 15 April 1990 AM launches from Nottingham, stations to be franchised by the IBA. Radio begins transmitting. splitting off from Trent/, becoming the first 24 hour split- 1990 9 July 1990 frequency station. Midlands Radio, owner of Trent, BRMB and Melody Radio is launched in London, owned Mercia, is floated on the full stock market.The by Lord Hanson. It is later bought by EMAP Metro Radio Group takes over the Yorkshire and becomes Magic 105.4. Radio Network. joins Radio Aire. 17 July 1990 3 January 1990 The Magic brand is created. Radio Aire splits splits into and . its AM and FM frequencies.

22 January 1990 22 August 1990 Radio Borders begins broadcasting. UKRD is formed, investing originally in Pirate FM. The company later dominates The Times‘Best Companies to Work For’ league.

1 September 1990 5 November 1989 launches as the UK's first station to cater specifically for the Asian community. Avtar Lit is its owner and chairman.

4 April 1989 Xtra AM launches in the , as BRMB and Mercia split their AM and FM. Kiss 100 FM launches with an official Les Ross is on the breakfast show. Elsewhere broadcast licence, after more than five in 1989, Simon Cole founds Unique 4 March 1990 years as a pirate station. Broadcasting (UBC) with Tim Blackmore Jazz FM launches in London, the first radio (pictured below with ); John station to add an official ‘incremental’ tier of October 1990 Perkins becomes MD of Independent Radio commercial radio in the market. Helen 100 commercial radio services exist in the UK. News for the next 20 years; Charles Dunstone Mayhew is one of the original presenters of launches the . the station - where she works . 1 January 1991 The Independent Broadcasting Authority splits into the Independent Television Commission and the Radio Authority. In the same month, commercial radio stations are permitted to broadcast as much as they wish, as the IBA's nine minute rule is relaxed by Radio Authority.

27 January 1991 is born in Bristol, as FTP’s new owners, Chiltern, change its name.

1 March 1992 Michael Betton sets up Lincs FM to apply for the first competitively-awarded licence by the Radio Authority.

18 May 1992 The Radio Advertising Bureau (RAB) opens – funded by commercial radio to guide companies towards effective advertising on the airwaves.

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1992-2010s 7 September 1992 1 September 1994 1997 The first moments of Classic FM; the UK’s first Golden Rose launches JFM (Jazz FM) in the The Radio Authority begins to license small national commercial radio station and first to North West. scale local licences for smaller communities - play anything other than . Quentin 'Sallies'. Chrysalis buys the two licences Howard was the first voice heard on the 4 September 1994 operating as Kiss in Manchester and Yorkshire Classic FM test transmission. Bristol's Galaxy 97.2 is licensed to become to form the Galaxy Network. 200 commercial Galaxy 101 (Now Kiss). radio stations are now on-air. February 1993 Joint BBC and commercial radio audience 6 September 1994: 14 February 1997 figures are published for the first time, as The brand is born as Chrysalis launches in Yorkshire. It later industry standard RAJAR arrives. Radio launches 100.7 Heart FM in the West becomes Galaxy 105, now Capital, and the Midlands region. station with the largest reach outside London 24 February 1993 – over a million adults. Capital Radio completes its recommended 16 September 1994 cash offer to acquire Midlands Radio. Scot FM begins broadcasting. It is now known 1 September 1997 as (). The long-awaited Xfm launches in London by 14 April 1993 founder Sammy Jacob, with its roots CFM Radio launches. MD and Breakfast Show 14 February 1995 stretching back to 1989. It is the day after the host John Myers plays ‘Simply The Best’ by UK (now ) begins death of Princess Diana. as its first song. broadcasting on AM, the final national analogue commercial station. June 1988 After 15 years at Capital, moves to 10 April 1995 BBC Radio 1. adopts its FM London frequency on 105.8. A message from October 1998 is followed by the Russ ‘n’ Jono The Radio Authority announces it will use breakfast show. (Pictured below) 106-107 MHz FM for further regional and small-scale licences.

1 August 1998 The Pepsi Chart celebrates its 5th anniversary, after launching in August 1993.

30 April 1993 Launch of Virgin 1215 (now Absolute) on AM. The first song is a cover of Steppenwolf’s Born to be Wild by INXS. is the first voice, live from the Virgin Megastore in Manchester, with Richard Skinner the first voice back in London. 5 September 1995 April 1993 Heart 106.2 launches, the first mainstream Chris Evans leaves the BBC to host a Saturday music format competitor in London, morning show on Virgin Radio. Elsewhere in complementing its Midlands sister. 1993, David joins Capital Radio as commercial director in 1993. 1996 Chrysalis Radio purchases the Galaxy 101 1 August 1993 station. Meanwhile, Richard Findlay becomes The first Pepsi Chart launches. Chief Executive of .

October 1993 9 April 1996 The Copyright Tribunal decides on the The Association of Independent Radio amount commercial radio stations should pay Companies (AIRC) is renamed the Commercial to collecting societies PPL and PRS. Radio Companies Association (CRCA). 15 November 1999 , the first national commercial 1994 July 1996 multiplex, is launched. The launch of 100-102 Century Radio in North A new Broadcasting Act allows newspapers to East arrives, with John Myers as own stations in their local areas subject to a 14 March 2000 managing director and as public interest test, creating the structure for Chris Evans sells Ginger Media, owner of programme director. digital multiplex and station licensing. Virgin Radio, to SMG for £225m.

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5 January 2009 April 2005 August 2000 Heart spreads across the UK, as the biggest Commercial radio revenue hits an all-time Radio City moves to new premises in its Radio brand change in commercial radio history peak of £645.3m per annum. Mark Story City Tower. gets underway. chairs UK Radio Aid, a 12-hour show on 268 radio stations with an audience of 24 September 2000 December 2010 over 20 million. Over £3 million is raised. EMAP extends its Smash Hits brand to radio, Brand integration, through product with a new chart show. placement and endorsement, is permitted for the first time owing to changes to the Broadcasting Code.

3 January 2011 The Capital brand rolls out across the UK, creating 95-106 Capital FM, the UK's second largest commercial radio brand.

27 March 2011 2 July 2005 Commercial radio reaches highest ever Metro Radio moves to its impressive new audience of over 34 million adults. premises in the 55° North complex, next to the Tyne Bridge. Later in 2005, Christian 31 March 2011 O’Connell joins the Virgin Radio team, making Commercial radio and the BBC together, his first broadcast on 23 January 2006. launch Radioplayer; a cross-industry online listening platform. 1 July 2006 The Commercial Radio Companies 14 April 2011 Association and the Radio Advertising Bauer announces the launch of two new Bureau merge to form RadioCentre. national commercial radio packages: the ‘Place’ and the ‘Passion’ portfolio. 12 December 2001 In a DAB radio test marketing campaign, a 11 May 2011 £99 DAB radio sells out in 23 minutes, proving Commercial radio wins its highest ever the price point. Elsewhere in 2001, Nick number of Awards, with 12 Golds. joins LBC as Ralph Bernard completes 14 years as chief executive of GWR Group. 3 April 2007 22 November 2011 Arqiva purchases National Grid Absolute 60s launches. It doesn’t play Cliff. 5 January 2003 (NGW) for £2.5 billion. Regulatory agreement The Hit40UK chart launches across is reached the following year; and National 25 June 2012 commercial stations. Grid Wireless is amalgamated into Arqiva. Global acquires GMG Radio. The bid is referred to the Competition Commission, 29 December 2003 July 2007 with the popular Smooth and Real The Radio Authority hands radio licensing Global Radio is founded by Ashley Tabor and stations held separate whilst a regulatory and regulation to OFCOM, following the purchases Chrysalis Radio, where Global takes review is conducted. Communications Act. control of the radio brands Heart, Galaxy, LBC and The Arrow. 2005 28 January 2008 Neil Fox starts as presenter on the City Talk 105.9 launches, a sister station to the Breakfast Show on London’s Magic 105.4. existing -owned Radio City. Bauer Media completes the purchase of EMAP’s radio business, including Magic, Kiss and the Big City Network. Meanwhile, Moz Dee joins talkSPORT as programme director.

March 2008 September 2012 Global Radio acquires GCap Media to become Classic FM celebrates its 20th anniversary. the UK’s largest commercial radio group and owner of brands including Heart, Capital, 6 February 2013 Galaxy, LBC, Xfm, Choice and Classic FM. Bauer Media buys digital station Planet Rock.

