From Inside The Pod Revisited #12

A special bonus post today to mark Keeping It Peel Day. As you know, our good friend Webbie started this back in 2010. Last year, he called time on it though his site is still active with news of Peel-related events taking place. I'm going to mark this year's 25th October with a repost of my second Peel podcast that I compiled for the 2011 event. The article is much as it was when it first appeared on From Inside The Pod, save a couple of tweaks for the sake of relevence.

Pod 20: #keepingitpeel2
(first published October 2011)

Today is Keeping It Peel Day 2011. When I decided to take part in the inaugural event last year, I had no idea how well received my contribution would be. Last year's podcast (Pod 08) was bigged up by #kip main man Webbie and became the most downloaded file I'd done.

It was a lot of fun doing that one, so this year I decided to do something a little different. While 2010's effort concentrated on some of Peelie's favourite artists and records, this year's is made up exclusively of session tracks recorded for his shows. Naturally, there were hundreds, nay, thousands of songs to choose from. Some were pretty tricky to track down, but well worth the effort. Some of the acts never achieved much in the way of commercial success (though proved to be quite inspirational to those that followed), while others went stratospheric. Either way, Peel championed them even when nobody else wanted to know.

As usual, I've stuck to my 10-track, 30-ish-minute rule, but I could have put together hours worth of stuff (my list of what I left off is as fascinating as the list of what made it!) Interspersed amongst the music are some words from the great man himself. What's interesting is the contrast of the young Peel's voice (early to mid-70s) and the more familiar baritone drawl of his later years.

I've decided against a eulogy this year. I said all I needed to say last year, and besides far better people than I will have said it all and far more eloquently. Instead, it's time to let the music do the talking. Oh, and no, I've not included Teenage Kicks or anything by the Fall. Been there, done that...

(And kudos to anyone who can identify the sheet music in the artwork...)

1. Cinerama Quick, Before It Melts (May 2001, 7th of 10 sessions)

Maybe only The Fall made more Peel sessions than David Gedge who recorded a total of 19 in less than 20 years. The first nine were as frontman with the Wedding Present, the next 10 were with Cinerama (though the last of these fell during the latter's transition back into the Wedding Present). This is probably my favourite Cinerama track and tells the story of a man's reluctant infidelity.

2. Robert Wyatt I'm A Believer (September 1974, 2nd of 2 sessions)

He may be one of rock 'n' roll's casualties, but Robert Wyatt is also one of its unsung heroes. Following the accident that left him paralysed in 1973, John Peel compered a benefit concert for Wyatt headlined by Pink Floyd. The following year, after a standoff with stuffy BBC executives, Wyatt eventually won the right to perform his version of I'm A Believer on Top of the Pops in his wheelchair. Apparently, bosses had initially deemed the prospect as unsuitable for family viewing. How times have changed, thankfully. Bizarrely, he has even spawned a new verb: 'Wyatting' - the practice of playing weird tracks on a pub jukebox to annoy the other patrons. Try it...

3. Laura Cantrell Pretty Paper (December 2003, Peel Acres, 5th and final session)

Peel described Laura Cantrell's debut album 'Not the Tremblin' Kind' as "my favourite record of the last ten years and possibly my life". The track Bee from her third album was dedicated to his memory. This beautiful performance of the classic Roy Orbison hit was recorded live in the Peel family's living room less than a year before John's death.

4. Datblygu Rhag Ofn I Chi Anghofio (January 1991, 3rd of 5 sessions 1991)

Datblygu were picked up by Peel through their debut single and went on to record five sessions for him. No one played Welsh-language music on English radio, except our John who also championed Gorky's Zygotic Mynci and Super Furry Animals. The title, by the way, translates as 'In Case You Should Forget'.

5. Napalm Death Raging In Hell (March 1988, 2nd of 3 sessions)

Who else but John Peel would play Napalm Death (and other bands of their ilk) regularly on the radio? While most acts recorded three or four tracks per session, this lot would have to do upwards of 10 in order to get a fair share of airtime. To Peel, grindcore artists such as Napalm Death were not novelties as they were to many others, but a genuine musical movement worthy of as much respect as anything else he played.

6. Misty In Roots Rich Man (June 1979, first of 9 sessions)

Another of Peel's all-time favourite records was Misty In Roots' debut 'Live at the Counter Eurovision'. His championing of it helped bring roots reggae to a white audience. They became regulars on his show, releasing a compilation of session tracks in 1995. They continue to tour. This also reminds me that there is not nearly enough reggae on this blog. Hmmm, must right that wrong...

7. David Bowie Port Of Amsterdam (January 1970, third of 6 sessions)

John Peel's relationship with the young Bowie is well-known. Peel nurtured the precocious talent from as early as 1967 when Bowie recorded his first session for him. In fact, it is widely accepted that it was John Peel who 'discovered' Bowie and was largely responsible for his ultimate fame. Sadly, the pair lost touch as soon as Bowie exploded into the mainstream in 1973, something John took personally. Here's Our Dave (as he's affectionately known in my house) with his version of the Jacques Brel song Amsterdam (which is based on the melody of the 16th C. English folk song Greensleeves which itself is often mistakenly attributed to Henry VIII).

