STUDIO 360

Radio Two Is A Brilliant Station Nowadays With A Varied Playlist, Whose Change Was Masterminded By Former Controller Lesley Douglas And Continues To Develop Thru Creative Programming, Glorious Documentaries And Glorious Live Sessions And Shows.

So Keith Richards has saved 'oldies ' station Angel Radio from going to the wall. In the meantime, Ronnie Wood is the saviour of Emphatic Radio with his new show that's pulling in record listeners. Bob Dylan's on Radio 2 - what next, Bizarre Al Yankovich's all-hit breakfast show on Radio Lollipop? !

Seriously though, it's fantastic that our old legislators of rock are taking to the airwaves - well, I suppose if your new album's no longer assumed worthy of airplay on our traditional stations, why not take over a show, so you can play whatsoever you want?

But I would like to see a little bit of a shake-up in the way the music we hear on our traditional stations is chosen. I'm especially brooding about Radio one here.

Radio 2 is a brilliant station these days with an eclectic playlist, whose metamorphosis was masterminded by former controller Lesley Douglas and continues to develop through creative programming, excellent documentaries and amazing live sessions and shows.

Other national radio stations, Magic, Heart and the larger commercial stations are proponents rather than leaders when it comes to selecting the music they play.

Radio one however seems to have got caught in a self-obsessive spiral in pretty much the same way as it did in the 90s, when its output turned the station into a pirate radio-sounding wind tunnel of repeated and faceless dance music that was almost unlistenable ( and I say that as fan of the class, having grown up with house music as my teenage soundtrack ).

Radio one has once again become too cool for college and ghettoized, caught in a rut where the playlist is controlled by same-sounding dubstep pop, which barring one or two exceptions e. G the superb Chase & Standing and Nero, is back to its mid-nineties low point.

What I suspect we need are rather more representative and sundry playlists at radio, where there's a chance for all these genres to shine and share the airwaves. As it stands at Radio one - or so I'm informed by the leading radio pluggers in the industry - everything has to be stood up for by a tastemaker or come from a specific scene ( now dubstep ) to have any chance of airplay support.

Therefore, daytime output is deluged with one generic sound and all the other genres are locked out till a chink in the armour appears wide enough for a band ( or a singer or a couple etc ) who've mobilized enough support to wreck through.

For the last 2 years the talk in the industry has been about how things are going to shift back toward guitar bands. But so far, this has not materialised, because labels can't get the support from producers because all they would like to play is dubstep because they think that's what the children need and are listening to.

If they only went out to gigs and holidays as much as I do and saw the range of acts and kinds of music that young 16-24 year olds are very into, then our traditional airwaves would sound drastically different. Young people out there love people, they like acoustic singer-songwriters, they adore reggae, pop, guitar bands, female vocalists, couples, boy bands and girl bands and they adore them all the time.

What do you suspect happens to all the fans of guitar bands or frontman composers or soul singers when that idiom of music isn't given national airplay, during times of mono-sonic doldrums? They do not just cease to exist. They're still out there, but they do not have any exposure to the acts that satisfy their tastes, which is a great missed opportunity for radio stations eager to improve their reach.

You may disagree that this is where 6 Music shines, but I think that all radio stations should have open minds instead of limited focus. BBC's Introducing is a superb and well-executed passage for music, but in this digital age where it could be simpler to make and distribute music, the issue is still exposure.

One ray of light nationally is the superb Superb Radio, which is imaginatively taking the BBC's Introducing format a step further and featuring music from their amazingtunes.com site. Fans choosing the music effectively, moderated by a team of established music industry presenters such as the fizzy Gill Mills, with her new music show and Jim Gellately up in Scotland, as well as the Guardian's music man Paul Lester.

Another fantastic platform which has emerged is the British Council's Selector Radio show. Lately nominated for a BT Digital Music Award for Best Show and fronted by Goldierocks, the show promotes British music internationally.

The show now goes out on FM in more than 30 countries worldwide to an audience of more than 3,000,000. Bands like Dinosaur Pile Up and artist Jamie Woon, whose music has been played on the non-playlist restricted show, have found new audiences in countries as far apart as Mexico and Kazakhstan.

Dinosaur Pile Up received so much interest in Mexico City that they ended up going out there and playing to a sell out crowd of more than 3,000 people in a country they'd never previously been to as reported tagza.com.
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