Foreword

Foreword

by Bill MacDonald

Managing Director, Radio Hallam

Radio Hallam is not too shy to say it is a popular station. Not just that it has more listeners in this area than any other except one of the national networks (broadcasting, incidentally with over 400 times our power). No — we mean by popular that Radio Hallam is for the people, of the people, and to an extent unusual even in these days of ‘access’ broadcasting, by the people.

We try to provide a radio service which South Yorkshire folk will recognise is for them. A blend of entertainment, information and companionship. A radio service which you can dip into as the mood takes you, or listen to all day. In the morning and late afternoon there’s important local information for people on the move. During the day the talk is more for people at home, but our ‘middle of the road’ music is carefully chosen to suit most tastes.

Music isn’t just better in stereo — on radio it’s marvellous, exciting, fantastic because you hear it without interference from the foreign stations that afflict the medium wave. Radio Hallam is in stereo all day long, but we understand that our listeners for the most part can only sit down and listen in comfort to their own sets during the leisure hours. So at night we spread before our gourmet listeners a feast of music which calls for attentive listening, ranging from heavy rock to full length classical music.

Radio Hallam is not just a supplier of music, not just a supplier of news and information. Our abiding belief is that people matter, and people are interested in people. South Yorkshire is renowned for its good neighbours and community feeling, but it would still take a long time for you to meet every one of your million plus neighbours in this region. So we try to introduce you to as many as we can on air… that’s why we go out and about so much, talking to people in the street, in the clubs — in their homes even, introducing them all to you. So shake hands with your neighbour and enjoy his company through Radio Hallam. In the following pages you’ll meet the people who want to introduce you to your neighbours. They also want to tell you what’s going on and where, keep you company and keep you amused. If we don’t do this, our reason for existence has gone. No public authority, national or local, grants us any money to keep going whether we are wanted by our listeners or not. We hope you’ll continue to like our company for a long time to come.

BILL MacDONALD
Managing Director, Radio Hallam

Bill MacDonald

Directors

  • Gerard Young, CBE, JP (Chairman)
  • Mrs Dawn de Bartolome
  • John P. Graham
  • Thomas P. Watson, JP
  • William S. MacDonald (Managing Director)
  • Lord Darling of Hillsborough
  • John J. Jewitt, JP
  • Herbert Whitham

Senior Executives

  • William S. MacDonald (Managing Director)
  • Keith Skues (Programme Director)
  • Darryl Adams (Sales & Publicity Manager)
  • Derrick Connolly (Chief Engineer)
  • Ian Rufus (News Editor)
  • Graham Blincow (Company Secretary)

IBA Advisory Committee

  • A. T. Wickham Robinson (Chairman)
  • Councillor R. Barton
  • Mrs E. Galbraith
  • Mrs P. Spittlehouse
  • Councillor Mrs D Walton, JP
  • Dr A. K. Admani, JP
  • P. Bennett-Keenan
  • Councillor G. H. Moores
  • Miss L. Waldie

Who owns Radio Hallam

Shareholders

  • The Automobile Association Ltd.
  • Mrs Dawn de Bartolome
  • Balfour Darwins Ltd
  • Brightside & Carbrook (Sheffield) Co-operative Society Ltd.
  • British Syphon Industries & James Edward Eardley
  • Jon S. Carter
  • County Bank Ltd.
  • Lord Darling
  • Delta Enfield Cables (Holdings) Ltd.
  • Mrs Jean Doyle
  • Wilfred Edmunds Ltd. (Derbyshire Times)
  • Footprint Tools Ltd.
  • Henry Garnett & Company Ltd. (Rotherham Advertiser)
  • General & Municipal Workers Union Yorks. & North Derbyshire Region
  • Hallamshire Industrial Securities Ltd.
  • J. H. Hancock
  • Industrial & Commercial Finance Corporation Ltd
  • J. J. Jewitt, MBE
  • J. J. Jewitt J.P.
  • Kenning Motor Group Ltd.
  • W. S. MacDonald
  • M. J. Mallet
  • Samuel Montagu (Nominees) Ltd. (The University of Sheffield)
  • Sheffield Chamber of Commerce
  • Sheffield & Ecclesall Co-operative Society Ltd
  • Sheffield Newspapers Ltd.
  • Matthew Sheppard
  • Sissons & Son Ltd. (Worksop Guardian)
  • Keith Skues
  • South Yorkshire Times
  • Trident Television Ltd.
  • Union of Shop Distributive & Allied Workers
  • Ruben Viner
  • J. G. West
  • Henry Wigfall & Son Ltd.
  • G. F. Young

How it all began

How it all began

by Keith Skues

Programme Director

Legal land-based commercial radio for South Yorkshire was given the go ahead by the government on June 19th, 1972. Announcing this the Minister of Posts and Telecommunications, Sir John Eden, said that a radio station would service the Sheffield and Rotherham area.

The Programme Department of Radio Hallam was formed some 18 months before the company won its contract from the Independent Broadcasting Authority. A guidance team under Tom Chalmers (formerly Controller of BBC Light Programme) drew up detailed plans.

I was appointed Programme Director on March 14th, 1974.

My first endeavour was to recruit a handful of well-known personalities from national radio and complement them with a number of respected local broadcasters.

Whilst in London I formally approached Roger Moffat, Johnny Moran, and Bill Crozier, and to my amazement they all agreed to leap into the unknown and come with me to Sheffield. The four of us collectively had over 80 years radio experience and had seen service with BBC radios One and Two, British Forces Broadcasting Service, (formerly BFN) and Radio Luxembourg. Individual biographies can be found later in this booklet.

I wanted a personality radio station run by professionals and I knew these presenters had individual styles and were not exploited to the best of their abilities on other radio networks.

In our early days we worked from London operating from the offices of Radio Fleet and Trident Television. This was a temporary measure until a pile of bricks in Hartshead, Sheffield became more like a building. We were to occupy the top two floors — one ostensibly for Sales and Administration staff and the top floor to become two Studios, two Control Rooms, a Reception area, Record Library, News Room, Presentation Area, Workshop, Typing Pool and offices for the Managing Director, Programme Director and Chief Engineer.

In May 1974 the Managing Director and myself moved to Sheffield and joined the Chief Engineer who was already on site. More staff were recruited — News Editor, Sales and Promotions Manager, Company Secretary, Music Producer, who was also to be in charge of the Record Library, and a Secretary.

All the time I was holding auditions for local broadcasters. We received applications from over 700 hopeful Disc Jockeys but I could only take 3, all of whom had worked with BBC local radio. Later a Women’s Editor and Features Editor were appointed to the staff.

Announcers came on strength from August, although Roger Moffat joined a month earlier.

Eventually a General Office was constructed which housed everyone from the Managing Director to the Secretary. Day by day the building began to look more like a radio station — lights were fitted, telephones installed, typewriters and desks assembled.

Dog

The foreman of the firm building Radio Hallam, Longdens, owned a dog called Mutley who became the station mascot. The dog was a great footballer and enjoyed nothing better than a quick game of soccer with the staff. Mutley was a relief to what were very worrying days. Would equipment arrive on time? Could we work out a detailed music format? We had no Library, no record players, no tape recorders, but during the months of May, June and July we had made useful contacts with record companies in London most of whom had either local or regional salesmen based in Manchester or Leeds.

Record companies have been invaluable since we went “on air” providing us with both new records and an excellent back-catalogue of discs. It was through them we had access to many of today’s top recording artists who visited Radio Hallam.

Countdown

Although we as presenters had worked in radio for many years, some of us upwards of 20, none of us had been in at the birth of a new radio station. There was less than a week when all technical equipment was in place and working and whatever time of day or night, the week preceding our air date one could see announcers rehearsing for their big moment on October 1st.

The building had still not been completed and there were miles of wires and cables scattered over the floor.

Test transmissions had begun on both the Medium wave and VHF stereo on Friday, September 20th at four o’clock in the afternoon and reaction from listeners was quite amazing. The IBA confirmed we could begin transmitting official programmes at 06.00 on Tuesday, October 1st.

The weekend leading up to “Blast Off” we organised a party for all members of staff as this would be the only opportunity of everyone meeting under the same roof. Once a radio station goes on the air it is impossible for every member of staff to be together at any one given time as someone has to be on duty.

Sheffield’s own Tony Christie, a frequent visitor to the Radio Hallam studios

On air

Few of us went to bed on the night of September 30th and remained in the Studio sipping cups of tea and putting the final touches to our programmes. Johnny Moran launched the station without pomp or ceremony and went down in history by saying: “This is Radio Hallam, the first independent local radio station serving South Yorkshire and the North Midlands. From our Studios in the centre of Sheffield we will have music, entertainment and information throughout the day and we will be providing a service of keeping the community in touch with local events and happenings”

“From now on we aim to do our best to please, and we are hoping you are going to find “It’s Nice to Have a Radio Station as a Friend”.

Television cameras from both Yorkshire Television and Sheffield Cablevision took what available space was left.

Reaction from listeners was immediate and the very first ‘phone call a little after 6.00 in the morning came from Mr Neil Furniss of Townend Street, Crookes who said he was listening on his way home from night shift and he was enjoying the show.

National, local and trade press have been most kind in their coverage of Radio Hallam and for this we are grateful. Any mention of our activities in the papers goes a long way to boosting the morale of the staff. Gentlemen, we thank you!

KEITH SKUES with CLIFF RICHARD one of many stars to be featured in “Chat In”

Outside broadcasts

Most of our programmes come from the Studios in Hartshead although I was keen to get local involvement with the help of Outside Broadcasts. Each night we visited local hostelries to talk with both the landlord and the customers and the programmes were an immediate success. 

From this idea our Outside Broadcasts grew. We had disc nights from clubs in the area including the launch of the Oasis Club in Rotherham and Turn Ups in Sheffield. The Top 40 Show came from a record shop. Our lunchtime OB where we would take the complete works, became a regular feature in our programme schedule. Here we visited car showrooms, shops, offices and even a railway station. One lunch show was spent in an aircraft flying over Sheffield, Rotherham and Doncaster.

Magnet recording star ALVIN STARDUST with BIG RAY STUART

Research

The applicant group had done much research into marketing in the Sheffield and Rotherham area which cost thousands of pounds. 

I had worked out a music format styled on both Top 40 records and good quality album material and this format was confirmed by the Committee’s research. In other words listeners did not want continuous pop all day and every day. This format has remained constant to this day, although naturally the records do change.

We are grateful to the local record shops who supply us with sales returns so we can compile our weekly top forty selling singles.

A phrase I use regularly on Radio Hallam is “Radio Hallam leads not follows”, and this has been borne out by the fact that our Top 40 record charts are sometimes up to three weeks ahead of the national hit parade.

Jingles

In June we set about writing and producing our own radio jingles. I had contacted a Ray Martin, well-known Musical Director, to score some 50 jingles which were produced with popular session musicians and singers during the month of July 1974. I still believe that Radio Hallam has the most commercial set of jingles in the entire ILR network.

We had set our target date to begin broadcasting on October 1st which would make us the fastest radio station “on air” from the time we were awarded the franchise to the actual beginning of transmissions. This was achieved. 

On June 10th, 1974 we held a Press Conference to announce the signing of the Disc Jockeys. Within a month our Sales team had been recruited and our broadcasters were visiting local advertisers. Yorkshire businessmen, traditionally canny about claims of a new advertising medium, were delighted to meet the voices of Radio Hallam.

It was our intention to attract the 16-45 years old age group. I was basically against ‘phone-ins and requests all day. It appears that every radio station, both national and local in Great Britain specialises in ‘phone-in programmes. One hears listeners drying up, or stuttering and stammering, quite often expressing banal opinions dressed up with wordy clichés. Quite often the technical equipment is mishandled and telephone calls fail to be connected. How many times do we regularly hear “Hello, can you hear me?” Many is the time an unsuitable question gets through the station’s vetting system of calls. I did not want any of this unprofessionalism.

Similarly with requests one could tune anywhere along the radio dial and hear “name checks” for people all day long. So I decided to introduce one daily request programme in the evening and a two-hour programme at the weekend — otherwise no requests!

Music format

Music from 6.00 a.m. to 6.00 p.m. would centre around a Playlist of 100 records — the Top 40 singles, reflected from local sales, 40 selected albums and 20 New Releases. The Playlist would change each week. Non-format music would be broadcast in the evening and the total number of hours “on air” each day was 18.

It is interesting to note that over 100 singles are released each week by record companies and up to 25 albums. It is from this large number that the Disc Jockeys select new releases.