29 September 2008 3 July 2013 Virgin Radio is re-launched as , Commercial Radio’s 40th anniversary Roll of following its purchase by of India. Honour is published.

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ON THE RADIO Music Week grills the CEO of RadioCentre about the 2013 Arqiva Awards, the Roll of Honour, the future of commercial radio, digital transformation and competition within the market

f there’s one man who can give you an unbiased account of the state of Icommercial radio, it’s Andrew Harrison. That’s unbiased in the sense of caring about and willing on each member of his parish with equal verve: understandably, he hardly maintains a dispassionate iciness when it comes to championing the business he represents. (Indeed, if you don’t want to hear from someone who celebrates each and every achievement of those working in non- publicly funded radio, look away now...) Music Week caught up with the RadioCentre chief executive to ask all about the new Roll Of Honour set to be unveiled at the 2013 Arqiva Awards - which celebrates 40 individuals who have shaped the sector over the past four decades - plus many other issues at the heart of the industry…

Why launch a Roll Of Honour at the Arqiva Awards this year? The idea came about because we wanted to find a way of telling the story of the first 40 years of commercial radio. This was a way that we could capture the story of the sector going forwards. We’ve always had Top 40s - the Pepsi Chart and that sort of thing - so that was a precursor to selecting the 40 individuals who have shaped commercial radio in the past four decades.

In your opinion, how important has the commercial radio sector been to the music industry in the past four decades? If you look back to 1973 and then follow the fortunes of the music industry over the 40 years, they are indelibly intertwined with the fortunes of commercial radio. We’ve always had a symbiotic relationship; commercial radio relies on the music industry’s artists and repertoire for an awful lot of its content, and then the music industry relies on commercial radio’s airtime and playlists for exposure and marketing. It’s a relationship that’s served both sides of the sector very well for a long period. We’re both commercial entities; neither of us are public sector groups. We’ve had a commercially realistic and mutually beneficial relationship for the last 40 years and that will last long into the future.

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Has the competition between public the next two to three years. It’s clearly here to provocative thought on that is that the and commercial radio been good for the stay and is an important part - not the only breadth of ownership and control in music industry? part - of the future. commercial radio is much broader than that Yes. The right way to think about it is to As we see the increasing growth of the in the recorded music industry. And remember how poorly the music industry digital music businesses, be they online on remember, we also have the BBC, so half the was served when there was only state apps or whatever, clearly the whole way overall market is another major competitor - broadcasting in the ‘40s, ‘50s and ‘60s. listeners use and consume music is changing you don’t have a public service record label. The explosion of the popular music industry and it’s very important that the radio sector When BBC Records comes out, that would get around rock’n’roll in the late ‘50s and then plays an instrumental part in that as the everybody jumpy! and The Stones in the late ‘60s future dawns on us. We’re all aware that was also the catalyst for , which iTunes Radio is coming from Apple and that What trends should we look out for in was the forerunner of commercial radio. Spotify, Last FM, Deezer and Pandora are commercial radio in the coming decade? If you’d never had pirate radio and only growing. It’s important that radio remains at You’ll clearly see a growth of consumption of ever had public service broadcasting, you the heart of music consumption. radio on mobile and tablets. Radio’s got the would have had a lot less diversity in music. great benefit that it’s always been mobile, but For , look at the breadth of output “The availability of in reality it’s only ever been mobile between today, you’ve got commercial stations playing music is clearly rooms in the house or fixed in the car. dedicated genres - whether that’s Jazz FM or You didn’t truly carry it around with you, Planet Rock - you’ve got them playing hits like greater now than but now it’s going to be available in Capital or Kiss, you’ve got back catalogue like when we all had vinyl everybody’s pocket all of the time, and that’s a Magic or Heart, and you’ve got a truly collections, but it’s wonderful opportunity for the sector. Also, national station in Classic FM - the list goes digital radio in cars will become standard on. There’s so much variety and competition. still true that people in new cars soon enough, which will be a Look at in particular: even with discover new music via the radio” major change. And then you’ll see the something that’s fairly well entrenched in the ANDREW HARRISON, RADIOCENTRE growing importance of commercial radio public service sector, everyone would concur brands as opposed to stations based on their that the classical sector and the opportunity locality or their frequency. for classical musicians is better and more How much competition do the likes of We’re increasingly seeing, like in a lot of vibrant for having both BBC Radio 3 and Spotify, Pandora and iTunes Radio offer aspects of the modern world, branding Classic FM. It’s clearly opened up classical commercial radio - or is there enough of a becoming more and more important for music to a wider audience and broken down margin between the sectors? listeners and indeed for advertisers. some of the monopolies of the in-house BBC I think there is enough of a margin. Radio has orchestras getting airtime. always been naturally very complementary to How close are we in terms of getting digital everyone’s personal music collection; whether radio into cars and how important will it be Do you think the BBC sometimes gets an that be vinyl, CDs, tapes or digital on an in the near future? unfair level of acclaim compared to iPhone or, indeed, in the Cloud or via a digital It’s a complete game-changer. Until you can commercial radio - perhaps because it can music jukebox. That’s been the case ever since get digital radio in cars, it’s inconceivable that use its own marketing channels to popular music started to be listened to in you could even consider a full switchover. It’s promote its own programming? substantial numbers. too important. You’ve got to have the DAB I do, and I think that’s an interesting point. The The availability of music is clearly greater sets available in cars and see how listening BBC is so strong in this country and everyone now than when we all had vinyl music progresses as a necessary step towards a loves them, so therefore it’s perceived that the collections at home, but the truism remains switchover. It’s not the only consideration BBC is the only place you get public service the same: there will be times when listeners when it comes to a switchover, but it’s a pretty broadcasting. Actually, it’s a fact that want to escape into their own personal music fundamental and necessary one. We’ve now commercial radio does a lot of public service collection and there will be other times when got commitment from most of the car broadcasting as well. they want to listen to real-time broadcasts manufacturers so DAB will be standard for The reality is, we have formats that ensure that are curated. All of the evidence suggests new models by the end of next year. there’s a diversity of musical output for that radio continues to be the primary listeners. As an example, the only national discovery medium for music. There’ll be lots What moments from the history of commercial station on FM is licensed to be a of other ways of accessing music, but radio commercial radio stick out for you on a non-pop service - Classic FM. Then there’s makes it easy for listeners to hear tracks for personal level? stations like XFM and Kiss, or Jazz FM, which the first time. Oh, gosh... I’m a huge rock fan, so I remember are playing artists that require exposure - not very fondly the launch of Planet Rock - the just contemporary hits. Is there sufficient competition in the first song it played was AC/DC’s For Those current commercial radio market? About To Rock (We Salute You), which I always What stage is the commercial sector at in Overall from my perspective it’s a yes - thought was a great tune to play. In more terms of its digital transition and what absolutely, there is sufficient competition. recent times I remember the controversy challenges does it have to come? There’s over 300 licensed commercial radio around Absolute launching Absolute 60s and The right answer is that digital listening is stations with over 50 different owners, from then saying they weren’t going to play Cliff - clearly growing in importance all of the time. the big groups like Global or Bauer through to that was a bit of fun. Capital reviving the It’s now over a third of all listening [across the multiple small independents. The industry is and putting commercial UK] and the current growth rates suggest that balanced and healthy. There’s an inevitable radio events back on the map in a big way has it will account for over half of all listening in process of consolidation going on - but a been another great development.

