Home Shows A to Z

Diary 1950s to 1990s Articles Credits & Links

TV Pop Diaries
Pop Music on British Television 1955 - 1999

A vague announcement about a new show had been made in British weekly pop music magazine Disc in late March 1963, "big new AR-TV show planned for pop fans." Devised by London-based ITV franchise Associated-Rediffusion in the summer of 1963 to capitalise on the emerging British beat boom, the show would represent everything that was great about British pop in the sixties. Elkan Allan, head of Light Entertainment for Rediffusion had commissioned the show and even coined its catchphrase 'the weekend starts here.' However, it would be the pool of young talent, with not much, if any, experience in television that assembled the show, and one of those, Vicki Wickham, was fresh from her placement with BBC radio.

The show's genesis was Keith Fordyce's radio show Pop Inn, in which pop stars would come in for an informal chat and maybe play an unrehearsed song. Elkan Allan heard the show and thought of its possibilities as a TV series. He toured clubs to see how the kids danced and behaved and realised that they would probably just as much an attraction as the singers and groups. He rightly reckoned that the home audience wanted to see how teens dressed and danced differently to each song, and that audience would be between 13 - 17.

AR commissioned five shows with a further run if it proved successful. The idea was to hold the main bulk of the broadcast in Rediffusion's basement studio in Kingsway hosted by radio DJ Keith Fordyce with an audience of 150, while Canadian co-host David Gell would be in the lobby talking to the audience about their current music favourites. A member of the audience would get to play disc jockey and given a pile of new releases to take home to listen to and return the following week with their choices and predictions, while another would have a chance of winning that week’s top fifty singles. Another idea was to blindfold three members of the audience and get them to identify a current chart hit, while the title and artist was displayed on a monitor, but the idea was quickly dropped, as was a weekly piece on showbiz news. There was a movie spot introduced by actress Polly Perkins, but this too only lasted a few weeks. Perkins then co-hosted for a few weeks before returning to acting. Dusty Springfield also helped to commere for the first few weeks, but the demands of her new solo singing career meant that was always going to be a temporary post.

In summer 1963 TV Times writer John Gough had mentioned that a new youth aimed TV show was being prepared and would any teenagers be prepared to turn up and participate in the pilot edition. This trial show (it’s not known if this was a taped / filmed pilot) was held in July 1963 at The Royal in Tottenham and featured The Springfields. It would give the production team an idea of what to expect when the show debuted. However, the audience had no idea what to expect as the first broadcast show not only featured Billy Fury and Brian Poole and The Tremeloes, but also featured Joyce Blair, Joe Loss, Burl Ives and Pat Boone, not exactly the way to start any weekend. It was also the idea to catch stars just before they go to their theatrical engagements in London's west end to pop in for a chat, like BBC's In Town Tonight show from the fifties.

TV Times described the debut show in August 1963; “Keith Fordyce invites you to join him and David Gell to meet a host of guest stars from all sides of entertainment including Billy Fury, Brian Poole and the Tremeloes, listen to hit discs, see a scene from a recent movie, dance with the teenagers in the studio, find out what's swinging this weekend.” This gave the impression of the show as some sort of youth club with elders keeping an eye on the audience. Joe Loss was the judge of a dance contest on the first show which was won by someone doing the twist. This wouldn't last long, it couldn’t. The debut show was given a two page spread in that weeks' TV Times, so the ITV network must have had some expectations of success for the show.

Despite the inclusion of Billy Fury and others from the Larry Parnes fifties era of British rock and roll the show somehow prepared us for what was to come, and as to underline this The Springfields, a trio of home counties pop-folkies, had a blazing argument backstage at one of the shows in August 1963, furthering the desire of their lead singer, Dusty, to leave for a solo career. Helen Shapiro, Eden Kane and others of the immediate past were invited on to the show, despite looking a little staid compared to the youngsters like Lulu and Cilla, but they were still having hits.