The week before we went “on air” the BBC kindly arranged a Radio Week in Sheffield, which, said a spokesman, was “just coincidence”. This did not upset us — in fact it indirectly helped us draw attention to the existence of radio in Sheffield. The way we looked at it was the national networks were here in the city for less than a week but Radio Hallam was here to stay.

Most of our broadcasts were disc shows although later we did feature groups and bands and perhaps the highlight of our first year was a two-hour broadcast with Kenny Ball and his Jazzmen from a leading Sheffield hotel. We have also linked up with other radio stations both inside and outside Great Britain.

Throughout the summer months our OB’s have paid surprise visits to shopping precincts, schools, parks and even people’s houses, all live. We would have some 500 people arriving at a location displaying their Hallam badges and car stickers. We have broadcast from hospitals and old people’s homes. Total involvement with the community on an entertainment footing.

We had more serious OB’s like the Royal visit to South Yorkshire of Her Majesty the Queen and the Duke of Edinburgh, Remembrance Sunday, the switching on of the Sheffield Christmas Illuminations, Christmas Children’s Party, an open debate on the Common Market Referendum, local elections, Battle of Britain Day from RAF Finningley, a News Review of the Year and many, many more.

MARC BOLAN
Seen here enjoying the sun and meeting the people of ‘Hallamland’ during one of the popular lunch-time ‘Walkabouts’

Survey

A survey conducted by National Opinion Polls in November 1974 gave Radio Hallam a 25% daily listening figure compared with BBC Radio Two, 26%, Radio One, 24%, and Radio Sheffield 19%.

It was around this time certain senior executives with the BBC criticised commercial radio and said it had no impact whatsoever. I believed that Radio Hallam would be a success due to our broadcasters being totally professional. Most of us have worked with either BBC national or local radio and it is due to the Corporation’s rigorous training we learned how to be professional. At the same time we fully understood the meaning of discipline. My colleagues would agree that we are grateful to the BBC for teaching us so many of the tricks of the trade that we are now putting into practice in Sheffield.

Studio guests Alan Price, Johnny Nash, Elton John, Chip Hawkes & Lyn Paul.

Personalities

Interviews with personalities is a series I particularly wanted to cover — two hours in-depth chat with a particular artist or artistes each week to find out what makes them tick. Names like Dave Berry, Slade, David Essex, Cliff Richard, Alvin Stardust, Lulu, Gilbert O’Sullivan, Des O’Connor, Johnny Nash, Roy Orbison, Gene Pitney, The Four Tops and Neil Sedaka. A more comprehensive list can be found later.

The first six months we experimented by using freelance DJ’s at weekends most of whom were local Yorkshire people. We even invited members of the public to present their own kind of music in an hour long weekly programme.

A local journalist had a go at becoming a disc jockey for an afternoon. Here are edited highlights of what he said in his column. “A Disc Jockey is one of the hero figures of the post war world. He has long since replaced the Fighter Pilot, the Explorer and even the Engine Driver in the pantheon of desirable occupations. To be a DJ is to have made it, man.

“The world seems full of young hopefuls all eager to play with the tinkling toys of the electric village. To try to find out why, I became a DJ for just an hour, then spent a couple of days asking the pros about the cons of the job.

“It seemed so easy — a cinch. It’s basically playing records and making comments. Call that a job?

“My first hard lesson was that the DJ does everything. There is an engineering staff who fiddle with the equipment when something goes wrong, but the running of the transmission is in the hands of the man at the turntable.

“While (Y-Front Up The Nile) is going out on the transmission channel the DJ has to “cue up” the next disc, listening over his headphones for the opening chords so that he can hold the disc still, on a spinning turntable, ready to let it go after a few moments of chat.

“One disc is roaring out over the air, and being reproduced in the Studio on a powerful pair of studio speakers so the DJ can listen for disasters, such as a sticking needle, while at the same time another disc is playing in his headphones.

“This is by no means the only distraction. As soon as the first record has finished, the DJ has to snatch the channel off the air and “fade up” the mike to announce either the record that has just been played, or the next record, or both. All this time he is holding the second record at a standstill.

“Having finished the announcements he uses his free hand to cut the mike and fade up the second turntable letting go the captive record as he does so.

“He then snatches up a miniature tape recorder and notes the details of the first record. The performer, publisher, writer and the exact running time of the record. He then has to tick it off on a checklist.

“I got through my hour but that’s about the size of it. I got through just. I had a lot of help.”

STEPHANIE DE SYKES
Pictured with a smile on her face at Sheffield’s Club Fiesta with Johnny Moran and Keith Skues (front) and members of NEW FACES.

Longer hours

In June 1975 the IBA readily agreed for Radio Hallam to extend its broadcasting hours therefore opening transmissions at 4.55 a.m. and remaining on the air until 1.00 a.m. the following morning, except on Friday and Saturday when the station stays open till 3.00 a.m.

These were the hours of broadcasting, and the basic structure promised in our application to the IBA early in 1974, and for which we were awarded the franchise.

New programmes to be introduced included a three-hour show of either soul or rock music every weekday evening commencing at 8.00 p.m. which was directed towards young adults with particular emphasis on the pleasure of music in the interference free service area of the VHF transmitters radiating from Sheffield and Rotherham.

By public demand a series entitled “20 Years of Rock and Roll” was broadcast twice weekly and other new programmes included country music, brass bands, northern soul, new release records and a special half hour chat feature at 7.30 p.m. on weekdays which was also a component of the original programme proposals by Radio Hallam to the IBA. Sports programmes were extended and extra new bulletins scheduled with the emphasis on local and regional news.

Public response to Radio Hallam’s extended hours was astounding. I had re-scheduled a number of programmes following the careful analysis of listeners, letters over a period of 8 months and confirming research undertaken by our presentation department.

In the summer of 1975 another audience research survey (this time conducted by RSGB) gave Radio Hallam a weekly listenership of 48% of the population in our service area and was the highest of any local station in England. The survey showed our primary audience was 16-45 year olds and proved therefore we were right on target. We are all aware that music is the magnet to attract listeners. However at the same time I believe that commercial radio should have a very broad appeal and have a highly developed sense of social responsibility.

Executives of radio stations are forever looking at BBC listening figures and comparing whether they are beating us or vice versa. One wants to encourage the greatest diversity and expansion to changes in taste. Therefore I believe there are real advantages in having a strong amount of competition with more than one kind of programme to offer listeners on a local basis.

“If Yorkshire is the entertainment centre of the North, then Radio Hallam is, in the same way, the leader in its field.”

What makes the news

What makes the news

by Ian Rufus

News Editor

“Robin Etherington, Radio Hallam News”. Behind those five words that you hear every hour on your radio each morning is a wealth of professional and technical know-how that we believe provides you, the listener, with the finest world, national and local news service in South Yorkshire and the North Midlands.

It’s a news service based on the expertise of seven highly experienced radio journalists whose sole job is to gather and interpret the news — be it from around the world or around the corner — in a way that you can understand and enjoy.

Radio Hallam’s news service was conceived many months before the station went on the air in long meetings at which we decided style, standards and technique. Our aim was to provide our listeners with a fast and comprehensible news service which they would regard as second to none.

It was on October 1st, 1974 at 06.55 in the morning when the first Radio Hallam news bulletin was broadcast. From then it has continued every hour to bring you the news fast and very often even as the news is breaking.

The Radio Hallam reporting team work closely with their colleagues at Independent Radio News in London to gather the major news stories from all over Great Britain and the world. The newsroom at Hartshead is linked by Teleprinter to the IRN newsroom and to Britain’s national news agency — the Press Association. Up those teleprinter lines, the news is transmitted 24 hours a day, 365 days a year and is processed by journalists at Radio Hallam into the hourly bulletins and, during the breakfast show — the news headlines on the half-hour.

Locally, news is relayed into the Hallam newsroom by a network of freelance journalists working in offices all over our broadcasting area. It is also gathered by the resources of our own news staff, who maintain constant contact with the local police, fire and ambulance, councillors, MP’s etc. Often a telephone call can send them speeding to the scene of a fire, pit disaster or road accident — armed with portable tape recorder and radio telephone to bring you the news faster than you’ll hear it — or read it — anywhere else.

The Radio Hallam news service had a baptism of fire. Ten days after the station went on the air we were faced with a General Election. The huge task of gathering and broadcasting local and national results was a mammoth job which, to the credit of the entire newsteam, was achieved smoothly and professionally.

Since then, listeners have heard on our bulletins a succession of major news stories which have been exclusive to Radio Hallam. Among the more notable ones — the claim by Sheffield Ratepayers’ Association that Town Hall staff were leaking confidential budget information; the trial of a man who killed his wife after a night-long exorcism ceremony at a Barnsley Church; the inquest on the Rotherham girl who died after she was given the wrong drug by hospital nurses; and the interview with a Doncaster prisoner as he was holding his young son hostage in the loft of their home. (Hallam listeners also heard the end of the seige broadcast live in Newscene as the man finally gave himself up to the police).

When five miners were killed in an underground explosion at Houghton Main Colliery, the Hallam newsteam was on the spot during the entire night-long rescue operation to bring listeners up to the minute information on progress down the colliery in newsflashes and extended news bulletins.

But Radio Hallam news isn’t all grim. We’re always on the look-out for the story that shows the more unusual and human side of life. Like the Stannington woman who gave birth to the baby she didn’t know she was expecting; the Sheffield shopkeeper who presented the VAT men with a 48 square foot cheque; and the six feet, eight inch tall Thurcroft man who advertised for a girlfriend of the same height.

Parliamentary Broadcasting was another feather in the Hallam cap. We took the bold step of transmitting Prime Minister’s Question Time live on the day the Commons radio experiment began, and during the four weeks of the experiment, we broadcast numerous speeches by local MP’s and ministers.

On Spring Bank Holiday Monday, we broadcast live on traffic conditions from the Automobile Association’s spotter plane as it flew over South Yorkshire and the Peak District.

But all that is in the past. What of the future. Before long, we shall have satellite studios in Rotherham, Barnsley and Chesterfield to cover the news from your area in even greater depth. We will have a radio car to transmit on-the-spot news even more frequently than we do at present. And perhaps, the most exciting development of all, for us in the Hallam newsteam — a self-contained studio in the newsroom itself which will enable us to record interviews via the telephone, put reporters in the radio car and on the radio telephone directly on the air and broadcast news flashes — all at the touch of a button.

But above all, the future will give us the opportunity to continue to bring you — our listeners’ — the best news service in the area.

Radio Hallam News — fast and factual.

The news team

Ian Rufus

News Editor

Ian was born in London 26 years ago but was brought up and educated in Rotherham. He began his career in journalism as a reporter on the Rotherham Advertiser and three and a half years later left to work on the Birmingham Post, where he spent some time in charge of the night news desk. After a short spell with the morning paper in Newcastle-upon-Tyne he left newspapers to go into broadcasting. He spent two and a half years as a news producer with BBC Radio Birmingham but left there to help launch Britain’s first independent radio station — the London Broadcasting Company which went on the air in October 1973. He was appointed news editor of Radio Hallam in May 1974. Ian is married and lives at Loxley in Sheffield.

Robin Etherington

Morning Editor

Robin is the newest member of the Hallam newsteam. He’s 25 years old and was born in Sunderland. He entered journalism on the Leicester Mercury when he left school. He then moved north to Sheffield to work on the Morning Telegraph. After eight months he decided to broaden his experience with overseas work, and spent a year on the Uganda Argus in Kampala. When he returned to this country he went to work for the Daily Mail in Manchester and after two years moved to BBC Radio Sheffield as a news producer. He joined Radio Hallam in August.

Jim Greensmith

News Reporter

Jim Greensmith joined Radio Hallam from Sheffield Cablevision, the community television station, where he was Assistant Station Manager He was born in Sheffield and entered journalism with The Star newspaper He worked there for eight years on news reporting and features before joining Cablevision There he directed, produced and presented programmes ranging from news to chat shows. 

Jim is 27 and lives with his wife and three year old son at Halfway. He joined Hallam in July 1974.

Roger Brooks

News Reporter

Roger’s 29 and came to Radio Hallam from the Rotherham Advertiser where he’d been chief sub-editor for three years Before that his talents were employed as features editor and chief reporter. Before making his radio debut he was probably best known in the Rotherham area for his articles on pop music and leisure activities in The Advertiser. His wife Eileen is a journalist herself and when Roger’s not busy reporting the news he’s kept busy helping to look after their young son Daniel who was born earlier this year.

