(This page is about the music magazine. For the British band of the same name, see Wire).
Wire Jan 95

The Wire (sometimes stylised as WIRE) is a British avant garde music magazine, founded in May 1982 by jazz promoter Anthony Wood and journalist Chrissie Murray. The magazine initially concentrated on contemporary jazz and New Music, but branched out in the early 1990s to various types of experimental music. Since then it has covered Electronica, modern classical, Free improvisation, Avant rock, hip hop, New jazz, Modern composition, Traditional musics and beyond.

Links to Peel

Peel was featured in The Wire's Invisible Jukebox section, which was a feature on the magazine between 1991 and 1997, where every month, a music journalist, who in this case was Dave Morrison, would play a celebrity a series of records which they were asked to identify and comment on - with no prior knowledge of what they were about to hear. Peel appeared on Invisible Jukebox in the January 1995 edition, where the interview took place at Peel Acres and lasted for about 3 hours until it was brought to a premature halt when his children returned home from school.

Below are the list of records that were played to Peel, including excerpts of comments from him and Dave Morrison:

(JP: 'I was very surprised when you did this to Steve Albini [Invisible Jukebox, The Wire, 122] and you started with Bo Diddley's "Mumblin Guitar" which he didn't recognise - which I was astonished by, because for me it's one of the great records of all time')
(JP: 'Sounds a bit like Mark E. Smith with that vaguely dissatisfied muttering in the background. Nice guitar sound. Is it Syndicate Of Sound? You're going to have to tell me.')
(DM: ‘It's the West Coast Pop Art Experimental Band’)
(JP: 'Is it? By God! I must admit I don't remember this track at all and I've actually got an LP by them. It's dead good - I shall dig it out and play it this weekend. I really like it. That guitar's really nice - it does remind me almost of Lonnie Mack at the end.')
  • Tractor - Hope In Favour

    Tractor - Hope In Favour

    Tractor: Hope In Favour (album - Tractor) Dandelion
(JP: 'The drumming sounds like The Way We Live, the rest of it doesn't [Long pause]. It sounds like The Way We Live. Once again it sounds familiar but I can't put a name to it.')
(DM: 'It's Tractor, a band from your own 70's Dandelion label')
(JP: 'Oh well, that's the same thing. The Way We Live is Tractor. It's the same people. They did their first LP as The Way We Live and then I said 'That's such a crap name', so they changed it to Tractor, which wasn't much better. In fact I'm not sure that I didn't suggest Tractor. I'm fairly impressed that I recognised the drum sound, because that's a muso's thing that I wouldn't normally do at all.')
(JP: 'This isn't Son House at the 100 Club, is it?')
(DM: 'I think it'll be apparent who it is when he gets going')
(JP: 'Is this Beefheart? I really love Beefheart. I haven't heard him do this. Where was this recorded?
(DM: 'I've no idea, except it's pretty informal, just guitar and voice. It was before 72. There were no details on the tape. I don't know who the guitarist is.')
(JP: '...I don't know what this is. You just lose track. So this could be something I've played on the radio, it could be something I've never heard in my life before. I like it.)
(JP: 'I know this, is this the Cookie Crew? Early Salt 'N' Pepa? Hold on, don't tell me. This is something I should know, because I played it on the radio. I'm sure I have. The kids should know because I think it's one of our holiday tapes! Is it one of the numerous Roxannes? Roxanne Shante?')
(JP: 'This is a complete mystery to me, I have to say')
(DM: 'The keyboard player [Miles] usually plays something else')
(JP: 'That's not much of a clue! Usually plays something else - Chris Waddle? Robbie Fowler? It's not another of Thurston Moore's bizarre... No the beginning did sound vaguely Jungle-y, the percussion.')
(DM: 'It's Miles Davis from Get Up With It, 1974')
(JP: 'Which I've probably got... I still do occasionally buy jazz records but more because I kind of feel they're good for me.')
(JP: '[Immediately] Ah Gods, they bestride the world. I can't explain, I just adore them. If they made a bad record I wouldn't know. All they have to do is turn up and that's enough. The only person I would put on the same level as Beefheart would be Mark E Smith. It's almost impossible to imagine somebody else.')
(JP: 'Is this Ethiopian? I only know it's Ethiopian because I've got a bunch of Ethiopian 7" singles about 15 years ago and you can just recognise the style... It's a great noise though, because it sounds like it could be anything')
(JP: 'Well the fellow doing the shrieking has got to be Japanese. Is that John Zorn squeaking away in the background? With Mick Harris on drums?')
(DM: 'It's Yamatsuka Eye, Otomo Yoshihide on turntables, John Zorn and Uemura Masahiro on drums. They're collectively Ground Zero')
(JP: 'I was just bluffing on the drums. It's amazing the stuff that goes on')
(DM 'Does it hold any appeal for you?')
(JP: 'Well the confrontational aspects of it. I always like the idea of Gerogerigegege, the [Japanese] singer who masturbates on stage. Not that, I hasten to add, I'm much excited by seeing people masturbating onstage, but the confrontational aspect of that seems to be well-nigh irresistible.')
(JP: 'Sounds like Steve Albini on guitar. Does it sound like Steve Albini to you William? [Confers with son, who has just come in, who agrees] I'd swear that was Steve Albini on guitar, but not Shellac. It sounds like Big Black. I have to say.')
(DM: 'It's actually Head Of David')
(JP: 'Is it? Good Lord! They'll be jolly flattered, I would have thought, with being compared to Big Black.')
(JP: 'This sounds like the sort of thing that would be top of the charts on Classic FM, unless it's going to turn into something like Songs From The Shows or turns out to be an Andrew Lloyd Webber Requiem, which it might even be, I don't know... I was very surprised to see that when Radio Three were having a debate - for reasons I never fully understood - as to who were the eight great composers of all time, and there was no mention at all of Chopin, which I thought was very strange')

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