I have this on a CD somewhere - there was a "Subpop John Peel sessions"[1] CD released in the 90's that had Mudhoney (missing from this archive), Velocity Girl, Seaweed, Pond, Tad and Codeine.
I saw them live in '89 headlining an insanely cheap 5 band lineup. Awesome, jaw dropping stuff. I heard that more recently they had a gig booked at London's Victoria and Albert Museum where someone had designed them a sound system that was supposed to disintegrate over the course of the gig. Unfortunately the gig got cancelled due to fears over the structural integrity of the building.
Seriously. Imagine if these had been curated and hosted on a public network, instead of a proprietary platform where exposure means death. lynx -dump | youtube-dl it is.
What seems broken? The latest version of youtube-dl doesn't seem to be having trouble with the embed links. Is this something I'm going to regret later?
Slightly off-topic: I had no idea opening a youtube link with /embed in the right part the URL would make the video go to full screen in the browser window, and thus get rid of the UI noise that is youtube in 2020. I should make this happen for all youtube.com links I open, it's quite a pleasant experience.
I've also found it useful when I want to create a re-sizeable video window to suit whatever else I'm doing, as it conforms to the browser size (I was doing this when I was watching FastAI lectures). As you say, much more pleasant!
Yes! It also solves one of my pet peeves, really a first world problem. Watching 16:9, 1080p videos full-screen on my 32:9 screen lags my PC hard, on basically every video streaming site. The big black bars on either side of the video are apparently very expensive to render (firefox, ubuntu 20.04, ymmv). Theater mode exists on a few of these websites, but I would really like a more general solution. For now, with the help of @boriselec's plug-in, I am satisfied with the /embed trick for youtube.
The BBC should 'reissue' these paying the rights holders accordingly. Right now musicians are not getting revenue from PRS as no pubs/shops are playing music right now.
Some 'Peel Sessions' got released on 'Strange Fruit' including the seminal 'the orb' epic track "A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld (Loving You)" that was put together by Jimi Cauty, who subsequently left 'the orb' to be one half of The KLF. Hence the Peel session of The Orb and the original pressing of the aforementioned track were the only truly awesome stuff they released.
Incidentally this excellent blogpost of Peel Sessions does not include this particular 1989 classic.
Note that first time round you would wait until Thursday 11 p.m. to tune in to John Peel on FM radio and record the good stuff with a spare cassette. You might record over that cassette a week or two later. Everything could be ordered through an independent record shop if you wanted it for real, expect one of a thousand pressings though.
You would need to remember names of artists and their tracks from the radio, no rewind unless you had that tape running. Discographies didn't exist like now so you never knew if an alias of an artist was the artist you knew already or a new one.
I respect people that piece all of this together today, however, somewhere in the BBC they have this archived and they could sort out the licensing problems the way it works on streaming platforms.
Licensing problems are mostly due to defunct labels and who gets the royalties. For instance, if in 1988 'A Guy Called Gerald' was part of '808 State' on the 'Creed' label, then, in the Peel session, if it get replayed, where does the money go? The other members of the group went to be signed by ZTT leaving A Guy Called Gerald to do his own stuff in a different direction. The Peel session fell in-between albums with tracks from the old and the new. Sorting out the monies is tricky for the BBC to do but YouTube manage monetisation easy enough.
regarding your last paragraph, I believe it’s not up to the BBC to get performing rights to each artist, they would pay a fixed fee to PRS and others. Registered or recorded airplay and performance gets attributed to artists and they (or the holders of their publishing) get their performance royalties. Whatever is left over is then divided out amongst the lower ranking artists in the form of a flat fee. If you’re an artist you can use an agent like PPL [1] to collect on your behalf. The above mess is why if your friends are recording a song , you should get performance credits for playing the triangle; could be worth £50 a year...
>Jimi Cauty, who subsequently left 'the orb' to be one half of The KLF. Hence the Peel session of The Orb and the original pressing of the aforementioned track were the only truly awesome stuff they released.
The Orb can certainly be a bit weird at times but there are some absolute gems lurking in the back catalogue and at least Alex Paterson is still releasing music, what has Cauty done recently?
That’s great. Most people probably haven’t spotted it (took me a few years to clock the connection) but Tom Ravenscroft (on radio 6) is his son. As you’d expect, he has a fairly encyclopaedic knowledge of music and you’ll always pick up good stuff on his shows.
For those who don't know of him, John Peel was a presenter/DJ on BBC Radio 1 from the 60s until his death in the mid 00s.
For as long as I've been aware of it, Radio 1 has followed a format of playing mainstream pop music during the day, with more specialised and esoteric programming in the evening. When I was a teenager, Peel's show was on at 10pm on weeknights, and his main focus was on championing new and undiscovered bands, across many genres. The Peel sessions were part of this show, where a band would come in to record a live performance of a few songs.
I imagine a lot of bands can credit their success to John Peel playing their records and inviting them to record a session.
