STORY · REGGAE
The critics, the columns and the airwaves
Well supported
How a scattered corps of print critics and radio DJs first wrote and broadcast reggae into international recognition.
Somebody, somewhere, had to be the first person to take the music seriously in print.
Before DancehallMag and Reggaeville, reggae's overseas reputation rested on a handful of specialist writers and broadcasters - in London's Black Music and Black Echoes, Miami's Reggae Report, Germany's Riddim, and on pirate and BBC airwaves alike.
Writing reggae into being
Reggae's serious critical reputation abroad was not handed down by the mainstream music press; it was argued into existence by a handful of specialists. In London, Carl Gayle's reporting helped IPC identify the market for Black Music, launched in December 1973 as the first British magazine to treat reggae as a serious cultural subject, and the first to cover African music too. Penny Reel made his name profiling artists like Dennis Brown and Culture's Joseph Hill for NME and Black Echoes, which followed in January 1976. Vivien Goldman, writing for NME, Sounds and Melody Maker while briefly working Bob Marley's own press at Island Records, was among the first to carry Rasta reggae to a mass white readership.
Radio told a parallel story of outsiders and access. Britain's reggae broadcasting grew up partly on pirate stations such as Dread Broadcasting Corporation, and partly on the licensed BBC dial. The two strands of that dial were more closely linked than they look: when David Rodigan began at Radio London in 1978, it was to alternate with Tony Williams on the same programme, Reggae Rockers. A year later Rodigan moved to Capital Radio for Roots Rockers, which ran eleven years and from which he clashed on air with Barry G in Kingston. Ranking Miss P carried reggae onto Radio 1, into homes a pirate signal could not always reach. Rodigan (an Englishman later holding both an MBE, awarded in the 2012 New Year Honours for services to broadcasting, and Jamaica's Order of Distinction) became the clearest example of how far that outsider's advocacy could travel, and how much of a lightning rod it could be.
An ocean of specialist coverage
Outside Britain, a similar patchwork of dedicated titles carried reggae's reputation further still. Miami's Reggae Report and the U.S. magazine The Beat tracked the music for North American readers from the early 1980s, while Germany's Riddim did the same for a German-speaking Europe that had built its own devoted reggae and dancehall fan base.
None of these titles or shows still exist in their original print or broadcast form - all either closed or moved online - but between them they built the reference points, the interview archives and the critical vocabulary that later, web-native outlets inherited. The columns changed address; the argument about what reggae means kept going.
Sources & citations
The evidence behind this story. Consequential claims trace to sources; disputing sources are labelled rather than hidden.
- archive · Writing reggae into beingBlack Music magazine, 1973-1977 (collection record) ↗
University archive holding record corroborating the magazine's 1973-1977 run.
- encyclopedia · Writing reggae into beingEchoes (magazine) ↗
Source dating Black Echoes to 30 January 1976, establishing the sequence between the two titles.
- encyclopedia · Writing reggae into beingBlack Music (magazine) ↗
Source for the December 1973 IPC launch and Carl Gayle's role, adding the month and publisher the story left unstated.
- encyclopedia · Somebody had to be first in printDavid Rodigan ↗
CORRECTION SOURCE. The story listed Tony Williams's Radio London show and Rodigan as separate strands; Rodigan began at Radio London in 1978 specifically to alternate with Williams on Reggae Rockers. Also the source for the 1979 Capital move and the 2012 MBE.
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