101 Pirate Radio Hits [Import, From US]

Album Details

A 2009 four-CD collection featuring 101 tracks that rocked the UK in the '60s during the heyday of offshore pirate radio stations.
While the BBC held sway over what could and couldn't be played on air, free spirits rebelled against the system, establishing their own radio stations broadcasting illegally from offshore vessels.

Across the nation, British youth were more influenced by what they heard on pirate radio than any legitimate BBC broadcast!
Features tracks from The Beach Boys, Small Faces, Ike & Tina Turner, Manfred Mann, The McCoys, The Turtles, The Hollies, Jackie Wilson, Brenton Wood, Donovan, Procol Harum, and many others.
EMI.

Album Details

A 2009 four-CD collection featuring 101 tracks that rocked the UK in the '60s during the heyday of offshore pirate radio stations.
While the BBC held sway over what could and couldn't be played on air, free spirits rebelled against the system, establishing their own radio stations broadcasting illegally from offshore vessels.

Across the nation, British youth were more influenced by what they heard on pirate radio than any legitimate BBC broadcast!
Features tracks from The Beach Boys, Small Faces, Ike & Tina Turner, Manfred Mann, The McCoys, The Turtles, The Hollies, Jackie Wilson, Brenton Wood, Donovan, Procol Harum, and many others.
(Translation by Pikaichi)
laurent anzai momy's

I'm listening to "101 Pirate Radio Hits," sent by Laurent, who lives in Paris.
101 Pirate Radio Hits
I know that hits reflect their times, but even when translated into Japanese by Pikaichi, the essential meaning of the lyrics doesn't quite come across.
I believe the true meaning of a hit song can only be understood by sharing the era and the people who lived in it.

Nevertheless, I've been listening to it continuously from the late '60s to today.
I've stayed in various places for short periods, so I have some understanding, but otherwise, I've just listened in that manner.
Yet, even for music lovers who could only listen in such a secondhand way,
there's something that can be vaguely understood: the sense of speed of the era in which the music was born.
The music Laurent sent me was likely born mostly in the '60s; I haven't listened to it all, but probably.
I listened intently to London's pirate radio during the punk movement of the late '70s.
Compared to that time, in a word, it's "nodoka" (peaceful/tranquil).

London is a class society, with vast disparities in wealth and, of course, racial discrimination.
For an Asian person who can't speak the language, that discrimination can be quite harsh.
Putting that aside, London has many parks, and nature is so abundant that cute squirrels occasionally appear, begging for food.
In other words, there's "nodoka" everywhere, easily shared by anyone.

The environment is so wisely protected that humans can live without forgetting their humanity.
That doesn't mean they don't rely on nuclear power, though.
It's as if a society that maintains its dignity as a developed nation and earns respect from other countries is protected.
The topic is "nodoka."

As far as I know, my understanding of London is limited to those who center their lives around fashion and music. Their approach doesn't seem rushed. It might even seem like a breeze.
Yes, somehow it's "nodoka." Isn't it?
Perhaps the way of life and society are structured to prevent blood from becoming too thick,
but their lives seem richer.

Listening to music from a nostalgic era makes my own state of mind "nodoka" as well.
It must have been quite intense music back then, but even so, it sounds "nodoka" now.
Music is everywhere, and there's no need to listen to it with undue intensity.
In this way, music has become something that may or may not be there, but
as someone who was once obsessed with listening to pirate radio on a small transistor,
I wonder if, should music disappear from the internet, TV, and radio...

If I consider that, perhaps "nodoka" music would suddenly become something I'd desperately crave,
is what I'm imagining for now.

For those interested in "What is pirate radio?", please check for yourselves.

In the 1960s in the UK, the term referred to not only a perceived unauthorized use of the state-run spectrum by the unlicensed broadcasters but also the risk-taking nature of offshore radio stations that actually operated on anchored ships or marine platforms.

A good example of this kind of activity was Radio Luxembourg located in the Grand Duchy of Luxembourg. The English language evening broadcasts from Radio Luxembourg were beamed by Luxembourg licensed transmitters. The audience in the United Kingdom originally listened to their radio sets by permission of a Wireless License issued by the British General Post Office (GPO). However, under terms of that Wireless Licence, it was an offence under the Wireless Telegraphy Act to listen to unauthorised broadcasts, which possibly included those transmitted by Radio Luxembourg. Therefore as far as the British authorities were concerned, Radio Luxembourg was a "pirate radio station" and British listeners to the station were breaking the law (although as the term 'unauthorised' was never properly defined it was somewhat of a legal grey area). This did not stop British newspapers from printing programme schedules for the station, or a British weekly magazine aimed at teenage girls, Fab 208 from promoting the "DJs" and their lifestyle (Radio Luxembourg's wavelength was 208 metres (1439, then 1440 kHz)).

Radio Luxembourg was later joined by three other well known pirate stations received in the UK in violation of UK licensing, Radio Caroline, North and South, plus Radio Atlanta which became Caroline South and Radio London, all of which broadcast from vessels anchored outside of territorial limits and were therefore legitimate. Radio Jackie, for instance (although transmitting illegally), was registered for VAT and even had its address and telephone number in local telephone directories.

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