Don't know if they would actually qualify as bootlegs, but some of the most coveted tapes being traded in my highschool days were Peel session recordings. This was in the heart of BFE Texas in the 90s. I still don't know where these tapes came from, but these were my saving as everything else was country <shuddersDownSpine>
... and to underline the diversity of the genres Peel championed: he was both one of the main early radio promoters of punk, but just a few earliers had championed Tangerine Dream's Phaedra as one of his favorite albums of the year.
I think that if you wanted to try and come up with a simple way to describe what connected all the music that Peel championed over his long career, it would have to be something like "new energy". He didn't seem as interested in what a band actually sounded like as where their energy came from and what level it was on.
I am struck by (a) what a range of extraordinary stuff there was and (b) just how many times he had his favourites on! I don't think i have ever heard of Loudon Wainright III outside the context of John Peel. I don't think i'd ever heard of The Fall outside of John Peel, and that's despite the fact that i was a regular listener to Mark and Lard!
One thing I love about the internet - a couple of years ago I googled some half-remembered lyrics to a song I'd heard a long time ago on John Peel's show, and eventually found it was called Hey Gravity by M.A.S.S., and that someone had uploaded it to YouTube (https://www.youtube.com/watch?v=4SOTqFNDhYI).
That was near the top of my favourite festive fifty and as such I often listen to that along with other favourites from that time such as Ballboy. ( https://www.youtube.com/watch?v=ct1_3mKnutU )
> Loudon Wainright III outside the context of John Peel
He was a regular guest on Jasper Carrott's UK show in the late 80s. It was most strange context-switching from a genial Brummie comedian to an acerbic American singer.
I liked that he would play everything ranging from electronic stuff, drum & bass etc through to industrial and metal. He was truly open minded about music.
Back in the 90's his Radio 1 show was followed by Mary Ann Hobbs' The Breezeblock. Another source of great sessions from the electronic music world. She is now on BBC 6 Music, which is probably where Peel would be if he were still with us.
Cool with some background, thanks. I came across some John Peel Sessions for Thin Lizzy a couple of years ago, awesome material, never really took the time to figure out who this "John Peel" was.
I recall Hearing Dire Straits on Peel back when they where this London independent pub rock band - I though oh id love to book them for 18 Plus ( a youth organisation like Rotaract).
Apparently, the brief of exploring more esoteric music was somewhat foisted on him by the BBC and he was initially dubious about it. Maybe in an alternate universe we'd be poring over The Tony Blackburn Sessions.
>I imagine a lot of bands can credit their success to John Peel playing their records and inviting them to record a session.
That dramatically understates the importance of Peel during his heyday. Before the internet, Peel was the way for bands to find an audience outside of their home town. For an entire generation of musicians, sending off a demo tape to Peel was a peculiar act of secular benediction, a message in a bottle cast into the waters in the hope that someone might read it.
His death in 2004 left a void that has never quite been filled. Despite the stalwart efforts of Tom Robinson and the BBC Introducing team, nobody has been able to replicate Peel's unique eclecticism and his remarkable ability to sniff out new talent. His peculiar alchemy attracted a wide audience while also offering an open door to the unknown, the unsigned and the unhinged.
As well as music, he also broadcast Home Truths [0] where he interviewed non-celebrities who happened to have interesting stories to tell. This could be extremely poignant at times and although I didn't specifically plan to listen to it, when I did hear it I always liked it.
When he died, I remember hearing on the day and I was not that effected by it. When I got home, I think maybe seeing the radio or something, it made it very real. I sat on the bed and wept in a way most unlike me (relatives and close friends excepted). I've certainly never even come close to this kind of emotion for any "famous" person before or since. He was a wonderful DJ who introduced so many kinds of music. A real loss for the UK.
And yet clearly here his work lives on, which is great to see.
I had no idea Peel had started these back in 1968. For example I didn't think he'd have had Jethro Tull on, I assumed he came after that. Clearly I need to read up.
I listened to these as a teenager in the 1990s. Very nostalgic to hear this now. Also sad to think of the defenestration of radio 1, however at least radio 6 got some of their remit.
Obviously there are loads to listen to, but just to highlight one I'm enjoying right now that wasn't what I expected
Much more melancholy than Hey Punka, which is really cool. I hope that these remain on youtube as all these are links to youtube, which seems a bit brittle.
112 comments
[ 1.6 ms ] story [ 136 ms ] threadhttps://www.youtube.com/watch?v=8QsfPJKbAtc
Recommended for fans of shoegaze, dreampop, etc.
Edit: Just noticed that list doesn't include the VG session. You can listen to it on YouTube:
[0]https://www.youtube.com/watch?v=l3hE5alv55E
https://www.youtube.com/watch?v=JtsOqxnZPto
[1] Edit - found a link: https://www.discogs.com/Various-1989-1993-The-John-Peel-Sub-...
Brings me back the glory days of labels like Too Pure and Strange Fruit :)
Edit: ah I think it was because of some whitespace getting inserted, so actually not a problem.
I'm running it as I type this to back them up before they all get removed.
