Radio made the record travel

American night-time radio taught 1950s Jamaica to love rhythm and blues, while Jamaica's own stations vetted and banned local records. This story follows the music around those gatekeepers, into Kingston's dances, onto London's pirate frequencies, and finally onto a standing weekly slot on New York FM.

Signals from the north

In the 1950s, after dark, medium-wave signals from Florida and the American South stretched across the Caribbean, and Jamaicans with a good receiver tuned in. WINZ in Miami and the clear-channel giant WLAC in Nashville carried rhythm and blues through the night, much of it on record-shop-sponsored shows fronted by announcers such as John R and Gene Nobles. Jamaica's own airwaves offered little like it, so those distant frequencies became an education in taste.

Sound-system operators turned that education into a business. Duke Reid and Clement 'Coxsone' Dodd stocked their sets with the jump blues and boogie shuffles the night signals had taught Kingston to want, travelling to the United States to buy records their rivals could not name. Reid even took to the local dial himself, hosting the sponsored programme Treasure Isle Time on RJR in the mid-1950s.

Gatekeepers at home

Jamaica's own stations were cautious keepers of the airwaves. Radio Jamaica Rediffusion, on air from 1950, leaned on foreign pop, light entertainment and respectability; the state-owned Jamaica Broadcasting Corporation, launched in 1959 in the run-up to independence, opened the door considerably wider, its Teenage Dance Party broke local records, and the local share of what the station played rose sharply through the 1960s. Lyric vetting and bans on Rastafarian language and slackness continued at both. When ska, rocksteady and reggae arrived, the stations tended to follow the audience rather than lead it.

Lyrics were vetted, and plenty failed the test. Songs carrying sexual slackness, ganja references or Rastafarian language were routinely refused airplay, and outright bans were common. Max Romeo's 'Wet Dream' (1968) was reportedly refused airplay in Jamaica and was banned by the BBC, and still reached the British top ten in 1969.

The dances absorbed what radio refused. Sound systems worked as a parallel broadcast network, with selectors as programmers and the lawn as the limit of the signal, and a tune could rule Kingston without a second of official airplay. Producers learned early that the crowd, not the playlist committee, decided what counted as a hit.

London frequencies

In Britain, Jamaican records sold steadily to communities the daytime playlists barely acknowledged, and specialist shows on legal stations did some of the work of reaching them. David Rodigan, after a spell on BBC Radio London, began presenting Roots Rockers on Capital Radio in 1979 and made it a fixture of the city's reggae life through the 1980s.

The pirates did the rest. The Dread Broadcasting Corporation, founded by Lepke at the end of the 1970s and generally credited as Britain's first Black-owned radio station, put reggae over west London from unlicensed transmitters. Ranking Miss P (persuaded onto DBC by Lepke, her brother, in 1979) carried the sound to BBC Radio 1 on 31 March 1985 with Culture Rock, the network's first programme devoted solely to reggae, and stayed until 1990. Lepke and Miss P are younger siblings of Rita Marley, born Alpharita Constantia Anderson, which puts the pirate transmitter, Radio 1's first reggae show and the Wailers' harmony line inside a single family.

New York, Sunday night

New York's Jamaican neighbourhoods had long sustained their own sound systems, and in the 1990s the music reached one of the city's most-listened-to commercial signals. Bobby Konders, who had launched the Massive B sound system in 1993, took dancehall onto Hot 97 (accounts differ on the year, with some dating his reggae slot there from 1994 and others dating the named Fire Sundays show to 1999) giving Kingston's current hits a standing weekly place in America's largest radio market. It was the same decade in which major labels signed Shabba Ranks and Super Cat, and the airplay and the record deals fed each other.

What the dial carried

No station ever controlled this music, at home or abroad. Jamaican radio's caution pushed the sound deeper into the dances that made it, while foreign signals, licensed and not, carried it back out. The record travelled on whatever wave would take it (clear-channel AM over the Caribbean, a pirate transmitter above a London street, a Sunday-night FM show out of New York) and the dance was always waiting at the other end.