Arquivo da tag: john peel

segura (ou seu coraçãozinho está em dia?)…

In November of last year, we were invited to visit Peel Acres for the third and final part of our trilogy of Record Store Day releases.
Producers Tall Black Guy, Kidkanevil, Eric Lau & Mr Thing spent the day exploring the collection, tasked with finding inspiration and samples from the thousands of records on the shelves. They then each created a new track from their discoveries on the day.

The resulting tracks will be released on a double 7” pack which will be available on Record Store Day 2016. All four tracks on the record were created using music sampled from the John Peel Archive.

This is the trailer for the video documentary that accompanies the project. The videos from the previous two years releases can be found here:

Director / Editor: Ricky Kershaw
Director of Photography: Andrew Muir
Motion GFX / Grading / Sound Mix: Chris Matthews

Album sleeve design by Matt Bailey.

Thanks to The John Peel Archive: Leon Nockolds, David Pye, James Leeds, Dave Guttridge, Iain Lowery and the Ravenscroft Family: Sheila, Tom, William, Danda, Flossie and Edgar.


strokes+lionel hampton+nação zumbi & roNca…


“good night and good riddance”, de david cavanagh, transita por 265 programas apresentados por john peel, de 1967 a 2003… através deles, o autor conta trocentas Histórias conectadas ao mais importante radialista que já passou pelo planetinha… além disso, cada um dos programas escolhidos é identificado pelos intérpretes que foram ao ar e por um fato jornalístico importante que tenha ocorrido no mesmo dia.

em 27junho2001, john peel tocou o cardápio acima (isso, com nacão zumbi), cavanagh relembrou a falta de paciência de JP com o estrelismo de bandas hypadas, comentou as alfinetadas que foram dadas aos colegas de BBC e destacou a creca ocorrida num julgamento para contextualizar o “ambiente” da época… só que para nós, o tal fato jornalístico relevante foi impiedosamente omitido (hahaha) pelo autor… já que – exatamente – nessa edição, john peel, ao mostrar a primeira session com o the strokes, comentou a mensagem de marcelo “caipirinha” e mencionou o programa roNca roNca… desorientação máxima que é lembrada & celebrada, desde então, como introdução ao jumboteKo… simples assim!

AQUI você fica sabendo mais detalhes desse john peel show.

vale a pena ler de novo (ou john peel 10 anos depois)…


BBC radio DJ John Peel: Ten years after his death, no one compares to his talent

Peel’s combination of constant curiosity, authoritative perspective and endearing quirks is sorely missed

pierre perroneindependent

John Peel, who died a decade ago next month, shaped the tastes of several generations of music aficionados.

He introduced the hippies who listened to The Perfumed Garden, his programme broadcast between midnight and two am throughout the Summer of Love by the pirate station Radio London, to the psychedelic sounds of Love, Jefferson Airplane, the Grateful Dead and the other acts he had seen emerging while DJ-ing in California.

Those listeners followed him to Radio 1 in the autumn of 1967, where he co-presented Top Gear, and over the next couple of years championed Pink Floyd, David Bowie and Led Zeppelin, three of the most influential British acts of all time. By the early 1970s, Peel, along with his producers Bernie Andrews and John Walters, were recording and broadcasting sessions by Roxy Music, Queen and The Wailers, simultaneously managing to placate the Musicians’ Union by giving its members extra work and creating a valuable archive for future generations to delve into – give or take the odd wiped tape.

But the real sea-change came in the spring of 1976 when the presenter acquired an import copy of The Ramones’ eponymous debut album and helped to accelerate the punk revolution. Within a few months, the programme booked The Damned for their first session, although, to his eternal chagrin, the former schoolteacher in Walters did not trust the Sex Pistols enough to welcome them into the BBC’s Maida Vale studios.

Still, Peel gave the Pistols’ single “Anarchy In The UK” and theirNever Mind the Bollocks album plenty of airplay as traditional listeners deserted him and a younger generation discovered his 10pm to midnight show. The Clash abandoned a session over technical issues but, otherwise, the Peel sessions and playlists from 1977 onwards read like a who’s who of UK punk and post-punk, with The Stranglers, The Jam and Buzzcocks as well as Siouxsie and the Banshees, The Cure and Joy Division featuring heavily.