The early shows were pre-recorded in studio nine at Rediffusion’s studio at Kingsway, London. Vicki Wickham was the series’ editor, while Radio Luxembourg DJ Keith Fordyce hosted the show for it’s first year or so, along with his co-hosts David Gell, Cathy McGowan and Michael Aldred, later joined by Gay Shingleton and much later Anne Nightingale. It was felt by many that Fordyce was probably too old even then to host a show so obviously targeted at teenagers, but the station argued that the show needed experience and Fordyce had hosted Jack Good's Wham! back in 1960 and more recently Thank Your Lucky Stars so was considered a safe pair of hands. Some shows were broadcast live and on one occasion singer Dion took offence at something (it's not known what it was) and walked out of the studio after just one song, while an ex-boyfriend of presenter Polly Perkins leapt in front of the camera to express that he still loved her. They also held a Beatles look-a-like contest which resulted in 200 look-a-likes infesting the studio for auditions. Michael Aldred briefly shared a flat with The Kinks' Dave Davies, but Davies quickly had enough of Aldred's tantrums and told him to leave.

The show initially relied on British acts, but the word got around to agents of visiting American acts that this was the show to do. Keith Fordyce, although a reliable host, found it tough interviewing the guests, occasionally fluffing it (a notable example being PJ Proby), so it was left to Cathy McGowan (effectively Dusty Springfield's replacement) to chat to the acts, despite an irritating tendency to say “amazin'” about anything or anyone, so much so that it wasn’t long before people were imitating and spoofing her, but not only her voice and mannerisms. Her dress sense became the standard that girls followed and not long after she found herself advertising clothes and cosmetics. Through her the show was now making a welcome move into the mod scene.

The original producer Francis Hitching and his production team chose an open set which was a popular concept on British television at the time. The whole studio was exposed to an aerial camera which the show usually started with. A typical opening scene would have the aerial camera staring down on the dancing audience then it would cut to a ground level camera which would be on Keith Fordyce in time for his opening line “well, hi there!” Cameras would be in full view most of the time, particularly if they were ploughing through a crowd of mods to get nearer the stage. The open studio set was first used by AR-TV’s comedy series A Show Called Fred, starring Spike Milligan and directed by Richard Lester, but the style was also adopted and adapted by BBC’s That Was The Week That Was in 1962.

The show was a success, but Rediffusion quickly moved it from its prime time hogging 7.00 - 7.30 pm slot to 6.30 - 7.00 pm on the 13th September 1963 to make way for Take Your Pick, and then extending its opening hours the following week from 6.15 to 7.00 pm. David Gell's last show appears to have been the 6th September as Keith Fordyce's name is the only one to appear over the following weeks. According to a Daily Mirror article only London and Tyne Tees are showing it at this time. Commere Polly Perkins and dancer Patrick Kerr join the show on the 27th September 1963.

The show's producers advertised for the post of 'teenage adviser' in a national newspaper in autumn 1963. A £10 a week secretary from Streatham called Cathy McGowan replied and after a series of interviews and camera tests she was offered the job. Talking to Disc magazine about the job in August 1965 McGowan said "I was working as a secretary on a magazine. Then I saw the ad in all the musical papers for an interviewer for a pop TV show. I said to my mum 'It must be a joke', but I went along, as I've always wanted to be a journalist." Her debut on the show on the 6th December 1963 was met with a two page TV Times article in which she explained not only her 'teenage adviser' role, but explaining the factions of mods and rockers. Mods had their own dances as well as fashion, and one of those dances was the Hitler, which according to the article "you cavort with with the right arm held in Hitler like salute." She might have not actually appeared on the show until the following week.

With RSG! pop music finally had its own outlet. For the first time pop music had broken free from its variety show status into an identifiable slot of its own. No more Arthur Haynes introducing The Rolling Stones, but people who were either knowledgeable or at least used to introducing pop music for a living. The show was NOW.

