Post by brewmaster on Oct 13, 2015 9:52:30 GMT
Today we take for granted the ability to have our own personal music selection available at any time, while we are on public transport, in a queue, or, even at work.
It wasn't always like that.
I'm sure current teenagers could not imagine what it was like back when I entered my teens, and listening to popular music was much more difficult.
Back then there were only two TV channels, with limited broadcasting hours [no morning programs, for example.] So, radio was the prime electronic broadcast medium, and, in Great Britain, this meant the BBC; which had three networks, the Home Service, the Light Program, and, the imaginatively titled, Third Program.
Many biographies of pop musicians have criticised BBC radio, but in truth much of the dramatic output, plays and serials was very popular. Also, the comedy was often good too, especially the “Goon Show”, which, in my opinion, has never been surpassed for sheer comedy content.
Where BBC radio failed was in the music output. They had the attitude that adults should listen to “uplifting” music. As far as children [that is anyone under the age of 21] they were given a musical diet of songs like “The Ugly Duckling” and “The Runaway Train” which was supposed to suit them whether they were eight years old, or, eighteen!
The BBC had an agreement with the Musician's Union which limited how much pre-recorded content could be played. This meant that most programs had a band of professional musicians to play introductions and give a musical interlude. Even the “Goon Show” couldn't just have half hour of comedy without two musical sections.
Our salvation was Radio Luxembourg, which broadcast from a transmitter in the Duchy, but had a studio in London. This allowed British stars to play live in the studio.
At the time I was a fan of The Shadows, and Lux had a weekly Cliff Richard show, with the Shads having a solo spot. The great thing was that they didn't always play their hits, so we could hear some of their other work.
Obviously we had record shops where we could buy our music; but without having heard content previously, how would you know what to buy? This was one reason why Lux was so important, it allowed you to hear material, and develop a taste for it.
Radio Luxembourg was based on American commercial radio, with quirky DJs, jingles and adverts, while over on the BBC the announcers were wearing evening dress. Lux was the model for the future local/commercial radio in the UK.
For local musicians Lux was in invaluable resource, as this interview explains:
The Beatles first appeared on Lux in late 1962, with an interview and their disc “Love me Do” being played. We knew in advance of this program and all fans listened avidly. To us hearing The Beatles on Radio Luxembourg was a major breakthrough, and was an indication of what lay ahead for them.
It wasn't always like that.
I'm sure current teenagers could not imagine what it was like back when I entered my teens, and listening to popular music was much more difficult.
Back then there were only two TV channels, with limited broadcasting hours [no morning programs, for example.] So, radio was the prime electronic broadcast medium, and, in Great Britain, this meant the BBC; which had three networks, the Home Service, the Light Program, and, the imaginatively titled, Third Program.
Many biographies of pop musicians have criticised BBC radio, but in truth much of the dramatic output, plays and serials was very popular. Also, the comedy was often good too, especially the “Goon Show”, which, in my opinion, has never been surpassed for sheer comedy content.
Where BBC radio failed was in the music output. They had the attitude that adults should listen to “uplifting” music. As far as children [that is anyone under the age of 21] they were given a musical diet of songs like “The Ugly Duckling” and “The Runaway Train” which was supposed to suit them whether they were eight years old, or, eighteen!
The BBC had an agreement with the Musician's Union which limited how much pre-recorded content could be played. This meant that most programs had a band of professional musicians to play introductions and give a musical interlude. Even the “Goon Show” couldn't just have half hour of comedy without two musical sections.
Our salvation was Radio Luxembourg, which broadcast from a transmitter in the Duchy, but had a studio in London. This allowed British stars to play live in the studio.
At the time I was a fan of The Shadows, and Lux had a weekly Cliff Richard show, with the Shads having a solo spot. The great thing was that they didn't always play their hits, so we could hear some of their other work.
Obviously we had record shops where we could buy our music; but without having heard content previously, how would you know what to buy? This was one reason why Lux was so important, it allowed you to hear material, and develop a taste for it.
Radio Luxembourg was based on American commercial radio, with quirky DJs, jingles and adverts, while over on the BBC the announcers were wearing evening dress. Lux was the model for the future local/commercial radio in the UK.
For local musicians Lux was in invaluable resource, as this interview explains:
The Beatles first appeared on Lux in late 1962, with an interview and their disc “Love me Do” being played. We knew in advance of this program and all fans listened avidly. To us hearing The Beatles on Radio Luxembourg was a major breakthrough, and was an indication of what lay ahead for them.