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1999, Peel shows, Available online,
and 3 more

15 December 1999

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Show

Name
Station
YYYY-MM-DD
  • 1999-12-15
Comments
  • Start of programme (following speeded-up trombone piece from previous programme): "Very silly."
  • The 1985 Peelenium running order is listed differently in Ken Garner's The Peel Sessions (p.199): there are only three tracks (1. JAMC; 2. Fall, "Gut Of The Quantifier"; and 3. Vibes, "I'm In Pittsburgh And It's Raining").

Sessions

  • Beulah, one and only session. Recorded 1999-10-31. No known commercial release.

Tracklisting

Peelenium 1985

  1. Jesus & Mary Chain: 'Never Understand (LP-Psychocandy)' (Blanco Y Negro)
  2. Billy Bragg: 'Between The Wars (CD-Life's A Riot / Between The Wars)' (Cooking Vinyl) [1]
  3. Roxanne Shanté: 'Queen Of Rox (12")' (Pop Art) [2]
  4. Wedding Present: 'Go Out And Get 'Em Boy (7")' (Reception)
(JP: '(In 1985) the soap opera Eastenders started on BBC1. I've never watched a complete episode of Eastenders in all of my life, I have to say. I don't say that with any pride at all: it's that I'm always doing other stuff. But you do miss out. People make all these cultural references: you watch something like The Big Breakfast, and it's all full of references to Eastenders, and people come and talk to you. I don't know who these people are. Anita does this all the time: (she)'ll come in and start talking to our Flossie about these people, and I'll say, "These are not real people you're talking about, are they?," and they say, "Oh no," and just keep carrying on talking about them as though they live next door. It drives you nuts.')

File

Name
  • a) Peel Show 1999-12-15
  • b) jp151299.mp3
Length
  • a) 02:01:31
  • b) 02:00:05
Other
  • a) Many thanks to the taper.
  • b) Many thanks to max-dat.
Available
Footnotes
  1. ↑ "An alternative national anthem, as far as I'm concerned. I should love to be able to stand up somewhere and sing that, if I could remember all of the words."
  2. ↑ "I've not heard that for a decade. What a fantastic record it was! and it didn't sound as though it had dated a minute over the past fourteen years or so. It's strange: sometimes you do wonder, hearing that again, how we've got from a record as startling, as original and exciting as that to a lot of the kind of big money hip-hop that you see in the charts and occasionally hear on the radio, and you think, how did we get there from here? Very odd."
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