The mods made the show their own, but no Parker-bearing slob was ever seen, only well-groomed sharp lookers with in their twin-vents or sweaters. For the first time a young audience was seen to be participating, crowding the floor-space by dancing around the edge of the stage or podiums, whereas before the audience was restricted to the seats well behind the cameras. Everyone was a star, the audience as important as the stars on the stage. Despite the usual racially motivated complaints it wasn't unusual to see black dancers in the audience as they were on Top Of The Pops and The Beat Room. Top Of The Pops later used professional dance troupes like The Go-Jos and Pan’s People to do a weekly routine, but RSG! had two professional dancers of their own, Patrick Kerr and Theresa Confrey who would create a new series of steps for whatever record was chosen that week. Once the step was demonstrated they would then rope in members of the audience to dance along on the stage. The stage itself was be so small that the guitarists had to turn the neck of their guitar to the ceiling, a new pose was born. RSG was also responsible for a minor miracle, a white audience that knows when to clap on the right beat.

On 10th January 1964 Keith Forsyth quite innocently requested that anyone who wanted to be on the following weeks' show should turn up at Kingsway next Monday for an audition to be in the audience. Fifteen hundred turned up, leading to injuries, arrests and the following day's newspaper headlines.

The show not only made stars of pop singers and bands, but also those behind the camera. One of the regular directors was Michael Lindsay-Hogg, later to direct The Beatles’ Let It Be, Adam Faith’s Budgie, Brideshead Revisited and others.

The show’s opening titles used the catch-phrase ‘The Weekend Starts Here’ and the accompanying theme music would change from time to time, using Stevie Wonder's 'Hey Harmonica Man', The Surfari’s 'Wipe Out', Manfred Mann’s '5-4-3-2-1' and 'Hubble Bubble', Dusty Springfield’s 'Heartbeat', The Animals’ 'I’m Crying', Wilson Pickett’s 'Land Of A Thousand Dances' among others.

So successful was the concept that the BBC tried to counter RSG! with its own completely networked alternative Top Of The Pops at the beginning of 1964 and The Beat Room on BBC2.

The show even had its own "chat area for star" where each act would be interviewed.

Producers decided to extend the RSG empire to radio with the Radio Luxembourg hosted Ready Steady Radio, featuring many of the acts who would appear on the TV show, while in March 1964 a spin-off magazine with articles about the show and full colour photographs appeared.

On April 3rd 1964 the show was extended, albeit by five minutes, now beginning at 6.10 pm. Manfred Mann's ‘Hubble Bubble’ became the theme in mid-April, while the same month a request for new teenage boy and girl interviewers drew around six thousand applications. Each application had to come with proof that they have had something published.

The producers would be given the chance to make one-off specials, the most famous of which was the Mod Ball from the Empire Pool, Wembley in April 1964 which was subsequently entered for The Golden Rose Of Montreux festival of television. Devised by Elkin Allan and Francis Hitching the idea was to hold a show similar to the Chelsea Arts Ball with the money going to the Variety Club of Great Britain. Over 25,000 applications were made for the 8000 tickets, but the media tried to stir up trouble by suggesting that rockers had applied for tickets and would try to disrupt the show, but even if they did they were a no-show on the night. Things were predictably chaotic backstage, so if you needed access you had to give the password "okay pops". Everyone was miming on the night, but since the venue was so cavernous it was difficult to mime exactly in time with the music track.

In May 1964 acts were allowed to perform live for the first time. Talking to Disc Francis Hitching, the show's editor said "This will bring more atmosphere into the studio, and give the fans a chance to hear some of the group's regular repertoire, instead of just their latest hit. The immediate problem is to find enough rehearsal time." Among those playing live were rockers Jerry Lee Lewis and Carl Perkins, proving the show wasn't just a bunker for mods.

All the faces in the business appeared on the show, The Beatles, The Rolling Stones, The Who, Yardbirds, David Bowie, Marc Bolan, Donovan, plus any visiting American act sometimes performing live with their own band, or a band provided by RSG.