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MUSIC TO OUR EARS Why is the commercial radio sector so vitally important to the music industry - and what are its biggest challenges? Music Week asked senior industry experts to give us their view…

Steve Parkinson, MD, Ashcroft, CEO, new UK artists (who wouldn’t), but again this Bauer Radio London PRS for Music: has improved over the past couple of years “Whether you’re a “We’d like to thank the and overall remains a challenge for all of us.” network or a local commercial radio station, commercial industry for all it has Mike Walsh, Head Of radio is an essential done over the last 40 Music, Xfm curator of content years. Our members “I can only answer from and a filter. It brings and the commercial an Xfm perspective but new, popular and radio sector are co-dependent, each very we proudly contribute to legacy material to UK music consumers in a much relying on the other. Radio needs the the health of the modern content-cluttered world. musical repertoire of songwriter, composer British music business. “As such, the Bauer Media UK portfolio is a and publisher members; in turn our members Through our genuinely powerful way for the music industry to reach rely on commercial radio as an important 'best in class' specialist a huge amount of eyes and ears. Despite the part of their varied royalty income. presenters – John Kennedy, Eddy Temple time pressures of accessing artists, we will “Commercial radio has adapted and Morris, Ian Camfield and Scroobious Pip - we connect the artist and their content to the changed since its early beginnings, creating are giving brand new artists their very first consumer quicker and to a huge, highly formats and stations that have challenged the airplay on a daily basis. Through our open- relevant audience, whether that’s a simple industry and improved diversity in the wider minded and adventurous daytime playlist, we championing of an artist or the broadcast of radio sector. The challenge for the sector will are building audiences an event which we amplify across the UK be to keep innovating and changing which for emerging artists every week. We using our extensive network of media brands. I’m sure it will do as it always has. As we still constantly see Xfm playlist support giving a “The challenge? To be always there, always rely on our radios for so much of our significant kick to developing artists' on-line on and relevant for our consumers and entertainment I’m confident the industry has interest and ticket sales. commercial partners. Commercial radio goes another bright 40 years ahead.” “As a commercial station we provide a way beyond traditional FM - it lives within the highly targeted and cost-effective platform event and space. Kevin McCabe, SVP Promotions and for all music advertisers from labels to “Look at the Kiss ‘hear it, see it, share it’ Publicity, Parlophone Label Group promoters – Xfm's male skewed 20 to 35, high strategy or our local Place Portfolio stations. “Commercial radio is still ABC1 demographic is not widely available Every single one of our stations is a media vitally important to us. elsewhere. Our biggest challenge is simply brand in its own right, connecting 24/7 with The impact that having a what we do every day – making unique UK consumers across multiple channels in a track on rotation at audience winning content with a fraction of dynamic conversation about what’s hot in Global, Bauer, Absolute, the BBC's resource.” entertainment . GMG, etc. is significant. “I believe commercial radio is integral to the It can make a big Damian Christian, ongoing success of the music industry difference to a Director of because of its role in promoting all types of campaign that doesn’t have national BBC Promotions, music, artists and products to UK consumers.” support and enhance a campaign that does. Atlantic Records UK “The common-sense rules haven’t changed “Commercial radio has David Joseph, though, we all know the remits and format of and always will be Chairman & CEO, Universal Music UK what will be played, so you just have to make incredibly important to “Curation is more sure you prioritise working the right artists the music industry. They important now than it’s within them, and let the BBC lead on others – help to break new artists and equally support ever been - how fans hopefully the perfect storm will then be our established acts. They also offer very high connect with music - created at some point during a campaign or rotation airplay in many cases that can spread and radio still does this career. I also like the way that commercial over the entire year on the right projects, better than anything radio has really embraced the whole iTunes which proves instrumental in selling albums.” else. The massive culture, they react to the public’s buying audiences still tuning patterns much quicker now - possibly quicker James Curran, into commercial radio than their national counterparts – which is Head Of Music, and its dedication to playing hits and sticking down to the fact that they are now Absolute Radio with them can help turn a successful song or broadcasting next week’s chart a week ahead “The BBC is increasingly artist into a huge song and artist. Its biggest of national radio. being brought to challenge in future will be keeping the “I would of course really like to see account on its remit to attention of younger music fans.” commercial radio continue to support more target specific

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audiences rather than overall audience it has to offer. The challenge, I would suggest, “Commercial radio’s biggest challenge is figures, and to to be impartial in its promotion is the extent to which it sticks to what it staying ahead of developments so that they of new music which has resulted in playlists clearly does best, or seeks to adopt aspects of remain trusted influencers of every age of with very high and rapid turnover. services offered by more recent entrants to society in every genre of music. “This is exactly what the BBC should be the music distribution business.” “Everyone has mates they rely on for music doing - however this does not sell albums. recommendations: if my mate can easily send Their turnover of music is so quick it just Jeremy Marsh, Vice me to music I can stream for free on Spotify, can’t have the same impact on audiences that Chairman, Warner what exactly is the point of listening to a it once did in converting those plays and Bros. Records UK tightly-controlled playlist on a radio station? listens into purchases of music and as a Commercial Radio has When Xfm did away with actual DJs a few result, fewer tracks on the Radio 1 playlist always, and continues years back I couldn’t think of a more are converting into chart hits. to, occupy a crucial role retrograde step. Actively flagging the lack of “This means the music industry needs in the modern music human curation over the music they were commercial radio to fill that gap by industry - despite this offering their listeners was an odd move. supporting certain tracks and artists over a being an era in which consumers enjoy their “Shows, stations and live events should be sustained period of time so that it can impact music through a multitude of different rallying points to bring people together. Be it more heavily on listeners and get them to formats and global, digital platforms. The fans of a particular band, or type of music in a make those downloads of single tracks and sheer breadth of stations on air across the UK late evening slot on a specialist station, secure album sales. regions – from Capital and Heart to Xfm right up to mass events like the Summertime “Commercial radio’s impact on actual sales (London and Manchester) and Bauer stations Ball. Commercial radio has to carry on being is proven – you just have to look at the second to name a few - has meant that labels have a the mustering point for all musical tastes in lease of life Capital gave ‘Paradise’ by plethora of places to go. the country, nurturing and growing bands on where its commencement of 60 plus weekly “Having your bands appear at annual their way up and amplifying them at the top – plays coincided with the track being that rare events like Capital’s Summertime and involved in the whole process of a bands thing – a guitar led No.1 . Jingle Bell Balls, which always draw huge growth to give them and in turn itself the “Heart probably surprised itself by breaking young pop audiences, is a vital part of room to shine.” ‘Let Her Go’ by Passenger in the UK with breaking a pop act in the UK. Artists and saturation play across the Heart Network . stations entering into mutually advantageous , And indeed Absolute Radio’s consistent partnerships, each benefitting from the Managing Director, support of The Lumineers ‘Ho Hey’ resulted in others brand appeal, is more important today Classic FM a gold selling single and one of the biggest than it’s ever been. The power of commercial “Classic FM plays a selling rock debut albums of the last 12 radio, in an increasingly difficult environment, vitally important role in months – and all without any BBC station has never been greater, its reach never wider. taking the work of going anywhere near it. “It’s biggest challenges? Well, those I classical composers and “The challenge for commercial radio is to mentioned above…. the sheer breadth of performers to a broad- remain confident in its own ability to break choices on option to the consumer, the very based mass-market audience. We’re the new music and not play it too safe. The BBC fact that radio itself is only one of countless only UK radio station broadcasting classical has led the way in promoting new music and mediums through which a fan can consume music 24 hours a day, seven days a week. commercial radio should not shirk that music. But commercial radio has always been That absolute commitment to the genre responsibility as we have proven we can a hotbed of innovation. By staying nimble, has seen us grow a weekly audience of 5.6 break new music and indeed the pendulum continuing to seek out new business models million listeners. Classic FM is a great British of influence - in terms of producing single and working with record labels to offer commercial radio success story – with more and album purchases - seems to be swinging compelling fan experiences, it will ensure it people listening to classical music through our way.” maintains its importance and relevance to Classic FM each week than through any other music lovers everywhere.” UK broadcast medium. This means we have a Peter Leathem, responsibility to support the people who CEO, PPL Jim Frayling, Head of make and record the music we play. Every “A successful music Music & New Events, day, we profile new album releases and we’re industry needs to both big supporters of taking our listeners on the create great music and “Commercial radio is journey from buying physical CDs to digital deliver that music to the massively important downloads. We also work closely with widest possible to both live and orchestras across the country, bringing new audience. For forty years recorded industries. audiences to live concerts. commercial radio has played a major part in ‘Video killed the radio “In terms of the future, we’re benefiting making music available to the UK public and, ’? Well no, not exactly. hugely from being part of Global Radio and despite the multitude of competing platforms “At Wembley we believe, that thanks to the investment being made into digital which have emerged in recent years, its innovative – but logical – extensions into platforms. The Classic FM app has audience figures demonstrate it remains a owning and supporting live events, the radio already been downloaded more than a significant partner for the music industry. star has never shone brighter: just look at the million times and classicfm.com is delivering “The resilience of its listenership, success of the Capital FM Summertime Ball. all-time record user numbers month after notwithstanding the range of alternative Stations like Capital FM play a vital role in month. So, in reality, the changing digital distribution channels, demonstrates that introducing a new generation of fans to new landscape is proving to be a fantastically there is a strong consumer demand for what bands and live events. exciting opportunity. “

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THE PLAYS OF OUR LIVES Over the past four decades, commercial radio has shouldered a hugely important role in turning passive listeners into active buyers of pop music. Here we look back on the best- selling singles from every year the sector has been alive - including some surprise entries…

1973: Tie A Yellow Ribbon Round The Old 1980: Don’t Stand So Close To Me - Oak Tree - and Dawn Appearing on The Police’s album Zenyatta Written by Irwin Levine and L. Russell Brown, Mondatta, not only was this track the Tie A Yellow Ribbon claimed the Official No.1 biggest-selling of the year, it also earned the spot in the UK in April 1973 and remained band a Grammy Award for Best Rock there for a full four weeks. Performance a couple of years later.

