James from London
10-26-2004, 09:06 AM
RIP, Johnny Plee.
Piece of cake
10-26-2004, 10:31 AM
I grew up listening to this guy..
Piece of cake
10-26-2004, 11:22 AM
Laurie,,he was a radio 1 DJ...
Piece of cake
10-26-2004, 11:24 AM
Also,,i think he talent spotted a few Bands..
I think he was behind The happy mondays...
im not sure !!
Help me out someone ..
10-26-2004, 11:24 AM
Oh no wonder I didn't know him then. Sorry. http://www.soapchat.net/infopop/emoticons/icon_frown.gif
James from London
10-26-2004, 01:23 PM
It was more than a few, PoC! He was the first person to play punk on the BBC back in the 70s, and continued to tirelessly expose new music and bands up until, well, yesterday. The Undertones, Pulp, Blur, The Smiths, Joy Division, New Order, The Fall, Nirvana (in the UK), Orbital, etc., etc. - all got their big break with Peely. I'm suprised at how emotional I am about the news, but then I realised I've been listening to him (on and off) for the past twenty-five years, and he WAS unique. And very funny.
10-28-2004, 10:32 AM
the cure recorded sessions on his show in the late seventies too
James from London
10-28-2004, 01:57 PM
From The Guardian's obituary
Peel's devotion to promoting new music made him the DJ of choice for several generations of young British rock fans. After the hippies of the 1960s came the progressive rock fans of the early 70s. When punk rock erupted in late 1976, Peel was its radio champion. Punk divided Peel's listeners, and he received abusive, even threatening mail, yet he continued to champion non-mainstream music. He was the first BBC DJ to regularly play dub reggae, and through the 1980s and 90s he would embrace New York hip-hop, Chicago house, Detroit techno, Pakistani qawaali, Congolese soukous, ambient electronica, death metal and alternative country music - broadcasting at its most challenging and innovative.
Peel's enthusiasm for new music meant that he helped launch several careers. In 1973, he played the electronic album Tubular Bells, by the then unknown Mike Oldfield, in its entirety: the album subsequently topped the UK charts, so giving Richard Branson's fledgling Virgin Records a massive boost. Peel's enthusiasm for Manchester's the Fall and Derry's the Undertones - whose Teenage Kicks (1978) remained his favourite - helped both win loyal followings. More recently, he was the UK champion of the White Stripes, from Detroit.
In 1998, Peel was awarded an OBE: he summed up his work with the words, "You get free records, you get paid for playing them on the radio, I choose all the music for my own programmes ... it seems to me to be almost the perfect life, really."
James from London
10-28-2004, 02:07 PM
Peter Hook, New Order/Joy Division
Peel was the first person to put us on the radio - we sent him a demo and he became a patron to New Order and Joy Division. It was a long time before we actually met him. We were nervous - we had to have a couple of drinks. He was nervous about meeting us, which flabbergasted us.
His was the only show that you could be satisfied by and infuriated by within the same hour. He was immune to fashion, he just liked what he liked. That's why people loved him - he took chances, and people these days very rarely take chances.
Charles Shaar Murray, music writer
When I was a teenager growing up in Lace Curtain Land during the 1960s, John Peel's Sunday afternoon show was my lifeline. So much of the music that has stayed with me first reached me through Peel's show; his uniqueness lies in his ability to consistently provide this same experience for several generations of kids through several decades of seismic shifts in popular music and culture.
Meeting him in the 1970s was a delight: he was just as cool, wise, sardonic and self-deprecating as he seemed on radio, even retaining good humour when he overnighted at my flat and got his feet sprayed by my un-neutered tomcat.
Though I rarely listened to his show in the past few years, it was a comfort to know that it, and he, were still there. I cannot imagine anyone else currently on UK music radio being able to match his unique combination of taste and dedication. John Peel will prove irreplaceable.
Andy Kershaw, friend and former Radio 1 colleague
I was hugely influenced by Peel, long before I was broadcasting. It was the breadth of his programme. He introduced me to so many kinds of music - but it was more than that. He juxtaposed them so that one minute you could be listening to punk, the next African, the next country from the 1940s. He was a broadcaster, not a narrowcaster.
When I arrived at Radio 1 in 1985, I shared an office with Peel and the producer John Walters. To have been put in the care of two of the great champions of public service broadcasting was a fantastic induction and education. It was hilarious, too - they were like panto dames. Peel at that stage was in his late 40s and I was in my mid-20s, but with our records we were like two kids in a playground, swapping bubblegum cards.
Paul Hartnoll, Orbital
I'm very shocked - we only saw him the other week. The last thing we ever did as Orbital was a live broadcast on his show in July, which was such an honour. He stood right next to the equipment watching us when he didn't have to be in his control room.
He was one of the first DJs to play us, certainly on Radio 1, along with Gary Davies of all people. But Peel was always there for us; we did a session for him at Maida Vale in the beginning too. Before I was in a band he gave me so much music. When we were teenagers we'd stay up listening to his show and taping things from it, and I'd go to a friend "Listen to this, it's really weird", and it would be something like Oh Superman by Laurie Anderson, which of course went on to become a legendary record. Peel introduced me to Blue Monday by New Order, that bass drum riff and using a drum machine in that fashion. Without hearing that, who knows...?