Indeed, as once-alternative acts like Gary Numan, Adam and the Ants and Human League stormed the charts, the broadcaster did worry. “The late 1970s was the only time the programme was fashionable,” he said. “I really didn’t like the experience. I felt rather as I imagine bands must feel when they become fashionable, that the audience expect certain things of them which they might not necessarily want to go on doing.”

Peel had been there before, as Marc Bolan, Elton John and Rod Stewart had gone stratospheric and forgotten him and the role he had played in their 1970s breakthroughs, and kept a distance from his favourites The Fall and the Undertones, along with New Order and The Smiths, the two bands who did so much to define the alternative, DIY, indie ethos of the 1980s.

Peel already played dub reggae, world music and hip-hop, and would go on to champion techno, drum’n’bass and The White Stripes, but always insisted: “I don’t pursue particular movements. The punk thing dominated as it did only because there wasn’t anything else interesting at the time, or at least that interested me,” he reflected in the Peeling Back The Years series broadcast on Radio 1 in 1987. “But after the first careless rapture of that had diminished, I went back to the way I’d been before, looking around at various areas of music and trying to find what I regarded as the best in those different areas – rock, folk, reggae.”

It was this enthusiasm, combined with his wide-ranging knowledge of most genres, and a deadpan delivery that matched his dry sense of humour, that made Peel such a compelling listen throughout the decades. That’s why teenagers tuned in under the covers, taped programmes, sent in demos. Pulp, The Wedding Present and Mogwai didn’t set out to conquer the charts or redefine the parameters of rock music but simply wanted to record a Peel session.

Peel’s death on 25 October 2004, while on holiday in Peru, robbed Britain and the world of its most influential music broadcaster – though it may also have saved him from the kind of retrospective scrutiny that has led former colleagues into the law courts. Radio 1 cleared its schedule for a day of tributes but never really tried to replace him as the station attempted to move towards a younger demographic. The BBC had launched 6 Musicin 2002 and claimed that the digital station embraced the Peel ethos, while 1Xtra, also launched that year, specialised in urban music.

Yet, despite the breadth of music played on these stations, along with Radio 2 and specialist shows on BBC local radio, not to mention the array of offerings from the commercial sector in Britain and internet-based stations around the world, Peel’s combination of constant curiosity, authoritative perspective and endearing quirks is sorely missed. Where else are you going to hear the Scots poet Ivor Cutler, the two singles by lost 1979 Dorset power pop group Tours, or early 1980s pop sensation Sheena Easton?

Sure, 6 Music fulfils a similar function, its programmes available 24/7 as well as via the iPlayer service. It makes comprehensive use of the Peel sessions and other BBC archive material, inaugurated the John Peel Lecture in 2011 and features many presenters who grew up listening to him, literally in the case of his son, Tom Ravenscroft, or of Lauren Laverne and Marc Riley, who have both made the transition from Peel-approved bands to presenting their own shows. Riley’s off-the-wall sense of humour, while coarser than Peel’s dry wit, makes him a natural heir to the Peel throne, though the more cultured and catholic approach favoured by Gideon Coe works well in the 9pm to midnight slot.

In an average week, 6 Music reaches nearly two million listeners, yet none of its programmes pack the same impact as Peel’s used to. Huey Morgan and Craig Charles currently straddle the 6 Music and Radio 2 schedules, and do a fine, funky job, yet are also symptomatic of the way the BBC has embraced celebrity – or cult status – when looking for presenting talent. Annie Nightingale, now Radio 1’s longest-serving broadcaster, where she is still playing “the biggest bass bangers”, has made tentative forays into Radio 2 with her Eternal Jukebox that could be developed into a weekly rather than a bank-holiday occasion.

Listeners of various vintages may also point out that Andy Kershaw, who last broadcast on Radio 1 in 2000, before moving to Radio 3, could have picked up the Peel baton but for the unravelling of his private life in 2007. Mark Lamarr’s God’s Juke-Box, a weekly three-hour overnight show which ran on Radio 2 from April 2006 to December 2010, is arguably the closest any of the national – rather than digital – stations have come to matching the Peel magic.

cantando juNto…

“The Moon In June (BBC Version)”
 I can still remember

The last time we played on Top Gear
And though each little song
Was less than three minutes long
Mike squeezed a solo in… somehow
And although we like our longer tunes
It seemed polite to cut them down
To little bits – they might be hits
Who gives an… after all?
Tell me how would you feel
In the place of John Peel?
You just can’t please
All of the musicians all the time