8. Pixies Tame (October 1988, second of 5 sessions)

The greatest band to walk the Earth in my lifetime! John Peel obviously saw something in them as well, he had them in session five times! Tame is originally from the band's masterwork 'Doolittle'.

9. Queen Great King Rat (December 1973, 2nd of 3 sessions)

Yes, even Queen did Peel Sessions, three in fact. The first two were recorded for a show John presented called 'Sounds Of The Seventies'. The third, in 1977, came after the band had become huuuuuge and included a frankly amazing version of Spread Your Wings (available on the recent deluxe edition of 'News Of The World'). Great King Rat however, remains one of their finest early songs.

10. Son House My Good Gal [edit] (July 1970, only session)

How good is this? The legendary Son House played his only Peel Session in 1970 sounding as if he was possessed! To see him perform was like watching the devil himself - head thrown back, wailing and hollering, guitar practically beaten into submission. His unique style can still be heard in a slew of young upstarts, in particular Jack White who has long cited Son House as one of his biggest influences.

Keep It Peel right here! 

From Inside The Pod Revisited #1

For a couple of years, I ran a blog called From Inside The Pod. It never conquered the world or anything, but it was fun for a little while. Webbie and Deadboy were followers, a few others wandered by and downloaded my offerings.

My offerings were in fact a series of 'podcasts': a continuous mix of 10 songs lasting approx 30 mins rather amateurly strung together using a bit of audio freeware. Some had themes, many were just things I wanted people to hear. All but one of them contained at least one track by a Welsh act. 

Responses were mixed. People seemed to love the cover version ones, but couldn't have cared less about most of the others. I eventually crashed the pod when I had a bit of a strop over the lack of hits I was getting (hmmm, sound familiar...?) I lost  some of the stuff I created, such as the banner graphic at the top of the page which I always really liked. Luckily though, I did save some stuff - like the posts themselves.

Anyway, what I thought was, during the quiet summer period I'd repost a few of my fave podcasts along with the essays and sleevenotes that accompanied them. Yeah, lazy I know, but if JC can get away with republishing old articles I reckon I stand a chance!! If you like them, I might even post one of the 'unreleased' ones I made but never posted due to me throwing my toys out the pram and shutting the site down.

So... without further ado, here's one that proved quite popular; it was published in the autimn of 2010 and contains a couple of songs I've featured in depth on this here site that are well worth hearing again. And again...

pod 06: Appetite for Distraction
(first published 19 September 2010)

I really should be writing my final course essay. It involves analysing the lyrics of Another Girl Another Planet by The Only Ones and identifying its language creativity and potential literary merits. Instead, I get distracted thinking about records that everyone should have in their collection by law. Another Girl... is most certainly one of them. It is quite simply the greatest pop song ever written. 'Doolittle' by the Pixies is another. Buffalo Tom's Velvet Roof and, of course, the Beatles' 'White Album' are also mandatory.

Quite why this train of thought should lead me into creating a new podcast is unclear, especially as it has nothing whatsoever to do with my reverie. But I don't worry about the whys and wherefores of such things, the fact it exists is enough for me. Enjoy it, and let me know which record (track or album) you would make it a criminal offence to be without.

1. Sibrydion Femme Mental (2009, Campfire Classics)
One of Wales' best kept secrets. Sibrydion's third album, from which this track is taken, is just fabulous (or fab'las as they say in these parts). Yeah, they may have more than just a passing resemblance to Welsh pop's torchbearers the Super Furry Animals, but you know what? Who cares! I'm going through a banjo-lovin' phase at the mo so this one gets a big thumbs up.

2. Robert Wyatt Shipbuilding (1982, single)
Oh, here's another of the records you must own by law. Elvis Costello's lyrics were about the Falklands War and the paradox of the new optimism of the former shipbuilding heartlands in the north of England, where vessels were built for battle, and the cynical twist of those sending off their husbands and sons to fight and die in those same ships. When delivered by Robert Wyatt, who once fought tooth and nail against BBC producers to perform on Top of the Pops in his wheelchair (and won!), the song becomes one of the most heartbreakingly beautiful to ever grace our undeserving ears.

3. Hell's Kitchen Nice (2006, Doctor's Oven)
One of the oddest, yet strangely endearing new blues bands around comes from the heart of the Mississippi Delta, in... oh hang on... they're from Geneva, Switzerland. Curiouser and curiouser. Beyond that, and the fact they have two dead good albums, I know practically nothing about Hell's Kitchen. Perhaps that's best...