1974: - Mud 1981: Don’t You Want Me - Human League With more than 730,000 units sold to date, From the synthpop band’s Dare album, Mud’s glam-stomper was a smash hit in the Don’t You Want Me remains Sheffield band mid-Seventies. The band’s first No.1, it was Human League’s most commercially successful written and produced by the songwriting recording. It took 1981’s Christmas top spot and team of Nicky Chinn and . has sold over 1.5 million copies to date.

1975: Bye, Bye Baby - 1982: - A cover of the Four Seasons classic originally penned by Bob Crewer and Bob Gaudio, the Appearing on their Too-Rye-Ay LP, Come On Bay City Rollers’ version has sold more than a Eileen was the second UK No.1 for Dexy’s million copies to date. It topped the Official UK Midnight Runners following Geno in 1980. It Singles Chart for six weeks. won Best British Single at the 1983 .

1976: - 1983: - Culture Club’s second chart-topping UK single Having shifted more than a million copies after Do You Really Want To Hurt Me?, Karma to date, Save Your Kisses For Me was the Chameleon hit the No.1 spot in no less than 16 winning song at 1976’s Eurovision Song countries worldwide. It has sold more than Contest held in The . 1.4 million copies so far in the UK.

1977: Mull Of Kintyre/Girls’ School - Wings 1984: Do They Know It’s Christmas? - Band Aid The best-selling record of the decade, Paul The second biggest-selling single of all time in McCartney penned Mull Of Kintyre with the UK, the all-star track written by original Moody member Denny Laine. It and has sold over 3.5 million copies was the first single to sell over two million in to date. Lesser-known participants on it include the UK and ‘77’s Christmas No.1. Marilyn, Big Country and Kool & The Gang.

1978: /Brown Girl In The 1985: The Power Of Love - Ring - Boney M While Jennifer Rush’s original was the biggest- Originally written and recorded by Brent Dowe selling single of the year in the UK in 1985, and Trevor McNaughton of The Melodians in The Power Of Love has seen further huge 1970, the Boney M version topped the Official success through covers from the likes of Laura UK Singles Chart for five weeks. Branigan, Air Supply and Celine Dion.

1979: Bright Eyes - 1986: Don’t Leave Me This Way - Originally penned by now-Dramatico Records boss Mike Batt for use in the Watership Down Topping the UK charts for four weeks, The film in 1978, the subsequent use of Bright Eyes Communards saw success with Don’t Leave Me in the related television series adaptation has This Way nine years after the song’s original helped create a lasting legacy for the song. release by Harold Melvin & The Notes.

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1987: - 1995: - Robson & Jerome Written by Stock, Aitken & Waterman for Performed by and Jerome Flynn Astley’s multi-million selling debut album in UK drama series Soldier Soldier, this cover was Whenever You Need Somebody, this track subsequently released as a single and went on stayed at No.1 for five weeks. It’s now the to sell 1.86 million copies. It arrived just five subject of popular online prank ‘Rickrolling’. years after ’ re-release.

1988: Mistletoe & Wine - Cliff Richard 1996: Killing Me Softly - The Although made famous by Cliff Richard, A No.1 hit for Roberta Flack in 1973 (then titled Mistletoe & Wine was written by Jeremy Paul, Killing Me Softly With His Song) The Furgees Leslie Stewart and Keith Strachan for London cover became so successful that it was musical Scraps - an adaption of Hans Christian eventually deleted so that public attention Andersen’s The Little Match Girl. could be turned to the band’s next single.

1989: - Black Box 1997: Candle In The Wind ‘97/Something Originally a hit in Italy, house track Ride On About The Way You Look - Time became a smash hit worldwide after The UK’s number one most popular single of all rights were obtained across territories. It spent time has garnered over 4.9 million sales to date. six weeks at No.1 in the United Kingdom, but Elton John’s tribute to Princess Diana was amazingly failed to chart at all in the US. adapted from a 1973 ode to Marilyn Monroe.

1990: Unchained Melody - 1998: Believe - Righteous Brothers Featured on Cher’s 23rd studio album, Believe Written in 1955 for movie Unchained, this was written by six people (Brian Higgins, Stuart track was released by The Righteous Brothers McLennen, Paul , Steven Torch, Matthew in 1965. It was a 1990 cassette re-release that Gray and Timothy Powell) and produced by brought it the most success, however. Mark Taylor and Brian Rawling.

1991: (Everything I Do) I Do It For You - 1999: … Baby One More Time - Written by Max Martin, who also penned Boosted by its inclusion on the soundtrack Spears’ Oops! I Did It Again as well as tracks for album for Robin Hood: Of Thieves Backstreet Boys and ‘N Sync ...Baby One More starring Kevin Costner, this power ballad held Time was Britney Spears’ debut single and title the Official UK No.1 spot for 16 weeks. track of her debut album.

1992: - 2000: Can We Fix It? - Theme song of ’s TV show Bob The Another Costner assist, Whitney Houston’s Builder, Can We Fix It? beat ’s What version of ’s 1974 release became Makes A Man to the Christmas No.1 spot at the one of the best-selling singles of all time after turn of the Millennium. It was written by featuring in Hollywood film, The Bodyguard. composer and producer Paul K. Joyce.

1993: I’d Do Anything For Love (But I Won’t 2001: It Wasn’t Me - feat RickRok Do That) - Meatloaf The first official single from Jamaican-American Written by ‘loaf collaborator Jim Steinman, I’d reggae artist Shaggy was widely considered Do Anything For Love was the first single from his breakthrough into the pop market. album Bat Out Of Hell II: Back Into Hell. The It Wasn’t Me featured on Shaggy’s multi- song reached No.1 in 28 different countries. platinum album Hot Shot.

1994: - 2002: Anything Is Possible/Evergreen - Claiming 15 weeks as an Official No.1, this cover of The Troggs’ 1967 track (albeit with a different Emerging as winner of the inaugural series of introduction) saw Wet Wet Wet set a new record Pop Idol, Will Young’s debut single Anything Is for a British act. It soundtracked Brit movie hit Possible would go on to become the Four Weddings & A Funeral. best-selling record of the decade.

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2003: Where Is The Love? - 2008: Hallelujah - Where Is The Love? saw a move to more Another X Factor success, this time from the mainstream pop for The Black Eyed Peas. It winner of the show’s fifth series Alexandra appeared on their third album Elephunk and Burke. It took the Christmas No.1 spot but also was their first single to feature singer Fergie. helped boost sales of Leonard Cohen’s original provided backing vocals. and, more so, Jeff Buckley’s 1994 cover.

2004: Do They Know It’s Christmas - 2009: Poker Face - Featuring on Lady Gaga’s debut album The An adaptation of the 1984 hit used Fame and produced by RedOne. Although only some of the biggest stars of the Noughties to debuting at No.30 on the UK Chart, the song mark the 20th anniversary of the original. DTKIC went on to become Gaga’s second No.1 single 2004 featured a rap section by Dizee Rascal. and has sold over a million copies to date.

2005: Is This The Way To Amarillo? - 2010: - feat. feat. -born Peter Kay thrust this Tony Christie The second single from Eminem’s seventh original back into the spotlight in 2002 using the studio album Recovery, Love The Way You Lie song in his sitcom. That made was co-written by Skylar Grey. Eminem chose way for this 2005 re-release for . Rihanna to sing the chorus on the release itself.