Jon Silverman

News Reporter

Jon was born in London and lived in the capital until moving to Sheffield. Went to university in the south of England, then joined a newspaper in Luton as a reporter and feature writer. Apart from news reporting with Hallam, he also does theatre reviews and soccer coverage. He was also one half of the “Two Johns” team which produced the highly dubious ‘I Hope It Doesn’t Show’ for Radio Hallam. He’s 26 and married.

Libby Smith

News Reporter

Libby has the distinction of being the only woman in the Hallam News Team. She joined the station from a London Newspaper, as a member of the original team. Before that she worked for several years on the Eastern Daily Press in Norwich. She’s a native of East Anglia, and she’s married.

Jon Craymer

News Reporter

News Reporter Jonathan Craymer came to Radio Hallam from BBC Radio London where he reported on the capital’s news. He came to Sheffield when Radio Hallam went on the air. Among other things he’s written a senes of family-finance features for the Guardian, done news reporting for the London Evening Standard and edited a car magazine.

He’s 25 years old and married.

How it all works

How it all works

by Derrick Connolly

Chief Engineer

There are two studios, one continuously on air, Studio A, where most of the programmes are originated. This is operated by the on-air presenter. He, or she, must not only present the programme but must also mix together and balance all the sources available. These consist of three turntables, six cartridge players for commercials and jingles, two tape machines, two stereo outside broadcast sources, his own microphone, an interview microphone, mono outside broadcast source, a news feed and on-air telephone calls.

Control B is normally operated by an engineer with guests seated around microphones in its studio area. The control room is equipped with a main and an auxiliary mixer with a total of nineteen channels, two turntables, two tape recorders, three cartridge machines to replay jingles, a recording cartridge machine, a wide range of microphones and an echo unit for effects. This area is used for pre recording commercials, some interviews with guests and goes ‘live’ for the day’s major news programme ‘Newscene’ at 5.30 p.m. In an average month Radio Hallam uses nearly 100 miles of Scotch Professional recording tape.

Since Radio Hallam has a policy of meeting people where they live, work or relax, there is a full stereo outside broadcast caravan, a radio car equipped with UHF and VHF programme links and all the necessary equipment for doing outside broadcasts from literally any street corner, club or shop.

To cover sport, permanent lines are installed to the ‘Big Six’ local football grounds and portable outside broadcast units can be used from any of these.

During major outside broadcasts such as the ‘Radio Hallam Roadshow’, a stereo pair of lines is provided by the Post Office back to the studio. These are used to send back the programmes from the outside broadcast desk to the studio, where, after checking on the quality before putting it out on air, it is mixed into the programme and routed to the transmitters from Studio A.

All the programmes from Radio Hallam are normally transmitted simultaneously on Medium wave (194 metres, 1546 Kilo-Hertz) and on VHF in stereo (95·2 Mega-Hertz Sheffield and 95·9 Mega-Hertz Rotherham). To achieve the standards required for good stereo reception, high quality equipment from Britain, Europe and America is used. To give an idea of the quality of equipment, one tape recorder would cost in the region of £1,600. The equipment and studios are periodically inspected by the I.B.A. to ensure that the necessary standards are being maintained.

Due to the number of stations on medium wave, good reception is sometimes difficult. Most sets now have built-in aerials, so to get the best reception turn the radio for minimum interference.

On portable VHF receivers, use the built-in aerial fully extended and adjusted to give the best signal, probably with the aerial horizontal. On a receiver with facilities for connecting an external aerial, a good aerial should either be mounted in the loft or preferably on the roof. A better aerial will be necessary for stereo reception than for mono.

The Engineering Team
From left to right:
Mike Adams, Trainee Engineer, Stuart Stubbs, Sound Engineer, Bridget Whittaker, Technical Operator, Mike Rouse, Technical Operator, Mike Lindsay, Assistant Chief Engineer.

Derrick Connolly – Chief Engineer

Originally from Sheffield, after completing training at Sheffield Polytechnic and AEI-GEC, moved to the I.B.A., taking specialised television courses and then worked at Emley Moor and Croydon television transmitters. From there he moved to Capital Radio in London and finally joining Radio Hallam in July 1974.

Michael Lindsay — Assistant Chief Engineer and Production Manager

First became interested in electronics when he was five. He was given an electric crane for Xmas which had been irreparably ‘serviced’ by Boxing Day. After six cranes, four torches and three electric train sets, he decided to learn from someone who knew something about it, so, whilst still at school (aged 14) he went to work on Saturdays in a Hi-Fi shop repairing, maintaining and installing all sorts of Hi-Fi equipment. However, he was not happy to be on the receiving end of the music and decided to get on the transmitting end; after a pirate station, the BBC and a recording company, he joined Radio Hallam following a chance meeting with Keith Skues in March of 1974. Born in London and has worked in Holland, Sweden and the sea in between the two.

Michael has asked us to say that he combines his talents as a brilliant engineer and his undoubtable flair for dee-jaying on Saturday evenings from 7 until 9 p.m. when he presents “Lindsay”. Michael has a very diverse (or did he say perverse) taste in music ranging from Carly Simon and The Carpenters (not Frank) to Vivaldi and Strauss. We would like to say that some of the above is true, unfortunately…

Bridget Whittaker — Technical Operator

Born in Leeds but moved to Sheffield when twelve. After leaving school in Dronfield, joined the BBC directly and worked as a Technical Operator in the control room at Broadcasting House, London. In the Autumn of 1974 she moved back to Sheffield to join Radio Hallam where she is responsible for pre-recording programmes, editing and other operational duties including control room and outside broadcasts.

Stuart Stubbs — Sound Engineer

Qualified at Sheffield Polytechnic in Applied Physics, worked initially as a development engineer for a small Sheffield company and worked mainly on installation of equipment both in England and abroad. Later joined the BBC and again was involved in development and commissioning of equipment for both television and radio. With the start of commercial radio in Great Britain, he defected to the ‘other side’ and joined Piccadilly Radio but in a more operational role and finally came home to Sheffield when he joined Radio Hallam early in 1975, now being involved in both development and operational work.

Mike Rouse — Technical Operator

Born in Scarborough and also joined the BBC directly from school. He worked in the control room of London’s Broadcasting House for four years, then moved to Radio Hallam in the Autumn of 1974. His main engineering responsibilities at Radio Hallam are for pre-recording programmes, editing and operational duties.

Mike also presents the popular “Flyin’ Pizza Show” every Saturday (12-1 p.m.) and enjoys appearing with the Radio Hallam Roadshow.

Mick Adams — Trainee Engineer

Born in Stafford, after leaving Rugeley Grammar School went to Sheffield University in October 1970 reading Electronic Engineering. While at the University was involved with various Student Union activities.

Joined Radio Hallam in Autumn 1975 after leaving university with a B.Eng., (although he still hasn’t shown it to us … we suspect he’s still trying to print one!)

Sportacular

Sportacular

by Stuart Linnell

Sports Editor

It’s two o’clock on a Saturday afternoon, and the theme of Radio Hallam’s “Sportacular” is playing on thousands of radio’s throughout South Yorkshire and the North Midlands. As the programme’s presenter, I’m at the control desk in Studio ‘A’ at Hartshead, ready to play the records and link to the various sporting events our team of reporters is covering. From now on, I’m in the hands of our engineering staff, and our Outside Broadcast equipment. The show itself is the culmination of a week’s organisation and preparation and it constantly presents our Chief Engineer, Derrick Connolly, and his team with a set of new problems to resolve — and, I might add, they’ve yet to fail to come up with an answer (even though the answer is sometimes unrepeatable!)

Although, “Sportacular” is what we build up to each week, it is only part of Radio Hallam’s sports output. There are ‘Sports Desks’ every morning in the ‘Breakfast Show’, and at 4.30 and 6.10, Monday to Thursday afternoons, in Colin Slade’s ‘Roundabout’. On Friday’s, the afternoon ‘Sports Desks’ give way to “Sportscene” at 5.45, presented by either myself or by Ken Knighton, the Sheffield Wednesday captain.

Ken’s emergence as a broadcaster may have surprised some people, but his natural wit and the professionalism he applies to everything he does makes him a natural for the job. He recently added being a disc-jockey to his list of achievements, taking over on two Saturday afternoons while I was on holiday.

In addition to our coverage of the ‘Hallam Big Six’ soccer clubs — Sheffield United, Sheffield Wednesday, Rotherham United, Barnsley, Chesterfield and Doncaster Rovers — and Yorkshire and Derbyshire’s County Cricket teams, we also have regular features on racing, speedway, rallying, cycling and rugby (union and league), and have a number of notable ‘firsts’.

Apart from being the first radio station in the area to broadcast it’s sports programmes in stereo — including quizzes and boxing commentary — we also broadcast ‘live’ commentary on the whole of the schoolboy soccer international from Bramall Lane, England versus Scotland. Peter Jenkins and Ken Knighton, assisted me with commentary and we were joined in the press-box by Sheffield United skipper, Keith Eddy.

With our first twelve months behind us, and new improved Outside Broadcast facilities now becoming available, I hope that we’ll continue to provide you with a factual, entertaining sports service, and that you’ll continue to “get the score on 194”.

Who’s who at Hallam

Who's who at Hallam

Bill MacDonald

Managing Director

PROGRAMMES
NEWS
ENGINEERING
SALES
ADMINISTRATION

KEITH SKUES
Programme Director

Roger Moffat
DJ Presenter

Bill Crozier
DJ Presenter

Johnny Moran
DJ Presenter

Jean Doyle
Womens Editor

Brenda Ellison
Presenter

Liz Davies
Presenter

Ray Stuart
DJ Presenter

Colin Slade
DJ Presenter

Beverley Chubb
Librarian/Presenter

Frank Carpenter
Presentation Assistant

Kelly Temple
Presenter

Ernest Marvin
Religious Producer

IAN RUFUS
News Editor

Robin Etherington
Morning Editor

Jim Greensmith
News Reporter

Roger Brooks
News Reporter

Jon Silverman
News Reporter

Jonathan Craymer
News Reporter

Libby Smith
News Reporter

Stuart Linnell
Sports Editor

Colin Maitland
Features Editor

DERRICK CONNOLLY
Chief Engineer

Mike Lindsay
Asst. Chief Engineer

Stuart Stubbs
Sound Engineer

Bridget Whittaker
Technical Operator

Mike Rouse
Technical Operator

Mick Adams
Trainee Engineer

Derek Taylor
Handyman

DARRYL J. ADAMS
Sales & Publicity Manager

Marian Brook
Publicity Assistant

Audrey Furniss
Sales Executive

Brian Murray
Sales Executive

Steve Perry
Sales Executive

Bill Young
Sales Executive

John Green
Traffic Clerk

Lynn Collington
Sales Administrator

Ann Tennant
Copy Typist

GRAHAM BLINCOW
Company Secretary

Ellen Rhodes
Senior Secretary

Diane Kitching
Secretary (Accounts)

Janice Bell
Accounts Clerk

Bernadette Kulinski
Receptionist

Christine Chambers
Typist

Mena Hale
Typist

Carole Bates
Typist

Susan Hadfield
Typist

Rachel Bell
Secretary

Julie Sivell
Corres Clerk

Kathleen Devine
General Assistant

JULIE SIVELL

CAROLE BATES

MENA HALE

DIANE KITCHING

ELLEN RHODES

JANICE BELL

BERNADETTE KULINSKI

RACHEL BELL

Studio guests on Radio Hallam

STUDIO GUESTS ON RADIO HALLAM

A

ACE
ALEXANDER: David
ARMATRADING: Joan
ANDERSON: Moira
ANTHONY: Tony
APRIL
ARGENT: Rod (ARGENT)
ARKWRIGHT ARROWS
ARTUS: Andy (A RAINCOAT)
ASHLEY: Steve
AZNAVOUR: Charles

B

BABE RUTH
BALL: Kenny
BANDILEGS
BARCLAY JAMES HARVEST
BARNUM: H.P.
BARRON KNIGHTS
BAY CITY ROLLERS
BATT: Mike
BEANO
BECK: Steve
BEDFORD: David
BELL: Maggie
BENSON: Gary
BERRY: Dave
BERRY: Mike
BIDDU
BLACK OAK ARKANSAS
BLUE: Barry
BOLAN: Marc
BRISTOL: Johnny
BRETT MARVIN
BROOK: Julian
BROTHERHOOD OF MAN
BROWN: Dougie
BROWNE: Arthur
BUBBLES
BUGATTI & MUSKER
BULL DOG

