Posts Tagged ‘Peel Session’

Image result for Jethro Tull - Peel Session 1969

Jethro Tull the British progressive rock group. Their music is characterised by the vocals, acoustic guitar, and the flute playing of Ian Anderson, who has led the band since its founding, and the guitar work of Martin Barre, who has been with the band since 1969, after he replaced original guitarist Mick Abrahams.

The complete session recorded by Jethro Tull on 16th June 1969 for John Peel on the Top Gear show on BBC Radio 1 and broadcast on the 22nd of that month. Ian just didnt realise the greatness of Glenn Cornick r.i.p and Clive Bunker..this was magic..the other line ups were good. Clive was along with ginger baker and mitch mitchel..the best if their era.bonzo was the best thumper and barlow best technician.

Recording date: 16th June 1969  First broadcast: 22nd June 1969.

Tracklist:  Bourée / A New Day Yesterday / Fat Man / Nothing is Easy

John Peel was a great supporter of the 1968 incarnation of Jethro Tull , the band did their first session for Top Gear before their first LP was released. He was present when the band played at a free concert in Hyde Park on 20th June 1968, and both Peel and Tull can be seen in a (silent) British Pathé film clip  made at the event. In an enthusiastic account of the festival , Peel wrote: “Jethro Tull had bee preceded to the park by rumours of their goodness. They played with fire and brought out the first rays of the sun…..” In another of his IT columns, a few months later, he praised their debut session: “I wonder did you hear Jethro Tull on Top Gear – they were very good and I look forward to their LP..”

John Peel was a fan of Mick Abrahams‘ guitar playing, which can be heard on the band’s debut single “A Song for Jeffrey”, whose psychedelic-blues style shows the influence of Captain Beefheart’s Safe As Milk LP. But once Abrahams left (replaced by Martin Barre), After he left Jethro Tull, Mick Abrahams‘ own bands (Blodwyn Pig and Mick Abrahams Band) got plenty of airplay on Peel’s shows, and Abrahams did sessions for them.

Peel lost interest in the band. This, apparently, caused a sort of altercation between Peel and Ian Anderson which led to Peel abandoning the band.

Ian Anderson dedicated the 40th anniversary edition (released in 2010) to John Peel, stating that he was regretful that he never had the chance to make up with him. During the months following the recording and release of This Was, our little Blues band featured on a number of BBC Radio sessions, some on the John Peel show, some for other broadcasters (note:  all the sessions the band did in 1968 were recorded for “Top Gear”) and the results – amazingly enough – were retained by the BBC in whatever cavernous vaults and audio dungeons line the bowels Bradcasting House in Portland Place, then and now the home of the “Beeb”. These sessions were, as far as I remember, completely live recordings and stand the test of time surprisignly well. Sonically, they are pretty damn fine. […]

But John, who had a soft spot for original Tull guitarist, Mick Abrahams, was not to be so supportive of our next effort. He advised me, at a co-appearance in a Devon club in early ’69, that he didn’t like the new songs of Stand Up and thought it at mistake that we had apparently lost touch with our blues roots and Mick in particular.

Martin and I were a little stung by this and so the mood was not good when we recorded the songs for Peel’s live sessions show four moths later. John Peel, himself, didn’t turn up, which made us feel somewhat unloved! Peel’s producer John Walters reported some of this bad feeling to his master and thus began a long and regrettable period of disassociation from one of the two or three people most supportive and influential in getting Tull’s career started.

1. Family Entertainment (0:10)
2. Listening In (3:08)
3. Billy’s Third (5:59)
4. Here Comes The Summer (8:21)

The complete session recorded by The Undertones on 22nd January 1979 for the John Peel show on BBC Radio 1 and broadcast on 5 February 1979.

Pink Floyd - Syd Barrett

Pink Floyd with Syd Barrett, in the last of two rare sessions for John Peel, recorded on December 20, 1967. There are a lot of people (myself included) who felt that Pink Floyd changed radically after Syd Barrett left. That the new Pink Floyd, post-Saucerful of Secrets needed some getting used to. The story has been told and retold a million times, and doesn’t need repeating here. Syd Barrett was the true driving force behind Pink Floyd in the early days – he did, if nothing else, take Psychedelia several steps higher and expanded the sheer creative horizon of the genre. Coupled with the fact that Barrett was a tremendous writer, with a vision and wit few matched.

That it all fell apart due to emotional instability fueled by just a little too much acid has become the stuff of legend. That his solo work later was fleeting, and that he was already too far gone to connect with an audience who didn’t want to let him go made the whole story that much more tragic.