Obviously his favourite band were the Fall, this cantankerous racket, and you'd sort of end up loving them by default because he loved them so much. His influence on my and other generations of musicians was that he opened up your ears to possibilities that you weren't open to before. Peel showed a lot of us not to be so closed-minded.
He is irreplaceable, not least because Radio 1 wouldn't give someone like Peel a job now. He survived every trend and every cull, a total one-off, and was more cutting edge at the age of 65 than any DJ there.
Nobody else has had the effect he did on me, ever. It feels like losing a musical granddad, or your parents ... without Peel to guide us, we're just going to have to **** it up for ourselves.
Geoff Travis, Rough Trade
Who else could be mistaken for a Beatle in America (because of his accent) and knew Marc Bolan when he was still practising in his garage? Without John, I don't think Rough Trade would have been able to grow and support the artists we have. Most of our bands did their first radio session with him: the Fall, the Blue Orchids, the Smiths. Think of people like Mark E Smith and Ivor Cutler, who would probably have been consigned to the dustbin of history without him: these are some of the geniuses of our culture. Also, giving Jarvis Cocker a session when he was still a schoolboy changed the course of his life. I'm sure it's the same for thousands of other artists.
Michael Eavis, Glastonbury festival
John came every year to do the TV coverage. He was this young man who first came in 1970, 1971 - he knew what was going on even then. He came from Beatle country, didn't he? Pop music was the first priority for that generation. But he never grew up, he stayed with it, all the way through. In 1983, I was listening to his show and he had the Smiths on. I went to see them in Bristol on the strength of his recommendation, booked them for the festival, and they turned out to be the greatest thing. He had that instinct - but he also invented the notion that popularity in music isn't everything; that sometimes being too populist isn't too smart.
Charlie Gillett, DJ
John was the epitome of the DJ who plays only what he wants to play. He was in America in the 1960s when a whole lot of maverick people were let loose on FM radio to play what they liked, and I think he got infected with that idea. And he's given us a model that is unachievable for anyone else.
I don't think everything he played was great and I don't know if he did either. But I don't think that was the point for him. Those of us who want to do what he did only do so because we're convinced we like the right things - I'm very snobby that way. But he wasn't like that at all.
Kevin Shields, My Bloody Valentine
In 1985 we went and stood outside the BBC with the first record we made, 'cos he often said he played records given to him outside. I think we were there for four hours because we hadn't worked out what time he arrived. [When he eventually came out] he said "Is this any good?" and we said "Yes." We listened every night until he played it, but we would have anyway. John Peel was our universe for a long time.
When I first listened to him, in Ireland - and I've still got loads of tapes of that music - the reception wasn't very good and there was all this phasing, it made music sound much weirder than it was. Did that have an effect on me? That I heard all this great British music through distortion and phase? Very possibly.
I was listening to him when I was 15, and I'm 41 now. You know, you have periods when you don't listen to the radio, but it's one of the few things in my life that I've come back to. He was also the first person to play African music in a non-anthropological kind if way, if you know what I mean. Just because they were great records, and you didn't have to hear it on BBC2. That meant a lot. He's the only one with real integrity who's been involved with the music media.
Lauren Laverne, DJ
A lot of people - me included - feel like we've lost our surrogate dad. John was the first person to play one of my band's records when I was 16; because of him I got a record deal, and my first really serious TV job was presenting Glastonbury alongside him and Jo Whiley. Now I'm a DJ on XFM - a whole radio station built around John's kind of show. I feel stupid for being as in debt as I am.
Paul Savage, Delgados; co-founder Chemikal Underground records
You can't underestimate the power of hearing your song being played by John Peel. He supported just about everything our label put out, even when no one else was interested. My mum doesn't even like this music - but having it played on Radio 1 validates it. Getting played on his show is what keeps indie labels going, and I don't know where that is going to come from now. No one else could have taste that catholic without being fake.
Colin Newman, Wire
We once did a Peel session and instead of the usual four songs of three minutes we did a 12-minute song, which was the antithesis of everything the Peel show was about: short, punky, unpretentious. A rumour reached us that he wasn't pleased - but fair play to him, he played it twice. I would like to think he thought, "What a bunch of chancers" and had a good laugh. He was always incredibly personable, just like some bloke you'd meet down the road.
Gordon Moakes, Bloc Party
I spent 10 or 15 years listening to Peel - everything I love as a music-listener came from him. It was a dream come true for us to get played on his show, let alone to get asked to do a session. We were supposed to be recording that next week. It's possible that we're one of the last bands to benefit from his patronage. It's going to be much more of a struggle for bands to get played on the radio now.
Michael Bradley, Undertones
No one thought that John Peel would ever die - he should have gone on and on. He was here in Derry in 2000 because he was presenting a documentary about the Undertones, and someone said about the "respect" he was held in, and he was very uncomfortable with that. He enjoyed what he did, but he never put much of a real value on it. He was very quick to say, "All I do is play records." He never tried to be a star, and that's maybe why he never lost his focus.