2006: Crazy - 2011: Someone Like You - The debut single from the Cee Lo Green/Danger Written by Adele alongside artist and writer Mouse collaboration Gnarls Barkley, Crazy Dan Wilson - previously of Semisonic - topped seven international weekly charts Someone Like You was the second single of including the UK Official Singles Chart - where it multi-record breaking album 21. The track held hit No.1 on download sales alone. the No.1 spot for four weeks in the UK.

2007: - 2012: Somebody That I Used To Know - Co-written by Jesse McCartney and Ryan feat. Tedder, Bleeding Love is the second single of Written and recorded by Gotye at his parents’ Leona Lewis who shot to stardom after house, Somebody That I Used To Know has winning the 2006 edition of The X Factor. It become the Belgian-Australian artist’s signature reached the No.1 spot in 33 countries. song, topping 23 national charts.

THE BEST-SELLING UK SINGLES BY DECADE SINCE THE 1970S

1970s: Mull Of Kintyre - Wings (2.05m sales to date) 2000s: Anything Is Possible/Evergreen - Will Young (1.75m) 1980s: Do They Know It’s Christmas? - Band Aid (3.51m) 2010s: Someone Like You - Adele (1.4m)

1990s: Candle In The Wind 97 - Elton John (4.87m)

Source for all stats:

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SIMPLY THE BEST At the 2013 Arqiva Awards, 40 of the most exceptional commercial radio professionals will take their place on RadioCentre’s new Roll Of Honour, sponsored by Audioboo. It tells the story of the sector’s history through these individuals, who all changed the shape of the business...

Ian Anderson is Philip Birch was Michael Betton owner and operator, Managing Director of started his radio alongside his wife Radio London, the career at Radio Orwell Inga Walterson, pirate radio station in Ipswich, before of SIBC (Shetland whose business model joining Ocean Sound Islands Broadcasting became the template for as its launch Company), which the early commercial programme controller began broadcasting radio stations. After the and later its MD. He in 1987. Anderson closure of ‘the Big L’, as set up Lincs FM it was known, Birch moved to Piccadilly Radio was previously a broadcaster for the “I really thought in 1991 and BBC and Radio Forth, as well as pirate radio in Manchester and was its CEO until his has since stations including Radio Atlantis, Radio retirement in January 1984. Speaking in Radio 1 needed grown it to Northsea International and Radio Caroline. 1974, Birch said: “Radio London was set up shaking up in 1976” eight stations. with a different philosophy to Caroline and Anderson was born and brought up in MICHAEL BETTON Betton is the in the Shetland Islands. He left Atlantis - who both felt it wrong that the BBC longest- aged 18 to study at the Edinburgh College had a music monopoly. They were in the serving director of the industry’s trade of Art. In 1966, he was offered summer music business. They wanted to expose [their association having served on the boards vacation work on Radio City, but decided own] records; to have a radio station that of AIRC, CRCA and RadioCentre. On his not to go. In 1968 he did the pilot of a would play their music... The big difference experiences at Radio Orwell, he says: “It progressive music programme for the BBC in was that the Big L was setup to attract launched in 1975 and I was absolutely Scotland. A year later he became involved audiences - we were not interested in fascinated by it. I really thought Radio 1 with music station Geronimo before plugging records. We were a commercial needed shaking up. I was only 14 in 1976, working for Radio Northsea International. operation and we were attracting about a but desperate to work in commercial radio He joined Radio Forth in 1974. million pounds a year [in the mid-Sixties]. and volunteered to be a tea boy.” Radio London was a profitable business.”

Lord Richard Tim Blackmore MBE was Ralph Bernard CBE Attenborough CBE was a Radio 1 producer before started as a journalist Capital’s founding becoming Head of at Radio Hallam in chairman and is its Programmes at Capital 1975. Later, as CEO lifetime President. His Radio in 1977. He was of GWR, he built the was the first voice on appointed as the first single station into a commercial radio, with Director of the Radio major group, the words ... "This, for the Academy in 1987 before eventually merging very first time, is founding the with Capital Radio to “The whole viability Capital Radio" - a “Capital was a bold, Unique form GCap in 2005. Bernard went on to classic phrase Broadcasting of the operation play a pivotal role in the creation of Classic new, exciting which came Company (UBC) was in question” FM and was its chairman until 2012. adventure for me” shortly before the with Simon Cole in Today he chairs the Quidem Radio group LORD ATTENBOROUGH station’s first ever TIM BLACKMORE 1989. Blackmore as well as pursuing a successful non- on-air pop song, Bridge Over Troubled Water. was awarded an executive career. Of his time at Radio Attenborough’s investment was critical MBE for services to independent radio Hallam, he says: “I’d been a newspaper to the creation of Capital Radio and he production. In 2004 he was appointed as a journalist and working on radio. used his personal art collection to secure the Non-Executive Director at UBC and continues I loved radio and it was working on station’s salaries bill in its earliest days. to act as Group Editorial Director, as well as when I realised it was what I Looking back on this rocky mid-to-late-1970s Chairman of Smooth Operations. “When I told wanted to do. I fired off letters as you did period 20 years later, Attenborough would my BBC boss, Derek Chinnery, that I was going in those days to anybody I could get hold note: “Although one can say it now, to Capital, he was shocked,” recalls Blackmore of. I lived in in and Radio one couldn't at the time: there were some today. ”Capital was a bold, new, exciting Hallam sent a letter to [the wrong weeks when the viability of the whole adventure and I wanted to be part of it. The address]. When I telephoned weeks later, operation was in question and we might next day Derek called and said: ‘I’m afraid they explained there was another job have had to close down. We almost didn't you’ve got to clear your desk by tonight.’ Why? going and asked if I’d be interested.” make ends meet.” ‘Because you’re joining the opposition.’” www.radiocentre.org 22 22-30 Roll of Honour_v22_. 27/06/13 16:51 Page 2

Paul Brown CBE worked Chris Evans’s first ever in Forces and Moz Dee began his radio show was on commercial radio before, radio career in Manchester’s Piccadilly in 1984, becoming a presentation at BBC Radio in 1983. His career regulator - first at the CWR, and went on to then took him to GLR, Independent be part of the launch and Radio 1, Broadcasting Authority team of Talk Radio where in March 1992 he and then at the Radio UK in 1995, where he replaced Authority, where he was later became head of in the station’s Sunday deputy chief executive. In 1995 he became sport. He afternoon slot. Evan’s show, Too Much Gravy, CEO of the Commercial Radio Companies “We at got joined 5Live was broadcast from 14:30 to 16:00 and Association earning a reputation as the fined a lot by the in 1999 ended in September 1992. Although it was a industry’s greatest champion. In 2006 he was where he was short run, it was a very successful one: appointed chairman of RadioCentre, before Radio Authority” managing controller Johnny Beerling later admitted retiring from radio two years later. Before his MOZ DEE editor before that he wished he'd offered Evans a full-time industry representation roles, he worked for taking on the show on the spot. Radio Victory, of which he recalls: “They lost job of Programme Director talkSPORT. Evans joined Virgin Radio in 1993 to host their programme controller, who I met on a There he achieved record audiences and morning programme The Nescafé big red press trip to - a chap called ‘Jumpin’ bought a host of sports rights to mug show. However, he left after just three Jack McLaughlin, one of the greatest of the commercial radio becoming Sony months to concentrate on his television breakfast DJs in my view. Programmer of the year. Dee recalls career, which would see him front iconic “He said he thought things had gone a bit joining TalkRadio: “It was completely shows such as , Don’t Forget awry and would be moving on, and why different to the BBC - and that’s quite an Your Toothbrush and TFI Friday. In 1997, Evans didn’t I apply for the job, so I did. They called understatement. It was owned by returned to Virgin Radio as a presenter - the position rather grandly ‘head of Americans and their mantra was very prompting an upsurge in listening figures programmes and news’ because you were in clear: if you’re not getting fined, you’re from 1.8 million to 2.6 million - before later charge of both strands of output in those doing something wrong. We promptly buying the station. When he sold it in 2000 to days. I was at the IBA when it withdrew went out to be as shocking as we could, SMG, he became the man who had made the Victory’s licence and gave it to Ocean Sound - but being British that’s not very easy - greatest personal fortune from the sector. I had nothing to do with the process. I was and we promptly got fined a lot by the UK Radio Aid, in 2005, heralded his return to taken off all licensing duties for obvious Radio Authority.” radio, after which he joined BBC Radio 2. reasons; I was very keen on Radio Victory.”