A complimentary Battle of the Bands contest Ready, Steady, Win! appeared in the summer of 1964 and offered a first prize of £1000 of equipment, with a second prize of a £750 van, a third prize of £350 of clothes. The winning band would also be given a place on the regular show. Initially nearly 5000 applications were made, so to separate the serious competitors from the chancers each group had to send in a demo' disc of which one song had to be an original. Only less than a thousand entrants managed to do this. Gay Shingleton and Michael Aldred hosted the thirteen part series, along with Keith Fordyce. Each show featured six groups a week and a guest panel of judges. After the first show was broadcast two of the featured bands The Scene Five and The Falling Leaves were offered recording deals. The finale was somewhat ruined by the inclusion of Bill Haley and Georgia Brown on the judging panel. Michael Aldred quit the regular show to help host the beat contest, but wouldn't return. Fifty hopefuls were auditioned to replace Aldred on the regular show, but none were considered suitable, so guest stars were recruited.

Writing for Pop Weekly in mid 1964 editor Francis Hitching made note of the ballads which were now becoming more commonplace and since the RSG studio was meant to represent a night club which played dance music it was having issues with this new trend. Dancers had no option but to find a partner or sit this one out, difficult for what was meant to be a dance show.

Many guests who had made previous appearances were invited back for the first anniversary show on 7th August 1964 which was seen by fourteen million viewers. Francis Hitching told Disc magazine at the time that the show had a seven year waiting list for audience members.

In September 1964 at a Variety Club luncheon Elkan Allen head of Rediffusion Light Entertainment said "When we started 'Ready Steady Go!' a year ago our's was the only programme with kids dancing on it. Now there's one every night. BBC has two copies on. If they'll take theirs off, I'll promise not to run any more beat shows." Tom Sloan of the BBC responded by saying "These remarks suggest that the BBC has deliberately followed the course set by Rediffusion. In fact, BBC began this type of programme with '6.5 Special' in 1957. This was the first show, which had youngsters dancing in the studio, and set the pattern for all its successors. Any suggestion that the BBC has copied Rediffusion's programme, is not only wrong but impertinent."

The viewing figures for the 1963 into 1964 New Year's Eve show was the largest late night viewing figure ever, apart from the General Election results, so it was inevitable that another new year show would follow. Talking about the new show to TV Times Francis Hitching said "This is a programme that wasn't really designed to be watched. We don't care whether they look in or not, so long as their sets are switched on. We hope people once again will use our programme to get their own New Year parties swinging."

The show only intended to play new record releases, but in early 1965 they give several slots to a young singer-songwriter from Scotland, Donovan. He would write songs especially for the show, including one about that week's singles chart. Elkan Allan wanted to see how an unsigned artist would be received on the show.

In the Spring of 1965 executive producer Elkan Allan decided to change the shows' format by having all the performers sing and play live. With the change of format came a change of location from Kingsway to the larger facilities of Wembley. Along with the facelift from the 2nd April 1965 the show was given a new name, Ready Steady Goes Live! Talking to the TV Times Allen claimed 'Ready Steady Go was starting to go sour on us about six months ago.' The boss of EMI Records Sir Joseph Lockwood was said to be "horrified" by the proposition of his artists performing live and met with Elkan Allen to discuss his concerns. Acts had performed live on the show many times over the previous few months, but the decision was probably agreed to beforehand rather than imposed on them. As Elkan Allen explained to The Stage and Television Today in March 1965 "Because of my own background of working on documentaries, I am personally happier with a show in which the performances are as authentic as possible. But I am the first to recognise that show business is founded on illusion and I have no objection to miming if it is necessary to create that illusion." Record companies had agreed to let Rediffusion have copies of arrangements of each song so it could be replicated live using the studio's musical director. Talking to Rave magazine Elkan Allan said "RSG was becoming a bit samey. Bad mimers positively embarrassed me and it was clear fans felt that mime's a cheat." The magazine held a postal vote to see which the fans preferred live or mimed, but as I've not seen that edition of the magazine the outcome of reader's preference is unknown. Not only would the fans now have to travel to the outskirts of London to see the show produced, but artists would now have to be in attendance from 10.00 am until the live broadcast for rehearsals.