C

CAINE: Marti
CAMPBELL: Junior
CASSIDY: David
CLANCY
CLAYTON: Obie
CHANTER: Doreen
CHILLI-WILLI & THE RED HOT PEPPERS
CHIPS
CHARLES: Ronnie
CHRISTIAN: Marty (Ex. NEW SEEKERS)
CHRISTIE: Tony
CHRISTMAS: Keith
CHOPYN
COCKER: Joe
COLE: Billy
CONRAD: Jess
COOL BREEZE
COYNE: Kevin
CRAWFORD: Jimmy
CROMPTON: Colin
CURVED AIR

D

D’ABO: Mike
DALTRY: Roger
DANA
DAWSON: Les
DAWSON-READ: John
DAY: Oliver
DE SYKES: Stephanie
DEE: Dave
DIAMOND: Jim
DIVINE: Sidney
DOCTOR FEELGOOD
DRAGONFLY
DRIFTIN
DUNCAN: Lesley

E

EDDY: Duane
EDMUNDS: Dave
EDWARDS: J. Vincent
ELECTRIC LIGHT ORCHESTRA
ENO
ENTWHISTLE: John (THE WHO)
ESSEX: David
EVERETT: Vince

F

FAIRWEATHER-LOW: Andy
FANCY
FERRY: Brian
FINNIUS FOGG
FIVEPENNY PIECE
FOGG
FONTAINE: Nola
FORD: Dean
FORSYTH: Bruce
FORTUNES
FOUR TOPS
FOX
FRASER: Andy
FREEMAN: Alan A.
FREEMAN: Dave

G

GALLAGHER & LYLE
GAYNOR: Gloria
GENESIS
GEORDIE
GILLESPIE: Dana
GLITTER BAND
GLOVER: Roger
GORMAN: John (SCAFFOLD)
GRAHAM: Eve
GRANT: Lee & Marie
GREENAWAY: Roger
GREENGAGE
GUYS & DOLLS

H

HALFBREED
HAMILTON: George IV
HAMMILL: Claire
HAMMOND: Albert
HARDING: Mike
HARLEY: Steve & COCKNEY REBEL
HARPER: Roy
HARPO
HARRIS: Rolf
HARVEY: Alex (SENSATIONAL ALEX HARVEY BAND)
HATCH: Tony
HAWKES: Chip (Ex. TREMELOES)
HAYWORTH: Bryn
HAYWARD: Justin
HAZZARD: Tony
HELLO
HELMS: Jimmy
HENTSCHEL: David
HILL: Vince
HOPE & KEEN
HOWE: Catherine
HOWELL: Eddie
HUES CORPORATION
HUNTER: Ian (MOTT THE HOOPLE)
HYLAND: Brian

J

JACK THE LAD
JARAMILLO: Pepe
JET
JIGSAW
JOEL: Billy
JOHN: Elton
JONES: Jack
JONES: Jimmy
JONES: Paul
JONES: Salena
JONES: Tammy
JONES: Tom
JORDAN: Dave
JUDGE DREAD

K

KAMAHL
KELLY: Peter D.
KENT: Cindy
KING: Nosmo
KRISTINE
KISSOON: Mac & Katie
KITTER: Roger
KOKKTE: Leo
KURSAAL FLYERS

L

LAINE: Frankie
LANCASTER: Neil
LANGFORD: Pete
LATTER: Gene
LAVERNE: Roger (TORNADOS)
LEE: John (NEW WORLD)
LEWIS: Linda
LEYTON: Paul (Ex. NEW SEEKERS)
LIEUTENANT PIGEON
LIGHT FANTASTIC
LIMMIE & FAMILY COOKING
LODGE: John (MOODY BLUES)
LOVE: Geoff
LULU
LYNAM: Ray

M

MADAME
MANFRED MANN
MARTIN: George
MARTIN: Ray
MARSDEN: Gerry (GERRY & PACEMAKERS)
MARTELL: Lena
MANZANERA: Phil
MATTHEWS: Al
MEDICINE HEAD
MELLY: George
MERRUWYN
MILK N’ COOKIES
MILLS: Gladys
McGEAR: Mike
McGUINESS FLINT
McTELL: Ralph
MILLER: Steve
MILLICAN & NESBITT
MONKHOUSE: Bob
MOODY BLUES
MOON: Bobby
MOONRIDER
MOORE: G. T.
MOTT THE HOOPLE
MR BIG
MUD
MULDAUR: Maria

N

NASH: Johnny
NEKTAR
NEW FACES
NEW VAUDEVILLE BAND
NEWMAN: Tom
NOONE: Peter

O

O’CONNOR: Des
OLSSON: Nigel
ORBISON: Roy
O’SULLIVAN: Gilbert

P

PAN’S PEOPLE
PAPER LACE
PATTO: Mike
PAUL: Lyn
PHILIP & VANESSA
PILOT
PITNEY: Gene
PLANXTY
POWELL: Cozy
PRETTY THINGS
PRICE: Alan
PROCOL HARUM
PROTHEROE: Brian
PUSSY FOOT (Ex. SPRINGFIELD REVIVAL)

Q

QUATRO: Suzie
QUEEN

R

RAINBOW: Christopher
RARE BIRD
READING: Wilma
REED: Les
RICHARD: Cliff
RODEN: Jess
RONSON: Mick
ROSE: Tim
ROXY MUSIC
RUBETTES
ROSSALL: John (ex. GLITTER BAND)
RUFFIN: Jimmy

S

SAILOR
SARSTEDT: Peter
SAWANA: Kenjii
SCAFFOLD
SCOTT: Jimmy
SEDAKA: Neil
SEEKERS
SETTLERS
SHAMBLES
SHAPIRO: Helen
SHEARSTON: Gary
SHEER ELEGANCE
SHELLEY: Peter
SHEPTONE & DIBBENS
SHORTWAVE BAND
SHOWADDYWADDY
SIFFRE: Labi
SIMMONS: Carl
SKYBAND
SLADE
SMOKEY
SNAFU
SOFT MACHINE
SON OF A GUN
SPARKLE: Kristine
SPARROW (Ex. HARMONY GRASS)
SPEEDY KEEN
SPLINTER
STACKRIDGE
STAINTON: Chris & TUNDRA
STARDUST: Alvin
STEALERS WHEEL
STEELEYE SPAN
STEWART: Al
STEVENS: Mark
STOLLER: Mike
STRAWBS
STRING DRIVEN THING
SULLIVAN: Big Jim
SUPERTRAMP
SUZETTE
SWARBRIGG
SWEET REASON
SWEET SENSATION
SYREETA

T

10 c.c.
TALISMAN
TANGERINE DREAM
THOMAS: Ray (MOODY BLUES)
THREE DEGREES
THUNDER THIGHS
TIGER TIM
TONTO
TOWNSEND: Simon
TRAPEZE
TRAVIS: Paul
TREMELOES
TRENT: Jackie
TROGGS

U

URIAH HEEP

V

VAUGHAN: Frankie

W

WALKER BROTHERS (Gary)
WAYNE: Carl
WHISKEY: Nancy
WILDE: Stacy
WILLIAMS: Moon
WINGFIELD: Pete
WOMBLES
WOOD: Ron
WOODS: Terry & Gay
WRIGHT: Stevie

Y

YELLOW BIRD
YIN & YAN
YIP: Frances
YOUNG: Paul
YOUNGER: Col

Keith Skues

Keith Skues

Richard Keith Skues has always been interested in show business. From the age of 10 he wanted to be a radio announcer. His first public appearance was via a perambulator but his publicity handout assures us that it was in a parish church pantomime. He appeared annually in various productions, and at the age of 16 wrote and produced a full length youth variety show. Keith was Youth Leader of his church club.

About this time he founded and edited the “Youth Fellowship Times” (1956-1958).

He was called up for national service in 1958 and admits there was more to it than marching up and down the parade square. Whilst stationed at RAF Chivenor he wrote “The History of Heanton Punchardon”, one of Britain’s oldest hamlets in the county of Devon.

At the beginning of 1959 Keith was posted to Germany and he secured, wangled, maneuvered (we are not told how) a post to British Forces Network in Cologne. He began as a presentation assistant, moved to production and later became an announcer. It was in 1959 that the now famous “Cardboard Shoes” gimmick was born. Instead of using his own name he tried a pseudonym. It has followed him around the world since.

After his release from the RAF he joined British Forces Network (which later changed its name to British Forces Broadcasting Service) as a civilian announcer and his first assignment was in 1961 posted to the sweltering hot desert of Kuwait during the Iraqi crisis. Here he set up a small station and broadcast to most parts of the world from where service personnel had been sent to Kuwait.

Later that year he was moved to Kenya with Forces radio. Mention the years 1916-1964 [sic: 1956-1964 – Ed] and Keith’s reaction is “those were the good old days”. Busy days, too for as usual he began to look for something completely different to do. In this case we substitute “do” for “conquer”. He successfully reached the summit of Mount Kilamanjaro (19,340 feet) in October 1962 along with a team of RAF personnel, who were the first services expedition not to lose any one on the way up, or down. Asked why he attempted such an exhausting feat Keith replied; “I wanted to get to the top in life!”.

Whilst in Kenya he wrote a pop page for the “Daily Nation”, and edited a features page for the “Sunday Post”.

On radio he picked up awards two years running for his series “Skues Me” and “Skueball Speshall” … climbed yet another mountain — Mount Kenya (17,058 feet) … directed a number of films including “The BFBS Story”, “Kilamanjaro — What a Long Walk”, “Wild Life in East Africa” … and appeared on local television.

In 1963 he returned to London and was attached to the BBC on a three month senior programme training course. It was just after his return to Nairobi that Kenya gained its independence, BFBS was closed down and after a stint in Swaziland, Keith was posted to Aden where he remained for three months.

“Trouble seems to follow me around the world — Kuwait, Zanzibar, Tanzyanika, Uganda and Kenya which had uprisings and mutinies, and I spent a few weeks in Swaziland during some trouble they had down there. In Aden I was up to my neck in it with the Radfan fighting. So I opted for a more peaceful life and packed my numerous kit bags and returned to England.”

Whilst at the BBC the bug for radio in Britain had bitten him and he came back once again to do something completely different. It was in 1964 that pirate radio began broadcasting off the shores of the British Isles and Keith joined Radio Caroline which was anchored off the Essex coast and where he worked two weeks on board and a week ashore. He became a regular presenter of the 9-12 morning show and admits that the highlight of his days with Caroline was when he escorted Prince Richard of Gloucester to the ship and interviewed him on air.

Keith moved to land based commercial radio in January 1966 working for Radio Luxembourg and presenting his own show sponsored by CBS records.

In May 1966 he was back at sea again but this time with Radio London — “I was writing a book about the pirates and wanted to experience as much variety as possible.”

He worked with many disc jockeys who are now broadcasting with ILR stations today.

“The pirates were outlawed by the British Government in August 1967 which was a sad blow. Pirate radio had proved really popular and had created a need for all day music and entertainment with an informal approach. Radio One was set up as a substitute, if you like, but on a national network. It more or less replaced the pirate stations.”

Keith came ashore and was offered a regular job with the BBC and was one of the original disc jockeys on Radio One. He was best known perhaps for his compering of “Saturday Club” but he was also a regular host of “Radio One Club”, “Family Choice”, “Pop Inn”, “Today”, “Disc Jockey Derby”, “Night Ride” and “Coming Home”.

He has appeared on many television shows including “Top Of The Pops”, “Thank Your Lucky Stars”, “Juke Box Jury”, “Pop The Question”, “Rough with the Smooth”, “Pop Quest”, “Calendar” and the “Kenneth Williams Show”.

He remained with the BBC until 1974 having worked on “The Story of Pop”, a radio series which was sold around the world. He co-wrote many of the episodes and was editor of the series. He joined Radio Hallam as Programme Director in March 1974.

Keith was appointed Vice-President of the National Association of Youth Clubs (Patron — HM The Queen Mother) in 1972 and is actively involved in voluntary work for the organisation up and down the country.

Off the air he likes writing and to his credit are “Pop Went The Pirates”, “Radio Onederland” (the story of Radio One) and “The History of the Skues Family”. Keith is a Lord’s Taverner, holds a private pilots licence, writes sleeve notes for LP record covers, has appeared in the film “Sunday Bloody Sunday”, is the voice behind many television and radio commercials, has represented Great Britain as a DJ in South Africa (1971) and in the last three years has been presented to HM the Queen Mother, HRH Duke of Edinburgh, HRH Prince Charles, HRH Princess Alice of Athlone, and HRH Princess Alexandra.