Simon Cole started Sir Charles Dunstone, Richard Findlay his radio career as a co-founded mobile CBE worked at BBC trainee, moving phone retailer, The Capital Radio before to Manchester in the Carphone Warehouse in its launch. In 1974 he early 1980s as the 1989. He was the first became the first head of programmes businessman to use programme at Piccadilly Radio, radio to launch a major controller of Radio the youngest brand, taking advantage Forth and its MD in programme chief on of the industry’s growth 1977. He later the network. Whilst at Piccadilly, Cole in the 1990s. His business was a founding became Group Chief Executive of Scottish helped pioneer the market for national shareholder in the MXR digital radio multiplex Radio Holdings. Findlay also served as sponsored programmes. He went on to business. He first began selling mobile Chairman of the Association of found Unique Broadcasting (UBC) in 1989 phones out of his flat on Marylebone Road in Independent Radio Contractors, where in partnership with Tim Blackmore. “I’d 1989. He was 25 years old and had £6,000 of he lobbied vigorously and successfully for spent time at school and university savings - which he’d built up whilst working deregulation. He was appointed a CBE freelancing at the BBC - and had been at NEC for four years as a sales manager. for services to the Arts and Creative turned down for a job aged 22,” he recalls. Dunstone later co-founded IMD, which Industries in Scotland. On leaving the “I was told the reason was that I would revolutionised the delivery of radio ads to Scottish Radio Holdings in 2004, he told have got the job but I was younger than radio stations in the mid-1990s with a fast and : “Commercial radio had a the other candidate, and they therefore flexible new means of delivery for the UK bumpy start. I recollect Richard needed the job more than I did. I didn’t’ radio advertising community. Starting with a Attenborough, who was chairman of understand that at all. I almost literally service to deliver new music releases to radio Capital, being refused money at the bank walked across the road to commercial stations, Fastrax, IMD built a position in the to pay wages and having to go home and radio. I understood commercial radio as a music industry to include delivery of take a Picasso off the wall and hand that dark place having been at the BBC and was promotional music videos both for station in as collateral to the bank. But we got expecting it to be very difficult: it wasn’t, it playlist and producer selection and to replace through it and succeeded... In order for was very easy, everybody was very friendly digi beta tape delivery with broadcast quality commercial radio to be successful we and I got on very quickly with the whole video files. Dunstone was Knighted in 2012 have got to move beyond music. Local way Piccadilly operated. I loved it.” for services to the mobile communications news and local information will be key.” industry and to charity.

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Nick Ferrari is the multi Neil Fox was, for 18 award-winning host of David Mansfield years, one of Capital the LBC Breakfast Show. joined Capital Radio Radio’s most popular Formerly a journalist for as commercial DJs. As host of the the , The director in 1993, later Evening Surgery , and the Sunday becoming its CEO. In programme he Magazine, Ferrari moved 2005 he led the became ‘Dr Fox’, a into broadcasting as the newly formed GCap name which stuck launch editor of Media as CEO, through seven following “Hearing American “I’d be a happy man the years hosting Channel, moving “The 1990s were a Capital's stations made me drive time and if I had a scintilla of on to work for Fox great time for radio: £711m 11 years want to be a DJ” Don Imus’s talent” TV, L!ve TV and a golden age, really” merger with fronting the Talk Radio. His GWR. David NEIL FOX DAVID MANSFIELD Pepsi Chart innovative is chairman Show. Since programmes, such as Call Clegg, continue to of RAJAR and 2005 he has hosted the Breakfast Show keep LBC at the forefront of industry has a varied career as a non-executive on London’s Magic 105.4. “I always loved developments, whilst away from radio director. Discussing his early years, he radio, without ever thinking I’d do it for a he continues to be a columnist for The says: “Commercial radio wasn’t doing living,” says Fox. “It was only when I got Sunday Express and a regular guests on ITV1’s particularly well - it was known as the 2% involved with University Radio Bath that I The Show. medium. It was what advertisers did if started thinking that it would be quite an “I never had an ambition to be on the radio, they couldn’t afford to do anything else. entertaining way of making a living. Then but I had great training,” he says. “I remember No-one really expected it to provide any I went to America in the early Eighties to listening to a guy called Robbie Vincent on real sales results. A lot of good things do a year of my degree and I heard all the London Radio. He was an absolute master of came together: RAJAR and RAB had just US stations. They had these incredible the craft. Then I was incredibly fortunate got going, the Government had allowed commercial stations; every record they when I lived in Westchester County and had more licensing of commercial radio played, every thing they talked about, an hour’s drive into New York every day. I stations that allowed us to offer a national every advert they did, every gig they would listen to a bloke called Don Imus, he is proposition to advertisers. We moved discussed seemed like it was aimed at me and was a genius. If I had a scintilla of his from a fragmented, cottage industry into and my flatmate Jim.” talent, I’d be a happy man.” something that was more important.”

Dee Ford was appointed Lord Jimmy Quentin Howard was managing director of Gordon CBE the industry’s youngest Preston-based Rock FM launched Radio ever chief engineer at in 1994, seven years after Clyde as MD on Severn Sound before joining the Radio City Hogmanay 1973. moving to the GWR sales team in 1987. Acquiring other Group, where he One of commercial radio stations, he pioneered the use of CDs radio’s indisputably formed Scottish and digital playout greatest sales talents, Radio systems. He was Ford was repeatedly promoted at EMAP and “The older audience Holdings instrumental in the establishment of Classic now, as part of the , is were intensely loyal which he first FM, recording the famous birdsong test The group MD of Bauer Radio. In 2011, to Radio Clyde” led in 1996 transmission in his garden using a portable Independent called her ‘a local radio star with and then digital audio tape (DAT) recorder. an eye on the global market.’ JIMMY GORDON chaired until Classic FM launched in September 1992, but in She says of joining Radio City: “That was my 2005. He was the preceeding months, Howard uses the first start in radio. Before that I’d been a founder of the first industry Trade birdsong recordings to test the transmitter working in local newspapers, and if you cast Association and Radio Advertising network. Millions of listeners heard the your mind back to those days, local Bureau and today is probably radio’s continuous broadcast of birdsong, interrupted newspapers were actually the best training greatest champion in the House of Lords. every 30 minutes by the required statutory ground for local sales people - I had Before forming Radio Clyde, Gordon announcements, also voiced by Howard. experience and a real discipline around worked as political editor for STV National newspapers began carrying stories selling, but I wanted to try out a more between 1965 and 1973. He says that the about the mysterious sound of birds as media pioneering environment. daytime programming schedule at Clyde pundits and journalists scrambled to figure “I walked through the door at Radio City and was designed “to be as broad as out what the real sound of Classic FM was although I had experience in sales, the radio possible”. Music on Clyde was pitched at going to be. An early supporter of environment was completely new and alien. an older audience from 10.30pm to digital radio, he launched the UK's first “There was a real sense of urgency, creativity, midnight. He explains: “We realised that national commercial DAB network, Digital almost a ‘bring it on’, anything can happen the older audience were intensely loyal One, in 1999 - again using birdsong to test the environment. But best of all in those days, it and nobody was doing anything else for transmission in the weeks prior to launch. was a fast-growing revenue opportunity. I fell them - they were there for the taking.” Howard is now Director of TV and in love at first sight and it changed my life.” Technology at BFBS. www.radiocentre.org 24 22-30 Roll of Honour_v22_. 27/06/13 16:52 Page 4