The decision to move to Wembley was a gamble and to many it took away the intimacy of the previous location, but as Elkan explained to The Stage "I have felt recently that the audience was getting predictable and boring where once it was bizarre and compelling, so I decided that particular argument against moving to Wembley had gone.” A new dance troupe was employed with the audience now confined to seating (with limited room for dancing) on scaffolding to the right, but there would now be room for 250 members of the audience instead of the comparative airing cupboard studio at Kingsway. A new RSG! Club was formed at this time with around 2000 members from which the audience would be chosen to appear on the show. Talking to TV Times McGowan said "If they don't arrive at the studio looking smart and up-to-the-minute, they won't be allowed on the show and they will lose their club membership." But there's no doubt that the club feeling, one of the most successful aspects of the show, had just been sidelined, but the truth was that mod was fading. The musical director for the first month was Johnny Spence, later replaced by Bob Leaper, while backing vocals were provided by The Breakaways (who later sang back up on Jimi Hendrix’s 'Hey Joe'). The new sound equipment needed for a totally live show costs Rediffusion £12,000 with an extra £1000 per show. The change also saw Keith Fordyce leave the show with Cathy McGowan now co-hosting with David Goldsmith, but McGowan took sole control when the show reverted back to its original title 4th June 1965, with Keith Fordyce returning for the New Year’s Eve show. Despite it's new by-line 'The All-Live Pop Show' it looked like a variety show compared to the more intimate, almost cabaret approach of the previous set up. For the first Wembley show Cathy McGowan gets the coveted colour shot front cover of that weeks' TV Times.

Despite the intent to reinvigorate the show several ITV channels decided to drop it before the change, leading to a loss of viewers, while others would transmit it on different days. By early March 1965 the programme's makers Rediffusion were the only channel showing it at the intended time slot, with Ulster, Southern, Scottish, Anglia and Grampian playing it on a Sunday. So much for 'The Weekend Starts Here'. TWW ended up showing the more established Thank Your Lucky Stars instead of RSG! in this time slot, while ATV showed an edited thirty-minute version the following Thursday. ATV had actually dropped the show in late January, only to bring it back in March. A spokesman for RSG told Disc magazine "We had dozens of petitions when the show was cut. One came from a girls' school with 500 signatures." However, it would now be transmitted by ATV on Tuesdays.

Despite indifference from home broadcasters the trend-setting show from London was now getting noticed by broadcasters from other countries, and in the summer of 1965 Gary Smith, producer of NBC's Hullaballoo sees the show and suggest that they swap clips. Whether he was told that Rediffusion had plans to replace the show isn't known.

By summer 1965 Les Reed was the musical director for both ITV's Ready Steady Go and the BBC's Gadzooks.

P J Proby, who had been banned by some TV broadcasters in the UK after his on-sage trouser splitting incident had made two appearances on RSG in June and July 1965, but this time it was he who decided it was time for a ban. Talking to Disc magazine Proby's manager Tony Lewis said "Proby was contracted to sing three numbers. He even paid for the coach to take his band along for the rehearsals. Then, he had just got through one number and was halfway through the second, when the credits came up on the screen. This is unforgivable. I was furious - and so was Proby when I told him about it afterwards. He didn't know about it at the time. He just went on singing. He has now refused any more shows for Rediffusion." The show's producer Francis Hitching claimed "Proby was not contracted to do a specific number of songs. But we had planned for him to sing three. It was just one of those things. When an artist is the star of the show, he goes on last - and occasionally the show overruns. We are quite happy to have Proby back anytime."

Explaining the decision making process about who to include on the show Vicki Wickham told Disc magazine "As far as The Who, Stones, Animals and Dusty are concerned, we feel they made their names on our programme. It's great the way they phone up and say 'When are we doing another show?' Other artists are picked either by hearing a great record and auditioning the group that made it, or by going to clubs and ballrooms hearing a good artist and waiting for the record to come out then booking them. I pick records with a view to either dancing or to the chart. There's nothing clever about tipping records for chart success that are obvious - like the Beatles. We'd rather be wrong."