He is sorry that no-one from Radio Hallam met the Queen during her visit to Sheffield. Says Keith “We could quite easily have spoken to Her Majesty during our broadcast, as we were within touching distance, but that would not have been protocol.

Skues is the only Programme Director in Britain who is heard seven days a week with his own show, including “Lunch with a Punch” every weekday 12.00 midday-2.00 p.m. “It’s better than working,” he admits.

Bill Crozier

Bill Crozier

Bill Crozier started at a very early age in the entertainment business making his first public appearance at the age of 6½ years, playing solo piano in a local drill hall to an admiring family and a somewhat less enchanted audience. His mop of curly hair won the day — a crowd pleaser he has long since had to manage without.

A sickly child, he spent a large part of his childhood either going to or coming from the Great Ormond Street Hospital for Sick Children — except for a year in a convalescent home in Wiltshire, an experience from which that county has only just begun to recover.

He had a long and very successful career in motor engineering, nursery gardening and journalism (having been a grease monkey, muck spreader and paper boy in quick succession). He finally found a niche in domestic service, where he quickly climbed the social ladder from hall boy to fourth footman in about eighteen months, and managed to combine these not too arduous duties with the running of the local dance band. Bill’s natural progression to the butler’s pantry and the green baize apron, was impeded by the even more grandiose schemes of another member of the lower orders — an Austrian gentleman in the decorating trade. Since then Bill has been a strong supporter of D.I.Y.

Bill Crozier

Bill Crozier seen here with some of the hundreds of postcards received for his very popular 2-way link with RTE Radio in Dublin.

He joined the R.A.F.V.R. with his eyes on a pair of wings, but his feet stayed on the ground — they failed him on eyesight. He became one of the original ground gunners, before they were elevated to the title of R.A.F. Regiment, and finished up a marksman. (That was the second medical mistake for which he admits to being eternally grateful. The first occurred at his parturition, when the attendant doctor shook his head sadly and walked away.) Owing to an oversight, during the battle of the Bulge he found himself in the front line. Deciding that was no place for a devout coward, he started to run, but, with his usual inattention to detail went in the wrong direction, and bumped into a patrol of the enemy who surrendered to him, no doubt mistaking his terrorstriken leap for one of aggression. He was politely led to a huge camp inhabited by 2,000 German W.A.A.F. and would probably still be there if hostilities had not abruptly ceased.

After that, becoming a Senior Gunnery Instructor seemed natural.

In 1948, he joined the staff of B.F.N. in Hamburg, and remained with them until 1965, presenting the Cologne end of Two-Way Family Favourites with Jean Metcalfe for the last years of his sojourn in Germany. Since then Bill has been a freelance writer/broadcaster working as he puts it “for anyone and everyone”.

Having presented ‘Cozier with Crozier’, a nightly show for Hallam since the station opened in October 1974, he admits to being entirely happy in Sheffield and promises to stay forever — which might give lovers of wild life and a peaceful existence some food for thought! His ever faithful companion, Florence (Nightingale), merely preens herself and dreams of Berkeley Square.

For example, he wrote an appreciation of the writer Scott Fitzgerald, which was broadcast world-wide; wrote and presented two programmes on Operetta, which, two months later, the BBC asked him to repeat because of the listener reaction; did two nine-month long stints on “Music Through Midnight”; took over the presentation of “Those Were The Days”, ostensibly for three months, and that period was extended to six years; became a freelance producer with the BBC and was responsible for “Roundabout” for many months, as well as hundreds of recording sessions with well known singers and orchestras; took part in the special musical programme for Noel Coward, in which he spoke to people like Anna Neagle, Jessie Mathews, Hermione Gingold, Rita Streich, Francis Day etc., etc.; capped all that by becoming the studio producer for the Jimmy Young Show, which he handled for over 18 months.

Roger Moffat

Roger Moffat

Roger Moffat became an announcer with the British Forces Network, Graz, Austria in 1947. He spotted a notice on the camp board which asked for personnel with broadcasting experience to apply for a post with B.F.N. Says Roger: “I thought I would apply. Mind you, the only microphone I had ever seen was at a village hall and then I’d never spoken into one. Really I bluffed my way into B.F.N. I made up a lot of stories about my imaginary radio career, filled in the necessary forms and I was accepted. I knew the Army wouldn’t check because they are too…! I later became Senior Announcer — mind you, there were only two of us”.

Roger Moffat was demobbed in 1948 and returned to England and joined Radio Luxembourg in their London offices as the Continuity Script Writer.

He stayed with the station for six months and then decided to take up agriculture instead, as he couldn’t see any future in radio. He went to work on several farms which was followed by a course at the Royal Agricultural College in Cirencester, Gloucestershire.

Roger goes on, “One afternoon I had a phone-call from Radio Luxembourg who asked me to fly out to the Grand Duchy the following day and join the staff as an announcer. So I flung ‘my plough’ on one side and caught the first train to London and then literally leapt into an aircraft bound for Luxembourg. I remained with ‘208’ for six months and when I set my mind on London, Pete Murray (then unknown) was chosen as my successor. I applied for a job to the BBC and they sent me on a fortnight’s course for announcer training. At the end of it I was told that ‘I would never make an announcer in a million years’. But by coincidence the BBC were, at that time, very short of ‘voices’ and I was asked to go to Manchester as summer relief for a fortnight. I stayed there not fourteen days, but fourteen years”.

With the BBC in the North Region, Roger introduced every conceivable kind of broadcast, ranging from classical concerts to record request shows and from church services to military brass band concerts. Other sections took in the news, both on sound and television. He was the regular presenter of ‘Melody on the Line’, ‘Workers Playtime’ and the Al Read Show.

Roger’s claim to fame was ‘Make Way for Music’ which began as a radio series and later ended up as one of the most popular series on television. This was a band show featuring the Northern Dance Orchestra, conducted by Alyn Ainsworth and songs presented by Sheila Buxton. Roger’s off-beat approach brought him millions of new fans.

‘Make Way for Music’ is still talked about especially the television shows. Originally it was planned for a weeks ‘fill-in’ but so many hundred of letters were received that it was retained for three months, then another three. The series ran on television for almost four years.

“On our first show, the orchestra were all in braces — there was no scenery — and everyone was all over the place. We went on the air and I decided to eat fish and chips with Sheila Buxton on a park bench. The BBC were not amused, but the viewers loved it.”

Other highlights in the television series included the time when Roger actually blew up the television studio and caused havoc both on and off the screen.

ROGER MOFFAT alias SUPERWOMBLE

Norman George headed the string section of the Northern Dance Orchestra and each week Roger grabbed his violin and smashed it into hundreds of pieces during transmission. One week it was decided to do a ‘send-up’ of Max Jaffa and his Trio. Roger was the cellist. The producer phoned the local second hand shop where they used to buy the duff violins and asked instead for a cello. The show went on the air live. Norman George this time got hold of Roger’s cello jumped on it and broke it into many hundreds of pieces. A few minutes later, a rather bewildered shopkeeper phoned and said I didn’t realise you were going to break the cello. It was worth £200!

The ‘Make Way for Music’ production team paid up and all was well.

Roger also appeared in the successful television series featuring Pinky and Perky.

He left Manchester in 1965 and moved to London as an announcer with the BBC. During his stay he has introduced ‘Music Through Midnight’, ‘Roundabout’, ‘Night Ride’ and the usual programmes which continuity announcers present.

On more than one occasion Roger’s tongue has got him into trouble. During a dance band programme Mr. Moffat, trying to find something new to say about the song ‘I Can’t Give You Anything But Love’, announced “Someone once said it is better to give than to receive, or something like that, can’t think who it was. Anyway he’s bound to be dead by now and probably you’ve never heard of him — or want to”.

The phones never stopped ringing and the letters poured in. Words to the effect that ‘it is better to give than receive’ were said by one Jesus Christ!

Roger remembers another story connected with ‘Make Way for Music’. Some fifteen minutes before going on the air live, he received a telephone call from one of our premier Dukes who explained that he had a young nephew and niece in a stately home who were ardent fans of the programme and always listened to it when having their lunch in the nursery. However, on that particular Friday, the Duke and Duchess were entertaining the Queen and other members of the Royal Family to lunch and the two children were ‘commanded’ to attend.

“They flatly refused to miss the broadcast,” His Grace informed me, and would I speak to them, and see if I could persuade them what an honour it was to have lunch with the Queen. But to no avail. ‘Make Way for Music’ took preference, even over Her Majesty! In the end, I understand a compromise was reached. The children would lunch with the Royal party providing they could have their radio on as well! And that, as far as I know, is what happened. It was a great temptation to mention this on the programme, but the Duke asked me not to. I was dying to start the programme with ‘Your Majesties, Your Royal Highnesses, Your Graces, My Lords, Ladies and Gentlemen — Make Way for Music’. Perhaps it’s just as well I didn’t’.”

In January 1968 Roger took over as compere of the Joe Loss Show, which was followed by the ‘Billy Ternent Show’ and another spell on ‘Night Ride’.

Roger joined the BBC on July 25th, 1951 and was ‘fired’ for being ‘totally irresponsible’ just 20 years later — his birthday, July 25th, 1971. Quotes Roger, “Normally when a member of staff is fired for being totally irresponsible, he is dismissed immediately. However, because I had been with the BBC for 20 years they gave me six months notice, finally winding up with a six hour show on Boxing Night 1971— six hours to myself with no producer, no secretary, no no-body! So I was totally irresponsible to the end.”

The week after Roger had been fired by the BBC, he was back again with a twenty-one week series on Saturday lunchtime with the BBC Radio Orchestra featuring well-known singing stars and personalities. His voice was also heard quite regularly on television both in comedy shows and on television commercials.

Roger Moffat joined Radio Hallam on July 1st, 1974 and can be heard regularly between 9 a.m./12 noon each week day.

He was the main commentator during The Queen’s visit to Sheffield in July 1975.

Johnny Moran

Johnny Moran

Waking up ‘Hallamland’ is the role of JOHNNY MORAN, the early morning breakfast personality on Radio Hallam, whose show is comprised of lively popular music interspersed with items of local information, time checks, weather and news.

Although Johnny is a newcomer to the area, some years ago the Moran family lived in Sheffield and Johnny’s mother was born in the city. The Moran’s emigrated to Australia where Johnny was born and educated and first talked into a microphone working for radio stations 3AW in Melbourne and 3YB in the seaside resort of Warrnambool — commercial radio stations similar in many ways to Radio Hallam.

Having learnt something of radio announcing, travel was his next desire so Johnny boarded a ship and visited Singapore, Ceylon, Aden, Egypt, Italy and France, en route to London, where he applied for work with the BBC but was refused even an audition.

An introduction to Radio Luxembourg at a time when there was a DJ job vacant lead to Johnny flying to the Grand Duchy of Luxembourg where he was one of the 208 team from 1964 to 1966, and it was during this time he first came to know Keith Skues who presented Johnny with a badge advertising his station Radio Caroline, the wearing of which did not amuse the manager of Luxembourg.

After two years abroad, Johnny decided to further his career by again trying to join the BBC … without success.

During 1966, Johnny taped some films and commercials, worked as a DJ and compere at the Marquee Club in London, and recorded sponsored radio programmes for the off-shore pirate station Radio London. It was at the Marquee that he first met Radio Hallam’s Roger Moffat.

At the end of that year, it was third time lucky and Johnny started work for the BBC Light Programme, working for the first time with Roger, Keith and Bill Crozier.

In seven years with the BBC, Johnny introduced programmes which ranged from Radio One Club, Housewives’ Choice, What’s New, a Golden Oldies programme, a Soft Rock programme, and the pop magazine programme Scene and Heard which ran for almost six years.

Among the highlights of his time with the BBC, Johnny counts two special programmes on the Beatles, and in 1972, a trip to Canada representing the BBC which gave him a chance to see top North American radio stations in action in Montreal and Toronto.

While working mainly in radio, Johnny has made several guest appearances on both BBC and Independent Television programmes and has worked as an announcer on BBC-TV. Further radio activities include programmes for BBC World Service and the British Forces Broadcasting Service which have been heard throughout the world.

In 1974, while working for British Forces and recording a series of shows syndicated in North America, Johnny met Keith Skues at a party given for singer Barry White and first heard about the plans for a commercial radio station based in Sheffield.

Keith was due to go to Sheffield after the party so Johnny offered to drive him to the railway station. Johnny got lost — Keith missed the train — but Radio Hallam were awarded a contract to start broadcasting!

