IMIB never had a music clock pinned to the office wall, just engineering drawings and coverage plots of the 6 or so Egyptian CFAs. and a marine chart of the bay. Roger Day was the only one mooted to be in charge of programmes; no one ever drew a schedule and, apart from Mitch Murray, Mick Luvzit, Rick Wakeman, John Ross-Barnard and Gene Pitney, Those other names are just someone's imagination; and there was no contemplation of pseudo-religious output at all.

The hot clock was introduced to the UK by LASER, and was apparently what impressed visitors from the Ross most (that, and the fact that the showers had hot water!). Before the 80s, no UK programmers tried 'a hot clock', as they had very odd format ideas - largely imposed by the IBA.
Despite many of them visiting the USA, they dont seem to have brought much back, apart from jingles and cart machines. Transmission theories were solely an IBA matter and they usually stuck to the Macoroni Company.

Caroline were the first 'over here' to use transmitter innovations, grounded masts, and many innovative sonic ideas in programming. Even in the 80s the IBA would not allow echo and they prohibited decent aid processing for far too long. Caroline had the Volumax and Audiomax units in the 60s, but the first BBC experiments were late 70s. (IBA-nil). Caroline were the first in Europe to use Bob Orban's new kit, the Optimod. (There's an argument Sunshine had one first, but when used it made the aerial arc over terribly. But it was Caroline who made it singing drew everyone's attention.)

AM stereo was another idea the IBA and BBC blocked, but worst of all was their 'no competition' idea. Thats what stifled radio most, though it did leave some great gaps for Caroline and others.

Growth and progression only comes through innovation. Suck it and see. It might go wrong sometimes, but staying the dark ages is never the answer.