4. Matthew Sweet & Susanna Hoffs A Different Drum (2006, Under The Covers Vol. 1)
What a pairing! One of America's most underrated songwriters and a former Bangle (who still looks absolutely stunning, by the way...) have released two albums of cover versions, one of songs from the 60s (from which this Linda Ronstadt hit is taken) and one of 70s classics.  Awaiting volume 3 with great eagerness.
(2014 update: last year, volume 3 materialised. Guess what decade it covered...)

5. The Kinks Holloway Jail (1971, Muswell Hillbillies)
My favourite Kinks album saw the band in a transitional phase. While Ray Davies' heart was still very much in London, his lyrics had shifted from fond reminiscence to disillusionment, and the music took on an air of the Deep South. Sure enough, the Kinks' future was in America.

6. Jah Division Dub Will Tear Us Apart (2004, single)
From the global hotbed of dub reggae - that's, erm, Slovakia in this case - come Jah Division, one man's mission to dub up anything that's there to dub. Strange stuff, sure, but isn't it more bizarre how it just seems to work?

7. Snuff I Think We're Alone Now (1989, Snuffsaidbutgorblimeyguvstonemeifhedidntthrowawobbler-chachachachachachachachachachachayouregoinghomeinacosmicambience)
Another cover. Snuff are masters of brilliant, often hilarious covers, including the theme tunes to 'Whatever Happened to the Likely Lads' and 'Match of the Day', and the Shake 'n' Vac and Bran Flakes adverts. And of course, the utterly amazing title of their debut album remains one of the greatest of all time!

8. Nancy Sinatra & Lee Hazlewood  Jackson (1968, Nancy & Lee)
As a heterosexual male who is completely comfortable with his sexuality, I have no problems admitting to enjoying a bit of camp now and again. Nancy and Lee fit the bill right now, this charming cover of Johnny Cash's duet with June Carter being one of their finest moments.

9. Cults Most Wanted (2010, Cults 7")
A brand new band who are being bigged up all over the Internet on numerous blogs, despite having released just a couple of singles. Little appears to be known about them, but their influences clearly lie in the pop and soul sounds of the sixties. This seems to fit really nicely next to Nancy and Lee, don't you think?

10. Broken Social Scene Art House Director (2010, Forgiveness Rock Record)
One of my top albums of the year so far is the fourth offering from this supersized Canadian collective. Their last album was one of my favourite CDs for the car when it came out and this one is not far from that exhalted status.

Download it here. Link expired. Will consider re-upping by request...

50 songs to take to my grave - #3: Shipbuilding

So you want politics and social comment? You want a delicate, lilting, jazz-tinged musical arrangement? How about one of the most heartbreaking vocals ever put to tape? Then you unquestioningly want Shipbuilding performed by the inimitable Robert Wyatt.

For those who don't know (though there's no reason why you shouldn't), Shipbuilding was written by Clive Langer and Elvis Costello and tells of the sickening irony that saw the rejuvenation of the shipbuilding industry in Glasgow, Belfast and the north of England when vessels were made to replace those sunk in the Falklands War, while at the same time sending the sons of the shipbuilders to fight in the conflict on those same ships, some never to return.

"Is it worth it?" it begins.
"A new winter coat and shoes for the wife
And a bicycle on the boy's birthday."

The benefits of the jobs saved at a time when the industry was on its knees.  But then weighed up against the human cost of the very reason those jobs were saved:

"The boy said 'Dad, they're going to take me to task
But I'll be back by Christmas.'"

And just in case you didn't get the absurdity of the paradox:

"Within weeks they'll be re-opening the shipyards
And notifying the next of kin."

Legend has it that Langer wrote the music and always had Robert Wyatt in mind to perform it, but he wasn't happy with the lyrics. Costello penned what he regards as "the best lyrics I've ever written" and voila! A bonafide classic was born. But for me it's Wyatt who really makes the song what it is. His plaintive delivery elevates it to an entirely different level. It lends the scathing political hypocrisy and the uneasy conflict of human emotions at the heart of the lyrics a degree of solemnity and mournful contemplation. 

It's powerfully gut-wrenching stuff, especially when you consider Wyatt's initial reluctance. On receiving the demo, he was in the process of giving up smoking and was wary of singing something that was so different in style and slower than what he had done before. The vocal was completed in one afternoon, and it couldn't sound more perfect. What's even more startling is that the backing track on the record is the same as on the demo, recorded in one take and featuring Mark Bedford from Madness on double-bass.

Shipbuilding demands silence upon listening. I'd never normally give this kind of thing, this 'night-time jazz', a second thought, but this song just does something to me. It makes the funeral list without a moment's hesitation. Everything about Shipbuilding just feels right. Politially, it was a match made in heaven: Robert Wyatt was known for his Communist sympathies, while Costello would go on to write the anti-Thatcher anthem Tramp The Dirt Down which got more than a few airings the week the vile old witch finally popped her clogs last year; and musically, it was just one of those rare perfect moments that could never happen again. In fact, Costello recorded his own version of the song for his 'Punch The Clock' album the following year. As good at it was, it couldn't hold a candle to Wyatt's version.