Johnny’s was the first voice heard on the new radio station when it officially opened at 6 a.m. on the first of October, 1974, and despite a couple of hitches and a jumping record, he remembers that day as one of the most exciting of his career.

Johnny enjoys a wide taste in music and likes the exotic in motor cars, food, drink, and travelling which is still high on his list of favourite pastimes. An accomplished sportsman, he has been a member of Radio Hallam’s teams at cricket, football and motoring and is trying to learn to be a good loser, although he has high hopes of forming a winning combination for Hallam at darts!

Johnny is married and has a labrador dog, a black cat and a fairly sizeable collection of records, although he’s wary of loaning them to Roger Moffat who has still never returned a Barbara Streisand album borrowed five years ago.

With the extension of Radio Hallam’s broadcasting hours, you can hear the Johnny Moran Breakfast Show from 5 a.m. while 9 a.m., and on Wednesday evenings he returns 8 while 11 p.m. for the Soft Rock and Soul (thanks to a slip of the tongue, better known as the Soft Sock and Roll) Show.

Brenda Ellison

Brenda Ellison

I’m sure you’ve had that feeling … sitting there and thinking “How on earth did I get here. What am I doing here? Why Me? I must be mad”. And at the same time knowing deep down, that wild horses wouldn’t drag you to anywhere else. It’s one of those very special moments when you know that you’ve achieved what you’ve always wanted to achieve.

Well that’s exactly how I felt on October 1st, 1974. Sitting in Studio A of Radio Hallam. By then we were all used to the name, Hallam, but the idea that we would actually get on the air, on time, and that there would be people tuned in on 194 was a very different matter. But they certainly did, and it wasn’t long before they let us know they were listening. It was a tremendous thrill to see out switchboard jammed with calls from people enjoying our programmes.

And then there were the happenings on day one … the gram decks seizing up, the cartridge machines all playing at once, Yorkshire Television filming Roger and I, being blinded by the lights, our glass window breaking and having to be repaired in the middle of the programme. Oh … all these memories and impressions come whizzing back. I felt I needed four ears and two pairs of eyes, to take it all in. We shall never see another October the first of the like again!

But as to how I got there. I hadn’t always wanted to work in Radio, but funnily enough, looking back, it seems as if events had decided for me that there could never be anything else. I suppose it all started at school in Ecclesfield where I was given parts in plays, and thoroughly enjoyed them. In fact they became, as far as I was concerned, the main reason for school. Then I had to decide what to read at University, and there was only one thing really for me … Drama. Now this was no ordinary theatre course, theatre was one side … radio was the other. We had our own broadcasting studio, but being a University there was nobody to transmit to, so in my opinion not much point in doing the thing at all. Much better to have the citizens of a whole city to listen … local radio had just opened in Sheffield, and I needed to earn some money in the summer vacation. The whole thing fitted together very nicely. I got hooked!

That’s how my love affair with Radio started. From London to Manchester I’ve flown upside down in aircraft, I’ve gone up in a hot air balloon — I’ve even interviewed lavatory ladies in their own abode … and now I’m with Hallam, learning from the experts. Anybody who works with Keith, Roger, and Bill can’t help but have their standards raised, and I owe them a big thank-you. But more than ever … Long live commercial radio, and long may Hallam prosper … it’s one of my best friends and I hope it’s one of yours too!

Colin Slade

Colin Slade

Colin Slade is a man of Kent (or is it Kentish man ?) and it was there that he was bitten by the broadcasting bug. At fifteen, he was running the radio set up at All Saints Hospital in Chatham — one microphone and one record player in the plush studio surroundings of broom cupboard with adjoining loo! His introduction to rock music came a year later with his appointment as Social Secretary at Medway and Maidstone College of Technology, where he booked bands like Gentle Giant, Van Der Graaf Generator, Lindisfarne and Quiver all for under £60. “I’d never heard of them before”, said Colin “but they all became quite famous and I think this was the most important part of my musical education.” But it was these humble beginnings that landed Colin a job with BBC Radio Medway in January 1971, presenting a weekly rock show. Within a few months he had progressed to breakfast and afternoon shows, requests and even newsreading. During this time Colin experimented with the format of his rock show, developing the two hour in-depth interview programmes with well known stars, such as Colin Blunstone, Fairport Convention, Alex Harvey and the late Graham Bond.

In May 1974 he left the BBC to pursue a freelance interview career. This did not last long however. On hearing about Radio Hallam he saw an opportunity to work with his two all time favourite broadcasting heros, Keith Skues and Roger Moffat. So after a brief return to the Beeb at Blackburn, Lancashire, Colin arrived in Sheffield in September to present Radio Hallam’s afternoon magazine, Roundabout and the Hallam Rock Show. Away from the studio Colin is a man of many interests. He claims to be an absolute “loony” when it comes to musical instruments. “I can’t resist them and my collection includes several guitars, two mandolins, a banjoline, ukelele, and even a one string fiddle!” Colin is also a very keen collector of antiques and medals and is quite knowledgeable about British and German Militaria. He’s also an enthusiastic target shooter when time permits.

In May 1975 Colin married Marie Bird, a receptionist at Radio Hallam.

COLIN SLADE with “Roundabout” guest ROGER DALTREY

Ray Stuart

Ray Stuart

Ray Stuart started his show business career whilst serving in the Royal Air Force in Germany in 1956. Along with three other members of the R.A.F. he joined a skiffle group called the Northwest Ramblers and they played at various dances on the R.A.F. Camp and as they got better progressed into local German clubs.

After leaving the R.A.F. in January 1959, the group split up, but on returning to Sheffield Ray decided to join a Rock n Roll group called the Main Liners.

The group were fairly successful, playing at working men’s clubs throughout the area.

No degree of success came though until Ray left the Main Liners and formed a group called Frankenstein and the Monsters in 1961.

Until 1967 the group became very well known, both in this country and abroad, but due to bad agents and manager, Ray decided to call singing a day and get a proper job.

The proper job never materialised and he decided to become a D.J.

For the next two years Ray worked at the Black Swan in Sheffield and many other pubs and clubs gaining as much experience as possible. In 1969 he applied for a freelance job at BBC Radio, Sheffield, and was successful, and until 1974 worked for the BBC Local Radio learning as much as possible about Radio technique. On October 1st, 1974, Ray joined Radio Hallam, and is the regular presenter of ‘Countdown’ as well as the ‘Ray Stuart Show’ (9 p.m. – 12 midnight, Saturday: and 9 a m. – 12 midday, Sundays) He is also joint presenter of ‘Hallam Express’

Beverley Chubb

Beverley Chubb

Beverley Ellen Chubb was born in England in 1948 but was shipped to the Colonial parts at a very early age and later educated in Perth, West Australia.

She did plan to do a University course in History but had failed the exams. Beverley decided on a life of leisure but within a few months her parents bludgeoned her into earning a living. So she became a Dental Nurse, qualified and left — she couldn’t stand it … so she moved to work as a clerk for a transport firm and left — she couldn’t stand it … she worked as a barmaid for half an hour and was sacked. So she spent most of her time hanging around with folk and surfing crowds, took guitar lessons, used to spend a lot of time checking out local bands and was thrown out of home by irate parents.

She moved into a flat with two music freaks, played hippies until she was forced to become more respectable and joined the Perth Dental Hospital, whereupon she was immediately posted out with a mobile crew to the remote bush towns. In her spare time she formed a local folk group, who played for their own amusement, guesting at local dances. She moved to Sydney for a month, returned to Perth and eventually left for England in April 1970.

Beverley subsequently toured Europe for four months, worked on odd occasions, and was invited to join Radio Luxembourg as a typist. But she doesn’t do things in small doses and ended up as Assistant to the Programme Director, being responsible for production, playlists and artists liaison. Realising she could not become Managing Director for at least another five years she joined Radio Hallam as Music Producer and is now responsible for looking after the weekly playlist and all visiting artists as well as liaising with record companies and running the record library.

Beverley is the regular presenter of the midnight to 3.00 a.m. Saturday show “Chubbing with Chubb”. She’s also a regular contributor to the motoring programme on Fridays.

Liz Davies

Liz Davies

Liz confesses that she’s in broadcasting simply because she’s never done anything like it before. Despite her voice test for Hallam sounding (so Liz says) “like Basil Brush imitating Emperor Rosko” she was chosen because of her experience in dealing with people (and animals) in many kinds of problem situations.

Between being born in Hathersage, Derbyshire and joining Radio Hallam she went to school in a few places then started off a somewhat chequered career as an animal technician in Cambridge working with rats, followed by further research, this time with humans, into stomach ulcers. From there (Liz states it seemed quite logical at the time) she progressed to psychiatric social work, and became a Mental Welfare Officer. But after four years she found herself once again looking after animals — this time as a veterinary anaesthetist. Other short term employment included being a personnel officer, a window dresser, racehorse groom, farm labouress and finally ended up back in research studying the problem of infertility in women.

So it could be said (amongst other things) that Liz is ideally qualified to certify an infertile rat with a gastric ulcer.

Liz admits that as the newest and least experienced addition to Radio Hallam’s presentation staff, at first the control desk in the studio looked like something from an Apollo space flight deck, and surrounded by so many professionals she makes the comparison that she felt like Lucille Ball in N.A.S.A. However, she’s since learned where to kick things. The “paws” button on the tape machine has had to be covered up as Barney kept pressing it, and we’ve heard rumours that after he’s eaten Florence he has plans for a “coup d’ chat”.

In a more serious vein, Liz states that she’s deeply indebted to the rest of the staff for the help and encouragement she has had, and still continues to receive. It all adds up, all the talking, meeting people, music, deafening noise and air of unpredictability to an immensely enjoyable experience being the presenter of ‘Tis Liz every weekday afternoon.

LIZ DAVIES shares a joke with LULU, one of the many studio guests featured in “TIS LIZ”

Frank Carpenter

Frank Carpenter

Frank Carpenter joined Radio Hallam on September 1st, 1974, a month before the station went ‘on air’.

While having a varied musical taste Frank enjoys country music the most, and is pleased to see it becoming more popular and now regularly entering the pop charts. He is keen to promote country music and to bring it to a wider audience.

Before joining Radio Hallam Frank built and operated his own mobile discotheque; his main job being accountancy.

From the time of offshore commercial radio Frank has been trying to become a disc jockey, his one ambition. To achieve this aim he went to Vancouver, Canada to learn his trade, in North America the home of commercial radio. He learnt a lot from studying at the Broadcast Department of the British Columbia Institute of Technology and from the experts at CHQM and CKWX in Vancouver. Frank returned well versed in the varied techniques of broadcasting, from the hosting of record and open line telephone shows; to air-time selling, copywriting etc., through to radio station management. This valuable experience stood Frank in good stead for his present job in programming.

Frank is 5′ 10½” tall, has fair hair and blue eyes. He is slim and athletic (his own words!) although finds little time for sport as radio is an all consuming activity (his wife’s words!!) Whenever possible he plays tennis, table tennis or goes skating. Frank enjoys travelling and meeting people. During the Summer of 1973 he travelled over 10,000 miles across the length and breadth of the U.S.A, and Canada on a Greyhound coach, taking the opportunity to listen to and visit radio stations across the continent.

Jean Doyle

Jean Doyle

It was Ray Stuart who first said “What’s an old boiler like you doing in a place like this?”. I didn’t slap his face because I can’t reach up that far and I knew it was just his funny way of saying “Nice to be working with you again” — I think. I worked with Ray in another Sheffield broadcasting estaminet, if that’s the right word.

The name “Old Boiler” stuck, but I didn’t expect Keith Skues to be so rude. “What’s an old boiler like you doing here?” he said the other day. Before I could retaliate by pointing out how his nose is longer than mine — not much, but enough — he went on “I want you to tell people all about yourself. Write it down.”

So I pulled my shawl round my rheumaticky shoulders, picked up my pencil in my arthritic fingers and pondered, clicking my false teeth absent mindedly. I got quite carried away. “I’m just 21,” I wrote, “36, 24, 36, blonde and fascinating …” No it wouldn’t do. If Ray Stuart didn’t blow that, then my kids would.