"He could be very funny too. On his Radio 4 programme Home Truths recently someone was talking about having a Scandinavian wife, and he commented that there was a time at Radio 1 where he was the only one who didn't have a Scandinavian wife! He was brilliant for one-liners. I still listened to his Radio 1 show: you knew that every hour there would be at least one great record that you would never have heard anywhere else. What was great about him too was that he never followed trends. Not that he missed the obvious ones though - some DJs might have been snobby about playing the White Stripes because they were everywhere, but he didn't care because he loved them.
We weren't his favourite band - that was the Fall - but we made his favourite record, Teenage Kicks. Growing up in Derry we were big fans of the show, we'd listen to hear the Clash or the Sex Pistols because no one else would play them. When he then started playing our records we couldn't believe it.
He managed to become an institution - although he wouldn't have seen it that way. Radio 1 could never replace him, although there have been so many programmes inspired by him he's done the job in one way. He'll be harder to be replaced in people's hearts because everybody loved him.
Spider Stacy, the Pogues
I thought John would receive some special dispensation and not have to die like the rest of us. Like a lot of other bands I think a lot of people heard us for the first time on his show.
I only met him once and that was at Dingwalls, just after the Heysel tragedy and of course being a Liverpool fan he was gutted and probably not too focused on what we were saying. But I just wanted to say thanks because he did so much for so many bands. Even so it feels like a friend has died; I imagine millions of people feel the same way. He was still going out and bigging up new bands, some that you'd never want to hear again, but at least you got the chance to hear them. He defined catholic taste, everything equally. In the late 70s you'd hear Ivor Cutler cheek by jowl with Siouxsie and the Banshees, and it was just brilliant. Then he'd play some spaced out dub record or something absoloutely mental from the back of beyond in Scandinavia.
I only ever heard him once slagging off a record. This was back in '73 or '74 - he said he felt he had to play the new Yes record, and went on to absolutely destroy it on air, which was, of course, exactly the same sentiments which gave birth to punk.
Will Sergeant, Echo and the Bunnymen
He was enormously influential in bringing the Bunnymen to the public. You can't imagine us getting anywhere without having done the early Peel sessions. We treated them as demos too, they were dead important for us in discovering and recording our sound. But he was more than that. He was important as a fan, because everyone listened to him. The first time I heard the Residents was on John Peel, and thought, "What the hell's this?" His programme was like a religion, you'd listen to it to hear what was about and what was coming up. Probably every important band of the last 30 years got their first airplay on Peel, and he was still doing it last week.
The Bunnymen did innumerable sessions for Peel over the years and we played his birthday party when he was 60. He still played our new records, but he was always one for keeping the programme fresh. He was a bit like a schoolteacher in that he'd help you and send you on your way into the world and then a new batch of pupils would arrive. He got so many demos sent in every week and I do believe he listened to them all. I remember when we did our first Peel session he said "And here we have the mighty Echo and the Bunnymen", and we were so chuffed. We all crowded round our trannies. It felt like we meant something.
Sean Booth, Autechre
I used to listen to him loads as a kid he had a way of flipping you so you ended up liking things you wouldn't normally have given any attention. He messed with my blinkers so much they fell off after a bit. Without him being around we probably wouldn't have bothered making music at all. Radio 1 was basically a dead zone to us except for occasional jolts, but his show was totally solid end to end what he wanted to play - nothing brought his playlist together other than the fact that he liked it. It's a rare thing these days for anyone at all to rely only on their gut and just feel something. He's responsible for so much ... I can't imagine the world without him.
Joey Burns, Calexico
We were fortunate enough to get to play at his house, with his wife Sheila and the family there. We were pretty amazed that anyone would be happy with musicians tramping through the mud and setting up equipment, but they were so comfortable and so courteous. It's strange cos I've got this little BBC postcard of John Peel up here in the kitchen, I've taken it down and I'm gonna make a shrine. We have a get together here in Tucson, Arizona for the Day of the Dead, on November 2. People of all faiths come, and a friend of mine makes a big shrine, and asks people to bring pictures.
[Peel] was the link: from the 60s through the 70s and punk into the 80s. That was the beautiful thing about him, that he was so eclectic. He was the shit and the focal point and the direction from which everyone took their cue. At the time we met him, he was telling us how wildly he was into Reverend Franklin, Aretha's father. Gospel! Sure! Why not? At the same time, he was asking all these questions about twang guitar and Duane Eddy. I think he secretly loved American music.
· Interviews by Alexis Petridis, David Peschek, Maddy Costa and Dave Simpson.
James from London
10-25-2009, 05:47 PM
Five years ago today. Bless his chubby little heart.
10-25-2009, 05:56 PM
RIP John Peel
A good broadcaster, liked some of your music, hated others lol but thanks for discovering lots of new bands - New Order most of all
You are sadly missed - Radio has become very blandwithout you! (Fearne Cotton! jeez! get me the shotgun!)
what would the music world be without New Order?
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