Talking to The Stage in August 1965 about the hostess / commere Francis Hitching explained "Cathy doesn't have a regular partner because we like to use a guest star each week. We searched for a long time for the right partner - without realising they were already on the show - as artists, just waiting to be discovered as compares!" Guest comperes included Michael Crawford, Woody Allen, Eric Burdon, Peter Cook and Dudley Moore. However, it was suggested by the Melody Maker in August 1965 that DJ Pete Brady might be invited to audition for the show.

Elkan Allan announced at the Variety Club luncheon that the show was to be replaced by something "much broader". He explained that "I am taking it off while it is still on top". He said this as he was receiving and award for the show from the Variety Club presented to him by former host Keith Fordyce. The show had also just won the Best TV Show category by readers of the Melody Maker for the second year running.

In September 1965 Disc magazine carried a headline "Ready Steady GOES!" Elkan Allan talking to Disc claimed "I want to see Ready Steady Go finish while it is still at the top. I should hate to see the programme become stale and lose its popularity, and be forced to go because of that." It was also announced that theatre producer Michael White (later to work with Monty Python and The Comic Strip) will help stage a Christmas show based along the lines of RSG. Working with him will be Elkan Allan, Michael Lindsay-Hogg and Vicki Wickham. The show was expected to run for a fortnight in "a big London theatre" and have the words "ready steady" in the show's title.

In the 9th October 1965 edition of the TV Times Elkan Allan was asking readers to come up with ideas for a replacement show which would begin in the new year. Letters were to sent to 'New Ready Steady Go' via the TV Times address. The public response was swift. From the Daily Mirror. "Don't drop RSG plead fans. Hundreds of teenagers throughout Britain have been protesting since it was announced that the 'Ready, Steady, Go!' show is to be dropped in December (writes Ken Irwin)." "We have simply been snowed under with complaints said a Rediffusion TV spokesman. But, we are not relenting because we think we have a much better show to take the place of RSG, Elkan Allan, Rediffusion's head of entertainment has been telling us about the plans for the new show." “It’s going to be the swingingest thing on the screen” he said confidently "the new show will make more use of film - we will shoot a lot of it out of doors and we will be using cartoons”. It is unlikely that the show will have a regular compare. “Unless we get a lot of complaints after the new show begins - on 7 January – there is no chance of RSG coming back.” Pete Brady's name came up again, this time as a co-host on the replacement show. There was in fact every chance that the show was coming back, but it's reprieve still couldn't convince more ITV stations to transmit it.

By late 1965 it was still reported that the show was on its way out. In a statement in late November Elkan Allen, head of Light Entertainment at Rediffusion claimed "The fact is that we are recording pilot programmes of several possible successors during the next fortnight and will decide our final plans when we have considered all these". The planned replacement will possibly be only broadcast once a month, with the acts miming. Elkan Allan talking to Disc said "We haven't finally made up our minds yet about the frequency of the new show, but it will be the best pop entertainment we can put on." The Animals had filmed material between 18th to 21st December for the first show of the new series to be broadcast Friday 7th January 1966, while The Walker Brothers and The Small Faces were mentioned for inclusion in the pilot show. There were also plans in place for a new Cathy McGowan show.

On Tuesday 16th December 1965 Rediffusion call a press conference to announce that the show will now not end at the end of the year, but will be extended until February 1966, but it will be cut to 27 minutes. Elkan Allan would be replaced by American musical director Buddy Bregman, who until recently was working with the BBC.

With the axe hovering over their heads now put to one side for the time being the show celebrated Christmas 1965 in true Crackerjack fashion with a pantomime, 'Cinderella' with Cathy McGowan in the lead role and Herman (Peter Noone) as the Prince trying to save her from the wicked Stepmother, played by Pete Townshend and the ugly sisters played by Hilton Valentine of The Animals and Ray Davies. While the New Year's Eve show saw the show return to Kingsway along with guest host Keith Fordyce. Interview clips with some of the stars were played between the programmes on ITV all evening. The show's producers used 'vidicons', shoebox-sized cameras for more intimate, informal shots of the guests around the studio. They were referred to by director Robert Fleming as "creepie-peepies."