Deanna Hallett first Avtar Lit is the owner ventured into the radio John Myers created and chairman of Sunrise industry after joining the Century, Real, Radio Group which he respected firm NOP Smooth and Rock founded in 1989 by Market Research in Radio brands. A applying for one of the 1972, where she worked former radio and TV first with the first wave of presenter, he licences in London. consortia applying to authored one Sunrise Radio started life operate commercial Government and as a station called Sina stations. Moving on to Independent Radio two BBC reports on Radio, operating mainly in the west London Sales (formerly AIR Services) in 1979 as radio and recently published ‘It’s Only area surrounding its base in . After the Research Manager, she developed her Radio’, a book recalling his 30 years in the Radio Authority proposed the notion of radio research skills working with the sales industry. He is chairman of Team Rock, awarding licences to ethnic minority stations team, advertising agencies, clients and the Sony and a covering west London, the station was outside radio stations. She was also visiting professor at the University of launched on Monday, 5 November 1989, appointed to the IRS Board as Marketing and and . Myers started servicing west London’s Asian community Research Director. Hallett set up her own his radio career in 1980 as a Station from its Hounslow studios. The group has company, Hallett Arendt Ltd in 1986, working Assistant for BBC Radio Cumbria. He was since grown to include services in Birmingham with radio stations in sales training, the station's first country music presenter and on-digital and is an outstanding example programming research and all aspects of while also presenting and producing a of commercial radio’s strength in reaching station consumer and business to business number of music programmes. He previously underserved demographics. marketing. With more than 35 years of became a presenter in 1982 for Red Rose Lit was listed by AIM magazine as one of the 20 experience in the industry, she is highly and then, Radio Tees in 1984. In 1989 he most powerful Asians in British media. In an regarded for her work in helping stations to became the programme controller and interview with Forbes on the runaway success develop their businesses through the use of breakfast presenter. In 1998, the BBC fly of Sunrise, Lit said: “British Asians have gone supportive research. Hallett is also a full on the wall documentary Trouble at the from having an inferiority complex to a member of the Market Research Top followed his launch of 105.4 Century superiority complex. The children and Society (MRS) and a Fellow of the Radio FM in . A decade later grandchildren of Asian migrants now Academy as well as a former Trustee of The Myers convinced the GMG board to understand more than one culture and speak Radio Academy. invest £1m in documentaries, a first for more than one language. They see the world commercial radio. as their workplace and playground.”

Helen Mayhew’s Douglas McArthur OBE Christian O’Connell broadcasting career began his radio career at started in sales began at BBC Radio the legendary Radio before turning his and Kent, Clyde north of the border hand to presenting presenting and before becoming the on 2CR Radio in producing a wide founding CEO of and range of the Radio Advertising then Juice FM in programmes. She Bureau (RAB). Across and XFM in was one of the 14 years under his London. He original presenters on Jazz FM when it leadership, the RAB team led a highly “Steve Wright’s show now presents started in 1990, devising and presenting regarded marketing campaign sounded like the the Breakfast the 'Dinner Jazz' programme which for commercial radio that saw revenue rise best job in the world Show on pioneered a new mood-based style of from 2% of advertising revenue to a peak of Absolute broadcasting. She departed for a new role 7%. Douglas now leads the respected when I was at school” Radio and is at BBC Radio 2 in 2004, presenting the marketing consultancy Planning for CHRISTIAN O’CONNELL commercial Monday evening Big Band Special. Results. In his early career, McArthur worked radio’s most Mayhew joined the re-launched Jazz FM as a marketer within big UK brands Procter & award-laden presenter, with 10 Gold in 2009, and ‘Dinner Jazz’ still airs on Gamble, Scottish and Newcastle and Sonys. He says: “I’ve got a genuine passion weekdays on the station from 7pm until Campbell's Soups, and then as an for what I do and I genuinely care about late into the evening. Mayhew calls it “the Account Planner in several major agencies. making the show the best I can make it. perfect show for unwinding after a long In 2009, he was named as the chairman of “I still get out of bed in the morning day, or as an introduction to jazz for UKOM – the UK online audience thinking it’s a great job, excited about the absolute beginners”. measurement company - where he was show head of me. You can’t fake that Discussing her original arrival at Jazz FM tasked with ensuring that the key enthusiasm: I feel awake and want to see in 1990, she recalls: “A friend told me Jazz stakeholders were able to contribute to the who wants to have some fun each FM was coming on air, and when I heard development of UKOM: agencies and morning… When I was young, I heard that I sent them a . I got a advertisers, primarily via their representative Steve Wright In The Afternoon and I phone call from them to go in and have a trade bodies the IPA and ISBA, and UK thought: ‘Wow, that would be the best job chat, and they offered me a programme. publishers. In the New Year’s Honours of in the world, to earn your living making Jazz is something I’ve always loved - 2001, he was awarded the OBE for Services to people laugh. His show was a real music of all sorts, really.” Radio Advertising. inspiration to me.’”

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Jonathan Pearce’s first Richard Park began radio role was at BBC John Pickford his career as a DJ in Radio Bristol where he began his the 1960s working made his debut match journalism career as in pirate radio and is a reporter on the commentary on Bristol Stockport Express one of commercial Rovers v City. In . radio’s leading 1987, he launched He made the switch programming Capital Gold Sport and to commercial radio authorities. He became sports and Manchester’s joined Radio Clyde “Richard Park and editor aged 23. Piccadilly Radio in from the BBC in 1973 where he made his I realised there was In May 2002, 1979. He has been at the frontline of local mark in sports, news and music radio, radio journalism ever since, leading his no atmosphere” Pearce left Capital working his way up to be Head of Gold to join BBC team with hands-on news gathering and Entertainment. He became programme JONATHAN PEARCE Radio 5 Live and, reporting from the scene of major local controller at Capital Radio from 1987 to today, his energetic commentary style is events such as the Manchester air 2001, where he was instrumental in enjoyed by millions of viewers of BBC TV's disaster, the Strangeways prison riots and breaking new on-air talent including Pete Match of the Day. Pearce has commentated the bomb. Tong, and Neil Fox. He on over 150 England internationals, five World Pickford, now at Bauer’s Key 103, won the was also responsible for hiring Chris Cups and over 20 Cup Finals. “I sat down with coveted Lifetime Achievement award at Tarrant on Capital. Park moved on to Richard Park in 1987, who was a massive the Arqivas in the summer of 2012, spells at EMAP and on TV’s Fame football fan and a brilliant person to work for; commenting: “This award means Academy and in 2004 and 2005, he a very hard person to work for, very everything to me. You’re only as good as appeared on London's LBC 97.3 to demanding and driving, a brilliant ideas man,” the people around you. I’ve worked with present the Breakfast Show. recalls Pearce. “We thought there was a hole some very talented people in the past Today he is Director of Broadcasting and in the market. I loved the and still do to this day. Bauer still believes Group Executive Director of Global Radio and the use of words; we both realised there in local-ness and local news. And I love and won the 2013 Sony Gold Award for was no atmosphere in traditional football working for commercial radio news - it’s his outstanding contribution to radio. broadcasting. We wanted to transport people brilliant. Every hour on the hour we still Music Week Park recently told : “I’ve from their cars and their living rooms, match and often beat the BBC, who have got bags of experience, but I’ve still got bedrooms, studies and halls of residence into that vast resource. It’s all about the quality bags of energy too.” the football stadiums.” and talent in our teams.”

Stan Park started in the John Perkins was Phil Riley began his features department of managing director commercial radio career LBC, before moving into of the Independent at Birmingham station sales. As CEO he built Radio News for 20 BRMB in 1980, later Independent Radio Sales years until 2009. launching another local into an industry leader He began his radio station in the area, Xtra with a market share of career with Radio AM, in 1989. He then 70%. He went on to work City in Liverpool at moved on to Scottish at Talk Radio its launch in 1974, station Radio Aire as “There was a really before investing joining LBC in London a year later, where Programme Director. Riley joined Chrysalis pioneering feeling in Metro Radio, he presented the first ‘rolling news’ in 1994, launching Heart in the West subsequently re- programme on UK radio. He moved to Midlands and London. He became CEO in commercial radio” launched as IRN to become industrial editor and (Radio) in 1999, overseeing its sale to Global STAN PARK . Today home affairs editor, before being eight years later. Now at , he runs Park chairs appointed managing editor of LBC/IRN in a number of Midlands stations now branded RadioWorks as well as holding a number of 1982 and managing director of IRN in Free Radio and Gem 106. posts outside radio.With more than 30 years 1989. Discussing his joining of Radio City, “I loved being on the radio,” he says of the experience of the radio industry, Park has Perkins says: “It was the three-day week, start of his career. “I was probably in worked within the sector across the world - and the BBC clearly didn’t want us to commercial radio presenting and including the UK, , the US and . succeed. Everything was against us. If I’m producing at absolutely the best time for He remembers his first few weeks in honest - for the first few years you were local heritage broadcasting - the early commercial radio: “It was a real pioneering always worried that the Friday might be Eighties was when Piccadilly, BRNB, Clyde, feeling, it was very exciting; these legendary accompanied by a P45. It was pretty Metro, Capital, all these big stations had stories of Dickie Attenborough selling his precarious, but it was also exciting, and gotten over their birth pangs, the three-day paintings to keep Capital going. Going to that grabbed me.” In the year that Perkins week and the terrible trauma of the advertisers in the early days selling radio and left IRN, the company ended a 16-year Seventies. By the time the Eighties came talking about radio was very exciting. It relationship with ITN, by awarding the around they were pretty much big players rapidly appeared to me that you got paid contract for the supply of a national and in the local marketplace, but had the more money on the sales and advertising side international news service to Sky News. sort of licences that meant they had to do an - so I didn’t hang around behind the Perkins said he needed to “sort the Sky awful lot of different things. It was a fantastic microphone for too long!” contract out” before stepping down. set of experiences.”