Life history then, for real: born in a South Wales mining village; moved to foreign parts (England) to be more or less educated because my father thought it was safer than going on the stage, which was what I wanted to do at that time; got married and moved around the country having babies in various places and finally ended up in Sheffield fifteen years ago. Here I’ve taught and lectured in several establishments. Suddenly local radio hit Sheffield in the shape of BBC Radio Sheffield and I found myself doing more and more odd bits on the air. I realised that this was what I wanted to do more than anything else. I got some training and made many friends. A lot of the work I did there was in the field of consumer affairs and the research involved had to be meticulous and accurate. Even when you know you’re right, it’s a bit off-putting when a trader threatens to sue you for what you’ve said on air — and that happened. Even worse for my piece of mind, I came off air once to find that two plain clothes policemen were waiting to see me. I presented myself, white faced and trembling, but it was all right. They only wanted some more details about a dubious door-step salesman that both they and I had been investigating.

And then came Hallam. I still don’t know quite how I came to be one of the team in the consortium seeking the Sheffield contract and putting forward our proposals to the IBA, but I know my nerves haven’t been the same since.

My passion for radio survived, and I became Women’s Editor at Radio Hallam. You might wonder what that entails. Well, I produce ‘Tis Liz every weekday afternoon, which means that I dash in and out of the studio with things Liz Davies has forgotten. Oh, and sometimes she lets me sharpen her pencils. I also produce the twice weekly programme of home and family interests presented in an informal way by Liz and myself. The afternoon programme consists of music and chat with a lot of regular guests, all of whom have become firm friends to us and to our listeners. We try to cover all the things that interest women — maybe that’s why there’s also a large male audience for the programme. Homebase has the same mixture of music and chat with more emphasis on chat but we still hope that it’s a friendly programme. We cover anything that’s of interest to the family from do-it-yourself to items about the countryside. One of our regular spots on a Tuesday evening has become tremendously popular. That’s when our solicitor comes in to answer listeners’ problems with his own blend of expertise and understanding.

There are a few other things that I do. I bandage fingers, write letters, fetch sandwiches, present the Sunday request programme from time to time, invite guests into the studio, mend bachelors’ torn clothes …

It’s a great life working at Hallam. And the best part of all is when listeners write in or phone to say how much they enjoy any programme that comes under my direction. That’s what I’m here for — to make sure that you hear what you enjoy and enjoy what you hear. And that’s what an old boiler like me is doing in a place like this!

Colin Maitland

Colin Maitland

‘Colin Maitland? Oh yes, I’ve heard you on Radio Hallam. You’re American aren’t you?’

No.

‘Sorry, I meant Canadian.’

No.

(A touch of irritation) ‘Well where are you from then?’

Birmingham.

‘Alabama?’

No.

‘Michigan?’

No. Warwickshire. And the reason I have an accent is because I spent 14 years in North America.

‘Oh.’ (end of conversation)

That particular exchange happens about three times a week and I can only hope that in due course enough people will come to know the truth that I won’t have to go through it every time.

Of course having grown up ‘over there’ isn’t always a drawback. For instance, I happened to be in Halifax N.S. at the right time (age 7) and was offered a part in ‘The Lilians’ a sort of Canadian ‘Archers’. The part was ultimately written in permanently and I grew up with the family. Later on I was able to do more radio work in such cosmopolitan(?) areas as Winnipeg, Vancouver, Windsor and Detroit.

I returned to Britain with a Hamtramick accent and a burning desire to set the acting world on its ear. The former I modified rapidly … if only because nobody could understand a word I was saying … but the latter took several years to eradicate.

Finally, in 1965 after a bad accident gave me a three-month reservation on a prime site in hospital I decided I’d had enough of “The Germans are coming, Sir” and might, just might be better off in journalism.

I’d been writing part-time for several years so opting for full-time hackery seemed logical. In the event it was, because I found sufficient markets to keep me in the style I’d become accustomed to (starvation) and even managed to fit in some more radio work.

Having been a script editor, sports reporter, theatre press officer, technical writer and motoring journalist (not necessarily in that order) I joined Capital Radio in January of 1974, as a reporter. At that time Capital was still the cause célèbre of the IBA fleet and a career in such illustrious surroundings seemed singularly attractive.

Alas, it was not to be. For reasons far too numerous and sordid to go into, Capital found itself short on money and long on staff, so I along with the rest of the newsroom, found myself on’t dole. That was in November and just when all seemed wreathed in gloom, who should come along but Radio Hallam.

“Djawanna be a Features Editor?” they said.

Certainly. Could I commute from Balham?

“No.”

Oh well, what’s Balham got that Sheffield hasn’t got ? As it happens, Sheffield has a great deal to offer, not least a plentiful supply of feature material. Since I joined in January 1975, I’ve done programmes on mountain climbing, mines rescue, money, the police, the fire brigade, cars, buses and trams, drugs, alcohol, gipsies, The Case of the Missing Corpse, films, Buddy Holly, A Dream That Shook the World and a multitude of other subjects.

Through our ‘access’ programme, groups as diverse as Che, Anti-Vivisectionists, Naturists, Friends of the Earth and Field Sports have been able to ‘display their wares’ to the public. We’ve heard from the Pro-Marketeers, the Anti-Marketeers, pro Radio Hallam and even anti-Radio Hallam … all able to speak their mind.

In our weekly motoring programme ‘Driveline’ the virtues and/or the drawbacks of everything from two wheels to eight have been examined. We’ve invited the police, the driving instructors, insurers, racing and rally drivers to the studio to give their side of motoring things.

‘Features’ of course is a sufficiently vague term to cover almost anything and everything. A 4-minute insert into a music programme on the perils of agoraphobia is a feature (I hate the term ‘featurette’) while an hour-long look at the history of trams also falls within the same category. I think it’s a mistake when moving to a new area to go frantically hunting the unusual or abnormal in the belief that only those subjects will interest the listener.

‘Tain’t so! Offer the listener a choice between a stolid half-hour with a steeplejack and an in-depth look at police work and he (or she) will probably choose the latter. Why? Simply because the average person is unlikely to have all that much contact with a steeplejack … well not at work anyway … while we see policemen every day without being all that certain what they do when they’re out of our sight.

There’s nothing startlingly new in that theory of course. It’s based on the old radio (and television) cliche that ‘a well-done programme on a mini will beat a dull one on a Rolls’ … or words to that effect.

Nevertheless, the fact that I’m here at all is a clear indication of Radio Hallam’s determination to pursue a varied programme policy. We never have been a station where music is All and features have an important part to play in varying our output and keeping the listener happy. When they stop doing that they cease to have any function … and so do I.

Kelly Temple

Kelly Temple

Born on the 19th February, 1953. Height 5’8″. Black hair, Brown eyes.

Kelly started his career as a DJ at the age of 14, working one night a week in a Leicester Youth Club.

His broadcasting career began in 1972 when he joined BBC Radio Humberside as a freelance DJ.

In between time Kelly was studying to qualify for a Medical Course, but instead joined a large company in a junior managerial position. In his spare time he sang with a pop group and worked in the nightclubs.

1974 was a successful year for Kelly when he made an appearance on “Top of the Pops”, and joined Radio Hallam presenting “Saturday Spin” most Saturday lunchtimes.

Kelly now presents the weekend breakfast show.

Kelly, who is single, drives a red sports car and enjoys-tennis, water skiing and gliding.

His taste of music varies from Johnny Mathis, and Cliff Richard to Barry White and the Philly Sound. His favourite female singer is Diana Ross. You only have to listen to the breakfast show each weekend to find out the variation in his musical taste.

Rev. Ernest Marvin

Rev. Ernest Marvin

Radio Hallam’s Religious Producer is the Reverend Ernest Marvin who was born in Dumfrieshire, Scotland. He took a degree in Politics, Philosophy and Economics at Oxford and later went to Cambridge to read Theology.

Ernest was ordained in 1956 and spent sixteen years at St. James’ Presbyterian Church, Lockleaze, Bristol. These were pioneering days, he recalls, and it was at this church that he and a colleague, Ewan Hooper, wrote one of the first Rock Operas “A Man Dies”. It was a drama which followed the Medieval Mystery Plays which brought together humour, satire and social comment with a Gospel Story and it was performed in modern dress.

After first appearing at a church hall, “A Man Dies” moved one year later, in 1961, to the Colston Hall, Bristol. The production was later televised by ABC Television and subsequently a long playing record “A Man Dies” was released by EMI Records.

A Question was asked in the House of Commons seeking permission to ban the production for its apparently irreligious nature. But the Show went on. “A Man Dies” was presented on Radio Hallam on Good Friday 1975.

Ernest Marvin came to Sheffield in 1973, having spent twelve months in the USA preaching and lecturing. He is a minister of St. Andrews United Reformed Church in Upper Hanover Street, Sheffield, as well as being the Chaplain to the University of Sheffield.

His weekly programme “Break For Faith” is heard on Sundays at 9.00 p.m. and he is regularly joined by the Reverend Trevor Pitt, vicar of St. Johns Church, Gleadless Valley, and Mr. Peter Lewis, the singer and broadcaster.

Commercial Break

Commercial Break

Darryl J. Adams

Sales & Publicity Manager

Although the informal, friendly style of broadcasting developed by Radio Hallam makes it sound instantly recognisable, its most obvious characteristics are the commercial breaks sprinkled amongst the programmes. The commercials are, of course, the life-blood of the station as we do not receive any income whatsoever from the licence fee paid to receive national radio and television.

Independent radio stations are permitted to devote up to 9 minutes per hour to advertisments, and the content of these are very stringently controlled by the IBA Code of Advertising Standards, to make sure that no harmful or offensive material is transmitted.

I consider the advertisements to play a similar role to the rest of our programme output by being informative and entertaining; and to achieve this a great deal of expertise is employed in the creation of every commercial, some 2,000 of which have been made in our own studios during our first eight months on air.

Some startling successes have been reported by advertisers who used us as a means of informing you, the listener of some of the special qualities of their goods or services, and likewise we’ve found that many people have been grateful for information they have received through our advertising service.

It all boils down to the fact that we have the ability to communicate with a large audience (in excess of 350,000) in a way that requires no direct commitment on their part. You can listen to the radio and carry on with your days’ activities, whereas it is extremely hard to watch television whilst driving a car, or read a newspaper whilst mowing the lawn.

In these days of severe financial cutbacks, more and more companies are turning to radio as the most cost-effective way of advertising their goods, (I’m sure you’ll be surprised to hear that a 15 second spot can cost as little as £4·00), and because of the speed at which we can operate (A commercial can be on the air in 15 minutes), this medium offers advertisers a flexibility and potential hitherto unavailable in this area.

THE SALES TEAM
Left to right
Bill Young; Brian Murray; Ann Tennant; Audrey Furniss (std); Lynn Collington; John Green; Marian Brook; Steve Perry

Publicity

The success of Radio Hallam depends to a large extent on the popularity of the station and the number of listeners who regularly tune in, so we are extremely anxious to become involved with community activities wherever possible. That is why we are constantly seen out and about at functions where we have the opportunity of meeting as many of you as possible. I also consider it part of our role to help promote various entertainment functions, and on the serious side we are involved with promoting sport and educational achievement.

The halcyon days of Hallam

The halcyon days of Hallam

by Roger Moffat

I think it was a Friday. I can’t be sure about it being a Friday but I do know it was March, 1974 because the telephone hadn’t rung since the New Year and I was thinking that it was a waste of time paying all that money to the GPO when nobody rang me and I had no friends left to ring. No, I’m wrong. It wasn’t a Friday at all. It was a Tuesday because I remember that I was just off to get my dole money when the call came through.

“A Mr Keith Skues is ringing you from a London call-box. Will you pay for the call?” Although I didn’t realise it at the time, that must have been the first occasion (there have been many more since) that I said “No Way Baby”.

Minutes passed. The phone rang again. Keith Skues — with money. (There haven’t been many occasions since!!)

“Roger, how about having lunch with me next week”, spoke Mr K. In my impecunious state, I would willingly have supped with the Devil, so I agreed.

Monday next I hid in the guards van from Aylesbury en route for London and a free meal.

We shook hands. It was, after all, quite an historic occasion. I hadn’t met Keith since I was fired by the BBC and he hadn’t met me since he parted company with the BBC. It was “Stanley and Livingstone” all over again! “Right then”, I said “How about the lunch offer?”

His countering remark left me somewhat puzzled. “How about SHEFFIELD?”

Now I know quite a bit about the north and I also know that few, if any, people travel from the West End of London to Sheffield — FOR LUNCH. Especially when they are standing outside the Savoy Hotel.

“No, not Sheffield for lunch”, he said. “How about working for me — for RADIO HALLAM in Sheffield”.