In the new year the show was cut down to under half an hour to make way for popular, but terrible soap opera Crossroads, and also possibly to make the show more attractive to other ITV channels. Another possible attraction for the network was Sandy Sarjeant, the show's first cage dancer who arrived in March. An excursion to France in April might have been used to encourage exports by Global TV, Rediffusion's international sales division. Although it's unlikely the show itself was sold abroad clips from the show were used to bulk out local pop shows in West Germany. The truth was that Rediffusion in London was the only ITV channel showing it at the appointed time of Friday evening, with viewers in the north and north-east seeing it nearly a week later on Thursdays. No other ITV channels would show it anymore. Putting a brave face on it a spokesman for Rediffusion told Disc magazine "Although only three areas are now taking the programme, it does not affect the possible viewing public by more than 20 per cent."

Even though the show had responded to the threat of Top Of The Pops by having the artists perform live, miming and lip-synching eventually made a return only to have the Musicians’ Union threaten to black the show if the lip-synching didn’t stop by 31st March 1966.

In Spring 1966 the show was on the move again. A Rediffusion spokesman talking to Record Mirror claimed "On March 25, the programme moves to the new time of 7-7.30 pm. This will give it a larger network." This actually meant returning the show to its very first time slot, back in summer 1963. Time slot placement for any show had always been a problem for the ITV network, resulting in the show not always being seen nationally, if at all, resulting in ITV's various stations showing the programme on different days, for example a Friday evening live show in 1966 would then be shown by Granada and Tyne Tees the following Thursday evening. The new time slot meant it had a better chance of being seen by the whole ITV network. The 25th March 1966 edition was the first 7:00 to 7:30 pm show to be fully networked at this time, replacing long-running quiz show Take Your Pick.

On 1st April 1966 the show was broadcast from Paris, featuring many names from the French chart. Among the local audience were a British couple "representing the best British dress and dance trends" according to Record Mirror, while Cathy McGowan had been taking French lessons especially for the show. A French technical crew were on hand as the usual UK crew were back home working on the general election coverage. After the broadcast the Yardbirds played a live show at the Locomotion.

In order to continue to attract big names to the show several shows throughout 1966 were given over to special guests, performing live sets and introducing the other acts themselves. These included the Troggs, The Who, Otis Redding, The Walker Brothers and Ike & Tina Turner.

In June 1966 they show received a strange accolade as the German-Dutch magazine Musik Parade awards the show their Golden Arrow as best TV show, despite the fact that only clips of the programme had been shown there.

RSG continued throughout 1966 including a re-launch as 'new style RSG' in June. Producer Francis Hitching told Record Mirror "The show made a name for itself in the early days by launching new faces. Then came a period when audiences were mostly interested in seeing the established faces. Now we seem to have reached a phase where there is less call for the standard beat and more interest in complicated and unusual backings. This is giving a chance to the young solo singers."

The Musicians Union imposed miming ban came into effect on 1st August 1966, but RSG were ahead of the game with many singers already performing live, albeit with pre-recorded backing tracks.

Mid-August 1966 saw the possibility of devoting an entire show to The Pop Crusade, a package of acts from the Green and Stone management stable from the USA and featuring Bob Lind, Sonny & Cher, Buffalo Springfield and The Daily Flash. A camera crew was to film them from the airport into London. Despite the hype it never happened.

Despite a prestigious time slot the falling audiences meant that its days were numbered, and after re-scheduling by Rediffusion it was announced in early November that the show was to be cancelled with the final edition to be broadcast in December. However, it wasn't going to give up surprising us just yet, with the final shows introducing Britain to The Jimi Hendrix Experience and Marc Bolan. Cathy McGowan's show contract ended on 30th November, so that also might have been used by Rediffusion as a reason to end it when it did.