Some 'Peel Sessions' got released on 'Strange Fruit' including the seminal 'the orb' epic track "A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld (Loving You)" that was put together by Jimi Cauty, who subsequently left 'the orb' to be one half of The KLF. Hence the Peel session of The Orb and the original pressing of the aforementioned track were the only truly awesome stuff they released.
Incidentally this excellent blogpost of Peel Sessions does not include this particular 1989 classic.
Note that first time round you would wait until Thursday 11 p.m. to tune in to John Peel on FM radio and record the good stuff with a spare cassette. You might record over that cassette a week or two later. Everything could be ordered through an independent record shop if you wanted it for real, expect one of a thousand pressings though.
You would need to remember names of artists and their tracks from the radio, no rewind unless you had that tape running. Discographies didn't exist like now so you never knew if an alias of an artist was the artist you knew already or a new one.
I respect people that piece all of this together today, however, somewhere in the BBC they have this archived and they could sort out the licensing problems the way it works on streaming platforms.
Licensing problems are mostly due to defunct labels and who gets the royalties. For instance, if in 1988 'A Guy Called Gerald' was part of '808 State' on the 'Creed' label, then, in the Peel session, if it get replayed, where does the money go? The other members of the group went to be signed by ZTT leaving A Guy Called Gerald to do his own stuff in a different direction. The Peel session fell in-between albums with tracks from the old and the new. Sorting out the monies is tricky for the BBC to do but YouTube manage monetisation easy enough.
https://www.ppluk.com/
The Orb can certainly be a bit weird at times but there are some absolute gems lurking in the back catalogue and at least Alex Paterson is still releasing music, what has Cauty done recently?
For as long as I've been aware of it, Radio 1 has followed a format of playing mainstream pop music during the day, with more specialised and esoteric programming in the evening. When I was a teenager, Peel's show was on at 10pm on weeknights, and his main focus was on championing new and undiscovered bands, across many genres. The Peel sessions were part of this show, where a band would come in to record a live performance of a few songs.
I imagine a lot of bands can credit their success to John Peel playing their records and inviting them to record a session.
I think that if you wanted to try and come up with a simple way to describe what connected all the music that Peel championed over his long career, it would have to be something like "new energy". He didn't seem as interested in what a band actually sounded like as where their energy came from and what level it was on.
http://www.thepeelsessions.co.uk/bands.html
I am struck by (a) what a range of extraordinary stuff there was and (b) just how many times he had his favourites on! I don't think i have ever heard of Loudon Wainright III outside the context of John Peel. I don't think i'd ever heard of The Fall outside of John Peel, and that's despite the fact that i was a regular listener to Mark and Lard!
He was a regular guest on Jasper Carrott's UK show in the late 80s. It was most strange context-switching from a genial Brummie comedian to an acerbic American singer.
Edit: Song for Loudon Wainwright III by his daughter: https://www.youtube.com/watch?v=Cdvk7O3Tz6A. Don't know if he deserves it or not, but it's a remarkable song.
Apparently!
https://www.bbc.co.uk/programmes/profiles/5gqg7lDzj9n7mJWsJs...
[0] https://en.wikipedia.org/wiki/John_Peel#Personal_life
[1] https://en.wikipedia.org/wiki/Operation_Yewtree
That dramatically understates the importance of Peel during his heyday. Before the internet, Peel was the way for bands to find an audience outside of their home town. For an entire generation of musicians, sending off a demo tape to Peel was a peculiar act of secular benediction, a message in a bottle cast into the waters in the hope that someone might read it.
His death in 2004 left a void that has never quite been filled. Despite the stalwart efforts of Tom Robinson and the BBC Introducing team, nobody has been able to replicate Peel's unique eclecticism and his remarkable ability to sniff out new talent. His peculiar alchemy attracted a wide audience while also offering an open door to the unknown, the unsigned and the unhinged.
https://www.theguardian.com/books/2015/sep/25/how-john-peel-...
https://www.youtube.com/watch?v=XPYkQi8olPo
[0] https://en.wikipedia.org/wiki/Home_Truths
Quotes remembered by listeners:
https://web.archive.org/web/20070712092327/http://www.ilxor....
When he died, I remember hearing on the day and I was not that effected by it. When I got home, I think maybe seeing the radio or something, it made it very real. I sat on the bed and wept in a way most unlike me (relatives and close friends excepted). I've certainly never even come close to this kind of emotion for any "famous" person before or since. He was a wonderful DJ who introduced so many kinds of music. A real loss for the UK.
And yet clearly here his work lives on, which is great to see.
(link from another comment)
I listened to these as a teenager in the 1990s. Very nostalgic to hear this now. Also sad to think of the defenestration of radio 1, however at least radio 6 got some of their remit.
Obviously there are loads to listen to, but just to highlight one I'm enjoying right now that wasn't what I expected
Kenickie https://www.youtube.com/embed/Qv987NMRCoY?autoplay=1
Much more melancholy than Hey Punka, which is really cool. I hope that these remain on youtube as all these are links to youtube, which seems a bit brittle.
Also there is an online radio station inspired by Peel: http://dandelionradio.com/
https://www.youtube.com/watch?v=i5DxkeGJaFY