Nowa­days musi­cians can attain hun­dreds, thou­sands, some­occasions mil­lions of lis­ten­ers with just a few, usu­al­ly free, on-line ser­vices and a min­i­mal grasp of tech­nol­o­gy. That’s to not say there aren’t nonetheless eco­nom­ic bar­ri­ers aplen­ty for the strug­gling artist, however true inde­pen­dence is just not an impos­si­ble prospect.

Within the Fifties and 60s, on the oth­er hand, as pop­u­lar music attained new­discovered com­mer­cial val­ue, musi­cians discovered them­selves com­plete­ly behold­en to document com­pa­nies and radio sta­tions so as to have their music heard by close to­ly any­one. And people enti­ties schemed togeth­er to professional­mote cer­tain document­ings and ignore or mar­gin­al­ize oth­ers. Pay­ola, in a phrase, dominated the day.

Within the UK, a dif­fer­ent however no much less impreg­nable order pre­despatched­ed itself to the aspir­ing obscu­ri­ty. Reasonably than cor­po­price inter­ests and well-bribed DJs, the BBC and British gov­ern­ment, writes the Modesto Radio Muse­um, “had been increas­ing­ly hos­tile towards any com­pe­ti­tion for his or her radio monop­oly.” (After WWII, the British Broad­forged­ing Ser­vice fundamental­tained a monop­oly on radio, and lat­er tele­vi­sion, broad­forged­ing within the UK.) Enter the pirates.

Whereas the phrase now denotes a category of free­boot­ers who work from their ter­mi­nals, the orig­i­nal music pirates actu­al­ly took to the seas. The primary, Radio Mer­cur, “estab­lished by a bunch of Dan­ish busi­ness­males” in 1958, “trans­mit­ted from a small ship anchored off Copen­hagen, Den­mark.” Mer­cur impressed Radio Nord in 1960, anchored off the Swedish Coast, then the Dutch Radio Veron­i­ca that very same yr.

Then, in 1962, Irish man­ag­er Ronan O’Rahilly met Aus­tralian busi­ness­man Allan Craw­ford. O’Rahilly had pre­vi­ous­ly try­ed to launch the profession of musi­cian Georgie Fame, however to no avail. Report com­pa­nies would­n’t document him, and when O’Rahilly fund­ed an album, the BBC refused to play it—he wasn’t on their favored labels, EMI and Dec­ca. So O’Rahilly and Craw­ford con­spired to cre­ate their very own pirate sta­tion, Radio Car­o­line (named after the daugh­ter of John F. Kennedy).

They pur­chased their first ship, the MV Mi Ami­go, in 1963, then set about secur­ing funds and rig­ging up the ves­sel with two 10 Kilo­watt AM trans­mit­ters and a 13-ton, 165 foot anten­na mast. Broad­forged­ing from 6am to 6pm dai­ly, Radio Car­o­line man­aged to interrupt the BBC monop­oly (and launch Georgie Fame to… properly actu­al, chart-top­ping fame). In 1965, a British Pathé movie crew vis­it­ed the ship, not­ing of their nar­ra­tion that “for over a yr,” Radio Automobile­o­line had “giv­en pop music to some­factor like 20 mil­lion lis­ten­ers,” chang­ing British pop cul­ture “with the con­nivance of virtually each teenag­er in South­east Eng­land.”

The sta­tion kicked off their first broad­forged, which you’ll hear above, on East­er Solar­day, March 1964, with the announce­ment, “That is Radio Automobile­o­line on 199, your all day music sta­tion.” The very first tune they performed was the Rolling Stones’ cov­er of Bud­dy Hol­ly’s “Not Fade Away” (one of many band’s first main hits). Within the mid-60s pirate radio, par­tic­u­lar­ly Radio Automobile­o­line, helped break a num­ber of bands, intro­duc­ing eager young lis­ten­ers to The Who’s first 4 sin­gles, for examination­ple. (The band returned the favor by try­ing to provide 1967’s The Who Sell Out the uncooked sound and really feel of a pirate radio broad­forged.)

Be taught extra about Radio Caroline’s lengthy and sto­ried exis­tence within the doc­u­males­tary seg­ment fur­ther up, Half 6 of DMC World’s com­pre­hen­sive The His­to­ry of DJ. The Modesto Radio Museum’s thor­ough, mul­ti­part essay series, com­plete with pho­tographs, affords a wealthy his­to­ry, as does Ray Clark’s guide, Radio Car­o­line: The True Sto­ry of the Boat that Rocked. “The world’s most well-known off­shore radio sta­tion,” is still on the air today (although the orig­i­nal ship sank in 1980) or quite, on the web, with stream­ing professional­grams and “gad­will get and wid­will get” for Android gadgets, iPhones, iPads, and browsers.

It’s some­factor of an irony that they’ve finish­ed up simply certainly one of hun­dreds of on-line stream­ing sta­tions vying for lis­ten­ers’ atten­tion, nevertheless it’s protected to say that with­out their exploits within the 60s and past, pop music as we all know it—with all its authorized and not-so-legal technique of dissemination—could nev­er have unfold and advanced into the myr­i­advert kinds we now take for grant­ed.

Be aware: An ear­li­er ver­sion of this submit appeared on our web site in 2016.

Relat­ed Con­tent:

How to Lis­ten to the Radio: The BBC’s 1930 Man­u­al for Using a New Tech­nol­o­gy

David Bowie Becomes a DJ on BBC Radio in 1979; Intro­duces Lis­ten­ers to The Vel­vet Under­ground, Talk­ing Heads, Blondie & More

“Joe Strummer’s Lon­don Call­ing”: All 8 Episodes of Strummer’s UK Radio Show Free Online

Jimi Hen­drix Wreaks Hav­oc on the Lulu Show, Gets Banned From BBC (1969)

Josh Jones is a author and musi­cian based mostly in Durham, NC. Fol­low him at @jdmagness