And even during the period of this session, things were dicey. The previous Peel session was marred by a freak-out, and getting this one on tape was probably a miracle in retrospect.

I have never been able to figure out why Vegetable Man and Scream Thy Last Scream weren’t officially released or included as part of the myriad retrospective packages put out over the years. They have become legendary “lost” tracks, which have gone on to be highly influential and even covered in the late 70s by The Soft Boys (their version of Vegetable Man is almost note-perfect). The original sessions have been bootlegged and passed around to collectors and cherished as priceless evidence for a few decades now.

Syd Barrett, even now some 10 years after his death, has only gained in stature and mystery – the sadly little of what he left behind has been thoroughly dissected and analyzed over the years. And new fans have discovered and are enthralled by this figure, who came and went in a flash, but left an enormous impression on an era.

If, for some reason, you aren’t familiar with Syd Barrett, or haven’t heard this Peel session, have a listen and go on a search and see what else you can find. There’s precious little, but what there is will amaze.

Play loud. thanks so much to the

The Servants were an indie band formed in 1985 in Hayes, Middlesex, by singer-songwriter David Westlake who started the band with schoolfriend Ed Moran.

The band’s Small Time album was well received on its 2012 release, more than twenty years after its 1991-recording. The belated release followed the inclusion of 1990’s Disinterest in Mojo magazine’s 2011 as one of the greatest British indie records of all time.  The Servants played their first gig at The Water Rats Theatre in London’s King’s Cross on 1st July 1985. The line-up for most of the early gigs was: David Westlake, John Mohan, Phil King and Eamon Lynam (a.k.a. Neasden Riots). After Declining offers from Statik, Stiff, and Él, they signed with Head Records, set up by Jeff Barrett, later head of Heavenly Records.

Westlake’s urbane English song-writing was well received by the press, and the band was invited to record a John Peel session soon after the release of first single “She’s Always Hiding” in March 1986

Keen to distance themselves from the “shambling” scene, the band earned a reputation for haughtiness. They grudgingly accepted an invitation by the then-popular NME to appear on their C86 compilation, insisting on the track being B-side of their first single – the wrong-footing “Transparent”. The NME compilation turned out to sell well and the Servants became known for a lesser track.

The band’s next release, the four-song e.p. “The Sun, A Small Star” (August ’86), showed Westlake’s song-writing becoming still more deft, the title-track being later described as a classic”.

Luke Haines joined the Servants from early 1987 to late 1991. Drummer Hugh Whitaker left The Housemartins and joined the band as they returned to the studio to demo new material for Creation Records.

In early ’88 the Servants moved to Glass Records, who promised a reasonable budget to record an album. Plans were made to go into the studio with John Brand, producer of Hayes punk-band the Ruts. At the eleventh hour the band were told that Glass distributors Red Rhino had “gone bust”. The budget was slashed, and they went into the studio to record an epic single, “It’s My Turn”. They played some gigs to support the single but Glass delayed releasing the record for a year.

The Servants released its debut album, Disinterest, in 1990 on Paperhouse Records. “It is Art Rock,” Haines later said, “Ten years too late and fifteen years too early.” Westlake and Haines recorded the Servants’ second album, Small Time, in 1991. Not until twenty-one years later was it released, in 2012 on Cherry Red Records (then in 2013 on Captured Tracks). Small Time is Westlake’s own favourite Servants record. The songs are, says Haines, “looser, more mysterious, strange and beautiful, . . . sounding . . . like nothing else really.”

The long unavailability of 1990’s Disinterest is explained in the Small Time notes: it is “stuck in an irretrievable record company quagmire, where it looks set to remain.” Small Time was issued with a second disc, Hey Hey We’re the Manqués, containing demos and rehearsal versions of first-album material.

The Servants’ last gig was at the Rock Garden, 21 August 1991 “With no room to manoeuvre and no opportunities left”, the band finally called it a day.

Belle & Sebastian frontman Stuart Murdoch told a U.S. music magazine The he was a huge Westlake fan and that he had tried to locate Westlake in the early ’90s in hope of forming a band with him, before starting Belle & Sebastian.

Cherry Red Records released a 2006 retrospective of the Servants, called Reserved. The compilation features all of the releases prior to the Disinterest album plus Peel sessions tracks and demos. US label Captured Tracks released a 2011 vinyl compilation of the Servants, called Youth Club Disco.

Westlake and Haines played together for the first time in twenty-three years at the Lexington, London N1 on 4th May 2014. Westlake and band played at an NME C86 show on 14 June 2014 in London to coincide with Cherry Red’s expanded reissue of C86