However, no one had told Vicki Wickham. During the Ike & Tina Turner show, recorded late September, she told Penny Valentine of Disc Weekly "Despite rumours to the contrary 'RSG' will not fold at the end of the year. It has been scheduled for next year, so we are working on plans to turn it into a different sort of show, rounder. Not just one artist after the next." Referring to the live show that had just finished she said "We're going to concentrate on these sort of shows when the artists are good enough. Giving over the entire second half to them. This is the coming thing as far as we're concerned - it's the obvious way for the show to progress." When the penny dropped that the show was not returning Vicki Wickham, talking to Record Mirror's Tony Hall said "All the excitement's gone. It's just not happening the way it used to."

The producers weren't exactly making themselves popular either when on the 28th October 1966 they decided to give The Dave Clark Five top billing over The Hollies, leading to a walk out by The Hollies. Talking to the New Musical Express in late October Manfred Mann told them "We don't want to offend anyone, but that business with Dave Clark topping The Hollies really got me. I don't wonder why The Hollies walked out... Knowing how aware the RSG team is, I just can't understand how it arrived at this decision."

Rediffusion were keen to keep Cathy McGowan happy by giving her a new show, but despite offers it never materialised. Talking to Disc Weekly about the upcoming demise of RSG she claimed "I'm not really sorry RSG is ending. It is the end of a way of life. It is better to end this way rather than just run down." From a business standpoint McGowan shouldn't have been bothered by the show's demise. By this time she was promoting her line of Dansette record players and had her own cosmetics line which was to be sold in Macy's and Gimbel's stores in the USA, as well as other advertising opportunities during the show's run.

The truth was that The Beatles had stopped coming to the show, but would happily appear on Top Of The Pops, and if the show continued into 1967 the Stones would stop coming too, and then the Yardbirds, and then The Who and on and on. It had to stop. The party was over.

Even though the TV show was over Ready Steady Radio continued on Sundays until the end of January 1967, while Elkan Allan later tried to spill the beans about the show in a series of articles for The People in early 1967. In the summer months of 1967 Vicki Wickham became producer for a series of Sunday evening shows at The Saville Theatre in London before taking a job at EMI Records and running the indie label Toast Records in 1968. She would become a regular feature of pop archive shows and documentaries throughout the 2000's, and in 2014 conducted one of the last interviews given by George Michael. Polly Perkins had a brief singing career in 1968 with Smith - Bown & Polly Perkins.

The famous catch-phrase was later re-used by London Weekend Television to announce their opening line-up of programmes in 1968 and in 2019 is being used by BT Sport. In the late seventies after clips had been shown on the Old Grey Whistle Test Dave Clark bought the few remaining films and a few other pop specials from Rediffusion and began to release them through home video, Channel 4 TV in Britain in the mid eighties and in late 1989 through the Disney Channel in America. A second series of seven shows were planned for the summer of 1986 in the UK but RSG didn’t materialise again until 1993. The sale of the show to BMG in 2016 gives hope that a new initiative to find remaining clips will result in more being shown, alongside possible DVD releases. In March 2020 BBC4 gave over two hours to a superb new documentary and compilation show. Both shows involved Malcolm Gerrie, Geoff Wonfor, Jools Holland and Chris Cowey, all familiar names and faces from The Tube, the natural successor to RSG. Sadly, no compilation can't ever cover the fact that the vast majority of the shows were not kept, and the paperwork proving guest appearances etc were also trashed when Rediffusion lost its contract in 1968. Thankfully, photographic evidence from Getty Images and Alamy's websites give us a glimpse of what it could have been like. Privately made audio recordings uploaded to You Tube also offer further evidence.

The show would be best remembered for breaking new acts like The Animals, Them, Lulu, The Who, The Rolling Stones, among others, and was without a doubt the most important and influential British pop music show of all time.


Associated Rediffusion / Rediffusion

9th August 1963 - 23rd December 1966