Playing now is lovely
Here in the BBC
We’re free to play almost as long and as loud
As a jazz group, or an orchestra on Radio Three
There are dancehalls and theatres
With acoustics worse than here
Not forgetting the extra facilities
Such as the tea machine, just along the corridor
So to all our mates like Kevin,
Caravan, the old Pink Floyd
Allow me to recommend ‘Top Gear’
Despite its extraordinary name
Yes, playing, playing now is lovely
Here in the BBC
We’re free to play almost as long and as loud
As the foreign language classes… and the John Cage interview…
And the jazz groups… and the orchestras on Radio 3

Pop stars drink each others’ wine
Plough each others’ earth
Hoping for companionship
And then perhaps rebirth
Plant seeds in fresher plots of earth
Bound up in concepts and dreams
And fears of worse things to come
They never do
They stay the same
Music-making still
Performs a normal function
Background noise for people
Eating and talking and drinking and smoking
That’s all right by us
Don’t think that we’re complaining
After all it’s only leisure time, isn’t it?

I could almost sing this song
In a nice tone of voice
If I had to, I’d be glad to
It’s awfully nice to be here
So let’s open the beers and get tipsy
We’d be mad to
But if you sound refined
You just can’t blow the mind of a kiddy
Or a young lady
And if you come from the sun
You just can’t fool a mum into thinking
That you’re alright, really
So before this feeling dies
Remember, I could be telling lies

Now, I love your eyes
See how the time flies
I think it’s so great
You seem to change your fate
By working and playing
Something new in every way
Can be yours in a day
But I wonder what I’m really saying
So just before this feeling dies
Remember I may be telling lies
White lies
Idle chat
And just lies, plain lies…

I shan’t say…
One more word…
So instead… I’ll play drums…

dez anos sem john peel…

existem algumas maneiras de saber o tamanho da ausência… ou da sodade.

ôxente, você conhece bem o assunto, né?

não precisamos entrar em detalhes do coração apertado… da goela travada… do blublu… da perna tremendo.

anyway, anyhow, anywhere… é fueda.

mas outra forma de medir/conhecer o tal buraco é saber que jamais ele foi ocupado.

por mais que você tivesse feito força para esquecer dele, nenhuma chance de chegar um novo “hóspede”.

UFA… é isso que quero dizer: john peel subiu há exatos dez anos… deixou uma cratera em nossos ouvidos…

e, até hoje, ninguém se aproximou… ninguém se atreveu a fazer o check-in!

aliás, foi entrando nesse hotel, em cusco (peru), que Ele partiu para encontrar cartola e hendrix…

fotoca de gabba, fissurex em peel!

por aqui, a gente seguirá aprendendo, lembrando, reverenciando…

peel forévis!

®esistro mandou pra gente (jack white+john peel)…

da MOJO que saiu, ontem, lá fora…

Jack White Declares John Peel “The Most Important DJ Ever”

The former White Stripes man fondly remembers the radio magus in new issue of MOJO.


JACK WHITE HAS described John Peel, who died 10 years ago on October 25, 2004, as “the most important DJ who has ever lived” and believes that his life would have taken a different course if the maverick BBC radio DJ hadn’t been so supportive of The White Stripes in their early days.“John Peel really knew what good music was.”

“It was mind-boggling to us, because we thought the only people who liked us were a few hundred people in America,” he explains in an exclusive interview in the latest issue of MOJO. “When he started playing our songs we were, like, ‘That’s unbelievable!’”

White recalls how he first met the DJ when The White Stripes were invited to record a Peel Session during the duo’s first visit to the UK in July 2001. “When I walked into [the studio] I saw him in the hallway, crying,” he tells MOJO’s Pat Gilbert. “It was because his football team had just won! I thought, ‘This guy’s amazing.’”

The two men immediately bonded over their shared love for Gene Vincent, Captain Beefheart and old blues records, and The White Stripes were invited to record another session at Peel’s home in Suffolk just four months later. “Having us in his home showed just how much he loved music,” says White, who flew from America to attend the DJ’s funeral on November 12, 2004. “He really knew what good music was.”

White also reveals that, as a parting gift at ‘Peel Acres’, the DJ gave him a copy of the Sex Pistols’ über-rare God Save The Queen on A&M.

Read the full story in MOJO 252 (November issue), available from Tuesday September 30.