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Les Ross MBE joined Gillian Reynolds BBC Radio Birmingham joined MBE is the radio in 1970 where he the RAB in 2010 as The Daily critic for presented one of UK executive chair and Telegraph , a position radio’s first ever ‘zoo’ has helped inspire she has held since formatted shows. After the revitalisation of 1975. She was being part of the launch the industry’s sales previously radio team for TFM, he moved efforts resulting in critic for rival to BRMB where growth in market national newspaper “All of those early he hosted the share and The Guardian “I’m really very and then the founding commercial stations breakfast show absolute programme controller of Radio City in chuffed to be on this revenues in were trailblazers” from Birmingham Liverpool, becoming the first female for 28 years, Roll Of Honour” each of the programme controller in the industry. LES ROSS last three establishing LINDA SMITH In 1990 she was made the first Fellow of himself as one of years. the Radio Academy and in 1999 was the industry’s best-loved presenters. His Previously awarded an MBE for her career-long pedigree was obvious from an early age: at Smith was CEO of Starcom MediaVest, and services to broadcasting. 17, Ross won a DJ competition run by a local from 2000-2005, was Commercial Director “It was very heavily regulated and quite paper, beating a certain Johnnie Walker into on the plc board of Capital Radio. Before tightly administered, but always second place. Today, Ross says of BRMB: “It her time in radio, she worked within ITV for sympathetically,” Reynolds says of her was, like all those early stations, a trailblazer in , where she worked for time at Radio City. “You had to obey a lot of ways. Everybody involved were David Mansfield. After moving onto certain things and offer certain quotas.” originators - everybody had to be to be, really, Carlton, Mansfield invited her to join Regarding the music she played at to make the people of Birmingham have Capital. “It was a bit of a surprise to go from RadioCity, Reynolds says: “Like Radio 2 radio with commercials, in the teeth of a selling a big broadcast London TV and 6Music today, we offered soul, folk dreadful mid-seventies recession. It wasn’t a franchise to selling a really ecelectic and more besides. You had to know your thrillingly positive [economic] background to portfolio of small ILR stations,” she says. listeners, you had to know their tastes, launch in… The management had obviously “But the unique thing about local radio is what they liked musically and where taken their cue from Australian radio, it was its wonderful relationship with listeners. I they lived locally. Essentially, you had to brash and then slightly Anglicised. They got it was absolutely chuffed, gobsmacked, to talk to your audience.” just about right.” earn a place on the Roll Of Honour.”

Alan Robson MBE Terry Smith formed the began his early Mark Story began consortium which won broadcasting on Metro his radio career at the licence to operate Radio as a music radio RTE, moving to Liverpool’s first presenter, but found his Capital Radio as commercial radio station, true vocation when producer of Chris Radio City, in 1974 and ‘Night Owls’ debuted on Tarrant’s breakfast was the station’s the station in 1983. show. In 1990 he managing director for A fixture of the schedule joined EMAP where the next 17 years. He he spent the ever since - the show is now a proud 30 years “I used to tune into a went on to chair EMAP’s radio division - where old - Robson has developed an especially majority of he launched local talk station City Talk - as deep relationship with his listeners, which has lot of radio stations his career, well as , a post he been recognised by a raft of awards including coming from the US” working still holds today. In 2000, Smith was handed the prestigious World's Best Talk Show gong across stations the industry's highest honour, a fellowship MARK STORY at the New York Radio Awards. His ghost including Key of the Radio Academy. hunts are a fixture for his listeners. 103, Magic Receiving his fellowship at a Savoy Hotel As Metro’s own website puts it: “Imagine if a 105.4 and Kiss 100. He chaired UK Radio lunch ceremony, he said: “All we need to do to local football team beat all of the biggest Aid in 2005 and today is one of Europe’s guarantee the continued success of the radio teams not only in Britain but in the WORLD. leading programming consultants. Story, industry is for the people currently in charge This is what Alan Robson has been doing who grew up a short distance outside of TV at the BBC and ITV to keep their jobs.” now for decades. Night Owls is Britain’s Dublin, remembers first getting the radio Smith retired from Radio City in 2009 after 35 most listened-to talk show, beating bug aged 12. “We had a big field, so I was years with the station, saying ther was all-comers by a mile.” able to put up a half-wavelength aerial on “nowhere in the world better to work than Robson has broken three World Records which we used to listen to a lot of stations Liverpool”. Before his radio career, Smith was a during his radio career, for the biggest ghost coming in from America,” he says. “I got a journalist with The Sunday Express and hunt - 2,154 people in 258 different venues grounding in lots of US radio, and lots of Granada TV. When launching City Talk simultaneously - later breaking it again with - we had Radio Caroline in Liverpool with EMAP in 2006, Smith said 2,987 in 324 places. He also broke the world North run by Ronan O'Rahilly, a fellow that he wanted the station to “have more kissing record, believe it or not. It is estimated Irishman who I’m pleased to be a friend of punch, have more personality and be closer to that he has raised around £35 million for now and admire very much. The state the edge” than the local BBC alternative, BBC more than 30 charities. radio didn’t really interest me.” Radio .

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Ashley Tabor is the youngest radio owner in Europe, having founded commercial radio’s John Thompson CBE was selected to biggest group, Global Radio in 2007 with the establish the operative framework for the purchase of Chrysalis Radio. A year later Global new independent radio service, working first Radio officially took control of all GCap Media. within Whitehall and then at the Today Tabor runs the country’s biggest Independent Broadcasting Authority. An commercial radio group- encompassing Classic experienced broadcaster, editor and FM, Capital FM, Heart, Xfm, Gold and Choice. businessman, his brief was to co-ordinate Tabor is a former chair of the Radio Academy and and push the plans for radio on a runs a talent and music publishing business, whose respective clients commercial basis. He has often been called include boy band and acclaimed British singer/songwriter “the father of independent radio”. As director of the IBA, he was . In early 2011, Tabor and his Global executive team took firm but fair with pirate broadcasters. He once wrote: “The Capital FM nationwide, creating a new nine-station network across pressures from pirates are, in one sense, a tribute to the power England, Scotland and Wales. and attraction of radio in the mid-1980s.”

John Whitney CBE founded The Local Radio Chris Tarrant OBE joined Capital Radio in Association in 1963, successfully lobbying 1984, initially presenting its lunchtime show. government to pass legislation creating Already a well known TV presenter, in 1987 commercial radio. He was the first managing he took over the station’s breakfast show director of Capital Radio from its launch until and, after hosting 4,425 shows in the same 1982, and was then Director General of the slot, said his farewell in April 2004. Independent Broadcasting Authority In these 17 years on-air, Tarrant gave away until 1989. One special reflection of his enduring prizes to the value of £3.5 million. He won a legacy in the business is the annual John Sony Award for his efforts in 1995. Today Whitney Award, which recognises those adjudged to have made Tarrant presents on BBC Radio 2 as well as hosting ITV’s flagship an outstanding contribution to Hospital Radio over a period of programme Who Wants to Be a Millionaire? Tarrant rose to years. Outside of radio, Whitney was on the Board of the Royal public prominence on the television after becoming a co-host on National Theatre from 1977 to 1994 and a non-executive director , the children's television show broadcast on a Saturday of The Ltd, of which he was previously morning in the mid-1970s. Chairman, until June 1997.

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WOULD LIKE TO OFFER SPECIAL CONGRATULATIONS TO THE 40 ENTRANTS INTO THE INAUGURAL COMMERCIAL RADIO ROLL OF HONOUR, AS WELL AS ALL THE NOMINEES AND WINNERS AT THE ARQIVA AWARDS 2013

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