It was the soothing voice of the nurse at the Middlesex hospital that I heard next. “You’ll be OK”, she said “You’ve just had a slight shock. Do you know that you’ve just signed for SHEFFIELD HALLAM?” “When do I play?”, I muttered. “Nine till twelve, every morning”. It was not the nurse but Keith who answered. He had never left my side — and he hasn’t since.

The scene changes now to Sheffield, July 1974. It was a Sunday; a drab and damp Sunday as the train drew in. No Station Manager to greet me. No red carpet. No Guard of Honour. Just rain and litter. Just litter and rain. Not even a Keith Skues in attendance. “Taxi?” I enquired, looking helplessly around the completely empty station forecourt. I might just as well have asked for a private helicopter! And then this fella came up. “Roger Moffat?” he enquired. “Yes”, I replied, thinking he was my belated taxi driver. “And I’ll tell you one thing to start with”, I said “Sheffield is a bloody awful place”. He wasn’t a taxi driver at all, he was a reporter from “The Sun” newspaper. What a way to run a railway station. Come to think of it, what a way to launch a Radio Station!

As Keith led me into “my office” the next day, he did comment upon “being cautious” when talking to the press. My “office” hadn’t been completed. One wall was still yet to be built. There was no glass in the windows. How could there have been? There were no window frames! My “chair” was a pile of bricks. My “desk” was also a pile of bricks. Whilst I was “off the ground”, I had serious doubts as to Radio Hallam ever doing the same.

The Radio Hallam dog, which we seemed to have acquired from the builders, used either me or my pile of bricks as a lamp post and I thought, as I hung my socks out of the non existent window to dry, “Yes indeed, Sheffield is a bloody awful place”.

It isn’t. As we began to meet the people and the people met us, we got “the local stuff going”. Thank you, you people of South Yorkshire and North Nottinghamshire, those in Rotherham and on the River Don, Chesterfield and the many other places we’ve yet to visit — “Thank you for having us in your homes”.

ROGER MOFFAT has occasionally been known to ‘Freakout’ – seen here in a Glitter Band Suit.

Independent Broadcasting Authority

OCTOBER 1974

The IBA's Responsibilities

The Independent Broadcasting Authority Act 1973, which consolidates the Television Act 1964 and the Sound Broadcasting Act 1972, provides the legal

framework for the setting-up of Independent Local Radio stations under the control of the Independent Broadcasting Authority.

The iba is thus responsible for both Independent Television (itv) and Independent Local Radio (ilr). For both it selects and appoints the programme companies; supervises the programme planning; controls the advertising; builds, owns, and operates the transmitters; provides distribution links; and establishes technical standards.

By March 1974 thirteen of these stations were either on the air or contracts had been offered by the Authority. In July 1974 the Home Secretary announced that six more stations would be authorised, bringing the total to nineteen, further developments depending on Lord Annan’s Committee on the Future of Broadcasting.

Each programme will be transmitted simultaneously on medium wave (mf-am) and Band II (vhf-fm). It is hoped that local radio audiences will come to accept vhf as the main listening service as soon as possible, with mf fulfilling a matching role, especially during daylight hours. The vhf-fm transmissions will have a stereo capability; details are given below.

The new radio stations, so far as possible, provide a service specifically aimed at their local communities, and in order to do this the men and women who produce the programmes need to be closely identified with their localities. The programming schedules seek to provide a reflection of life in the area through entertainment, news, information, and education; the specialist news company in London provide a prime source of national and international news, both for its own transmission area and for supply to the other radio companies.

As with Independent Television, the radio companies are self-supporting. Advertisement revenue is the prime means of financing Independent Broadcasting and one of the Authority’s major functions is the control of the amount, presentation and content of advertisements. The iba’s Code of Advertising

Standards and Practice has been revised to encompass sound broadcasting. Under the provisions of the Independent Broadcasting Authority Act 1973, no programme sponsorship or advertising magazines is permitted. The maximum time allowed for radio advertising is nine minutes in any one clock-hour.

The Authority received two applications for the ilr programme contract for the Sheffield and Rotherham area. Both applicants were interviewed by an iba group which visited Sheffield in February 1974. The group also met representatives of the civic, educational and religious life in the area and individual members of the public. Further interviews were held in London; and in March 1974 the Authority announced their selection of Radio Hallam Limited. The programme plans which were submitted as part of Radio Hallam’s successful application to the iba were published on the day the station commenced broadcasting.

Radio Hallam Ltd

P.O. Box 194, Hartshead, Sheffield S1 1GP.
Tel: Sheffield (0742) 71188

Directors
G. F. Young, C.B.E., J.P. (Chairman); W.S. MacDonald; Mrs D. DeBartolome; Lord Darling; J.P. Graham; J. J. Jewitt, J.P.; T. P. Watson, J.P.; H. Witham.

Executives
G. Blincow (Company Secretary); K. Skues (Programme Director); M. Lindsay (Production Manager); Jean Doyle (Woman’s Editor); D. Turner (Features Editor); I. Rufus (News Editor); S. Linnell (Sports Editor); D. Adams (Sales Promotion Manager); J. Orson (Chief Engineer)

OCTOBER 1974

Stereophonic Broadcasting

The conductor taps the podium twice. Sounds begin to swell and fill the auditorium. The movement builds up to a momentous crescendo.

An evening at the concert hall. We hear a collection of sounds all reaching our ears from different directions.

Each performer contributes his own part. Stereophony can create these sensations in the home. All types of music, live or on today’s excellent recordings, and drama productions are brought to life by stereo.

The stereo effect

Our television or portable radio provides us with just one source of sound via the loudspeaker. Even though the quality may be very good, we have no idea of movement or direction of sound — as we have in the theatre or concert hall, or as popular music makers are able to create electronically in their recordings. Stereophony requires at least two sound channels, and consequently the same number of loudspeakers. But by carefully positioning the loudspeakers and listeners, the directions and movements of sound can be simulated. Thus adding realism and greatly increasing our listening enjoyment.

Two channel stereo can be provided by stereo record players or tape recorders. Sound broadcasting in the vhf band is also capable of providing the two channels. Independent Local Radio broadcasts many programmes in stereo (on vhf). By obtaining the necessary stereo receiver, amplifier and loudspeakers you can add a new dimension to your listening enjoyment.

How stereo broadcasting works

The two separate sound channels used for stereophonic broadcasting are often called the ‘A’ and ‘B’ channels. One way to broadcast stereo would be to transmit the A and B channels individually. This has the disadvantage that listeners with single channel (‘monophonic’) receivers would have to tune into one or other of the two channels. In fact, they need a single channel composed of a mixture of the A and B channels. Also, two channels would occupy a large amount of precious vhf spectrum space.

The Pilot Tone System

The ‘pilot tone’ system used by ilr and many other broadcasting organisations overcomes these problems. A composite signal is broadcast, which is arranged to contain two parts. One is the ‘sum’ of the A and B signals, that is A+B. The second is the ‘difference’,

A—B. The arrangement (of the two parts) is such that listeners with mono receivers receive only the A—B signal – which is the mixture they require. And listeners with stereo receivers obtain the individual A and B channels – by adding and subtracting the A+B and A—B signals electronically within their stereo receiver.

The Decoder

The part of the stereo receiver which adds and subtracts the ‘sum’ and ‘difference’ signals is called the decoder. In fact some mono vhf receivers can be converted to stereo by the addition of a suitable stereo decoder. Your dealer will be able to advise you on this.

An advantage of ILR VHF transmissions

Most ilr vhf transmissions are ‘circularly polarized’ This is a term which describes the way in which the radio waves emanate from the transmitting aerial. The iba is the first broadcasting organisation in the uk to use this method. One result of this is better reception for most vhf car radio users. But it’s worth noting that in general stereo reception needs a much larger signal than mono reception, so you may need a more efficient aerial system. It really depends on where you live. Your dealer will be able to advise you on this.

Choosing stereo equipment

There are no hard and fast rules for choosing stereophonic receiving equipment. An extensive choice is available, covering a wide range of styles, quality and prices. The best way to choose is to listen to as many systems as possible within your budget. Then select the system which you think sounds most realistic in comparison with a live performance.

OCTOBER 1974

When you have purchased your stereo receiving system, take care in positioning your loudspeakers and listeners. This is very important — otherwise the stereo effect may be partially lost. The loudspeakers should be placed as far apart as possible, up to a

maximum of about twelve feet. Listeners should sit near the centre line between the two loudspeakers. Now you can take your seat….

For stereo reception the need for a good, carefully positioned aerial is well worth emphasising if you are to achieve the best results from your stereo receiver.

If you need any further advice on reception of ilr transmissions, the Engineering Information Service of the iba will be pleased to answer your queries. The addresses are:

Independent Broadcasting Authority,
Engineering Information Service,
Crawley Court, Winchester, Hants SO21 2QA.
Tel: Winchester 822444
and for London subscribers,

Independent Broadcasting Authority,
Engineering Information Service,
70 Brompton Road, London SW3 1 EV.
Tel: 01-584 7011, and ask for Engineering Information.

OCTOBER 1974

The Pilot-Tone System

Definitions

A Hand Audio Channel – After pre-emphasis 
B Right Hand Audio Channel – After pre-emphasis
M Compatible Signal – to which monophonic’ receivers respond
S Modulus of Stereophonic Sub-Channel
𝓌 Pilot Tone Angular Frequency

Technical Description

The Independent Local Radio vhf service employs the Pilot-tone system, as defined by C.C.I.R. Recommendation 450 (Vol V, Part 1, New Delhi, 1970).

The compatible signal, M, equal to one half the sum of A and B, produces a deviation of the main carrier of not more than 90% of the maximum permissible deviation, 75kHz. A separate signal, S, equal to one half the difference between A and B, is used to obtain the sidebands of an amplitude-modulated suppressed sub-carrier, whose frequency is 38kHz. The sum of these sidebands produces a peak deviation of the main carrier of the same amount as the signal S would give if applied in place of the M signal, i.e. not more than 90% of the maximum permissible deviation, 75kHz. A pilot signal, whose frequency is 19kHz, i.e. one half that of the suppressed Sub-Carrier, is arranged to produce a deviation of the main carrier of between 8% and 10% of the maximum, 75kHz.

The instantaneous deviation of the main carrier is given by the following expression

fd = 0.9 (M+S.sin 2𝓌t+0.1 sin 𝓌t) ✕ 75kHz

where

𝓌∕2π=19kHz, M=½(A+B) and S=½(A–B).

A and B are restricted to the range of ±1 and consequently neither ½(A+B) nor ½(A–B) can fall outside the range ±1. The component ½(A+B), or M, represents the compatible monophonic signal. It is the only component available for monophonic reception.

The component ½(A–B), or S, represents the difference signal. It enables a stereophonic receiver to separate the A and B signals since M+S=A and M–S=B. The phase relationship between the Pilot-tone and the suppressed sub-carrier may be discerned from the above expression for fd. It is such that when modulating the transmitter with a multiplex signal for which A is positive and B=–A, this signal crosses the time axis with a positive slope each time the pilot signal has an instantaneous value of zero. A positive value of the multiplex signal corresponds with a positive deviation of the main carrier. The Pilot-tone is readily filtered out at the receiver and is used to regenerate the 38kHz Sub-Carrier to allow recovery of the S signal.

Since the values of A and B are each restricted to ±1, the expression for fd cannot exceed the range ±75kHz, which is the requirement for maximum deviation of the main carrier.

Pre-Emphasis Time Constant (for each channel): 50µs
Pilot Tone Frequency: 19,000±2Hz
Stereo Sub-Carrier Frequency: 38,000±4Hz
Pilot Tone Phase Stability: ±3°
Residual Sub-Carrier: <1%

OCTOBER 1974

IBA Transmitters

VHF Transmitters–FM with stereo capability

MF Transmitter–AM Mono only

Tapton Hill
NGR SK 324 870
95.2 MHz e.r.p. 0.1kW
Horizontal Polarization
Aerial height 950 ft. a.o.d.

Rotherham
NGR SK 432 913
95.9 MHz e.r.p. 0.05kW
Circular Polarization
Aerial height 435 ft. a.o.d.

Skew Hill
NGR SK 327 934
194 m  1546 kHz
Transmitter power 400W

Regional Engineer: H.N. Salisbury
Tel: 0532 33711

Engineer-in-charge: I. C. I. Lamb, MBE

The map shows the area within which most listeners with vhf monophonic receivers should obtain satisfactory reception. Good stereo reception should also be obtainable by the majority of listeners, provided adequate aerials are installed. 

The axes on the map relate to NGR co-ordinates

OCTOBER 1974

1975 ● THIS IS TRANSDIFFUSION