Chris Bostock is an English musician and music producer. He is best known for his work with JoBoxers but was a member of Subway Sect, Dave Stewart and the Spiritual Cowboys, The X-Certs and The Stingrays. Bostock has guested on albums by The Style Council, Spear of Destiny, Shakespears Sister and The Rhythm Sisters. Plus live shows and TV appearances with Sandie Shaw, Daryl Hall & John Oates. Starting out in Bristol, UK, Bostock studied classical piano from the age of six, switching to guitar aged 12 and formed his first band The Stingrays in 1978 as bassist and backing vocalist, appearing on seminal Bristol compilation album Avon Calling before releasing their first single ‘Countdown’, having played numerous shows opening for acts such as the UK Subs and The Undertones. Bostock joined Bristol band The X-Certs, playing Clash-influenced songs fused with Reggae and appearing on The Bristol Recorder 2 compilation album before releasing their own single ‘Together’ while opening for acts such as The Clash and The Associates.
In 1980, Clash/Specials/Dexys/Subway Sect manager Bernard Rhodes, recruited Bostock along with Sean McLusky from The Stingrays, Rob Marche from Joe public and DC Collard from Gardez Darkz to form a group with fellow Bristol musician Johnny Britton and they recorded the track ‘Perpetual Emotion’ to launch as a single. The new band started touring with Vic Godard in 1981 as the second incarnation of Subway Sect before recording an album Songs For Sale for London Records in 1982, they ran their weekly Club Left in association with Rhodes at the Whiskey-A-Go-Go in Wardour Street, enabling the band to showcase singers such as New Yorker Dig Wayne and Lady Blue while Johnny Britton set the scene as the house DJ playing his brand of Cool Bop & Swing. Working with Dig Wayne, the band worked up a set incorporating their favourite influences of Funk, Northern Soul, Rhythm & Blues, Mod Jazz and Ska and became The JoBoxers, signing to RCA Records and embarking on a UK tour opening for Madness in 1983.
The JoBoxers’ single ‘Boxerbeat’ reached No 3 in the charts while ‘Just Got Lucky’ reached No 7 and No 31 and their album Like Gangbusters went Top 20. Bostock co-wrote the songs ‘Just Got Lucky,’ Johnny Friendly’, ‘Not My Night’, ‘Crime Of Passion’ and ‘Is This Really The First Time’ among others; the group toured in US and Australasia. Two more albums were written and recorded: Skin & Bone and Missing Link but the band ran into business obstacles prior to the release of Skin & Bone resulting in most of the Skin & Bone tracks being released but none of Missing Link, which remains unheard to this day. At this time Paul Weller asked Bostock to play electric and double bass on The Style Council’s debut album Café Bleu. In 1986, as admirers of UK singer Sandie Shaw, with Marche and McLusky performed as her band on her UK tour plus TV and recording sessions. In 1988, Bostock played on the Spear of Destiny The Price. In 1989, Bostock played in The Flame with Roxy Music’s Paul Thompson and Supertramp’s Dave Winthrop and were signed to Eurythmic Dave Stewart’s Anxious Records, opening for The Eurythmics and The Beach Boys.
In 1990, after The Eurythmics, Dave Stewart invited Bostock to form The Spiritual Cowboys with him, adding members including Martin Chambers from The Pretenders and John Turnbull of The Blockheads. They toured extensively in Europe with the resulting two albums: the self-titled Dave Stewart & the Spiritual Cowboys and Honest, both achieving Gold status in France. In 1992, Bostock produced music for and appeared in the BBC Screenplay Bad Girl with actress Jane Horrocks in which she played the singer in his band and this became the forerunner to the movie Little Voice in which Horrocks played the singer and focal point of the story. In 1993, Bostock produced the album Savage World for EMI Electrola's Frankfurt signing Savage World. In 1997 he co-produced the album This Hour for country singer Clint Bradley on G Records. In 2012, Bostock was Executive Producer for the re-released JoBoxers album Like Gangbusters. Between 1995 and 1997, Bostock was A&R Manager for Michael Levy's M&G Wired Recordings.
In 2005 the JoBoxers song ‘Just Got Lucky’ featured in the movies The 40-Year-Old Virgin and Just My Luck. Bostock worked on the re-release of The JoBoxers albums Essential Boxerbeat on Sony and Like Gangbusters. Bostock performs in Vic Godard & The Subway Sect with former members Sean McLusky and Johnny Britton, plus Andrew Alston from Del Amitri. Songs For Sale "Stamp Of A Vamp" "Hey Now I’m In Love” Like Gangbusters RCA, UK, Skin And Bone RCA, Essential Boxerbeat Doing The Boxerbeat - The Anthology Essential Boxerbeat Like Gangbusters Hot Shot Records, "Boxerbeat" "Just Got Lucky" "Johnny Friendly" "Jealous Love" / "She's Got Sex" "Is This Really The First Time" The Price You Pay "So In Love With You" "Radio Radio" Dave Stewart & The Spiritual Cowboys Honest "Jack Talking" "Out Of Reach" "Goodbye Cruel World" Savage World “Everybody” This Hour Annabi Tell Me How long The Boat's Been Gone Johnny Britton Chris Bostock Discography Recent JoBoxers Interview Official JoBoxers website
Stan Stammers is an English musician best known as the bass player for the bands Theatre of Hate, Spear of Destiny and Plastic Eaters. Stammers grew up in Essex, he got into punk music by going to see live bands at Cambridge Corn Exchange and other nearby venues. Stammers' first band was'The Jump', based in Newport, a village close to Saffron Walden and from an early age his main influence for playing bass was Slade's bass player Jimmy Lea, who he cites as an influence today, along with Paul Simonon, Bruce Foxton and Horace Panter; the first major band that Stammers joined was The Straps in 1979, followed by British post-punk band Theatre of Hate in 1980, formed by both Kirk Brandon and Stammers, managed by Terry Razor. Before joining Theatre of Hate Stan played for punk band the Epileptics and The Straps. Stammers turned down an offer to join punk band UK Subs to be in Theatre of Hate with Kirk Brandon. During their two-year existence Theatre of Hate released a number of singles and albums, most notably "Legion", the B-side to the first single "Original Sin", the Westworld album, produced by Mick Jones of The Clash, the "Westworld" single which went to No. 40 in the UK charts, qualifying the band for an appearance on Top of the Pops.
In January 1983 after the demise of Theatre of Hate and Stammers started Spear of Destiny. The band would have numerous line-up changes until Stammers left in 1986. From the onset, the band became well known for their live shows, captured a faithful following. In the early period that Stammers was with the band, they released a number of notable singles and albums. In March 1986, Stammers decided to leave the band to work on his own material and to start a new band. In mid-1986, Stammers formed Crazy Pink Revolvers. In January 1987, CPR recorded their first studio album First Down, released by Chainsaw Records. In early 1987, CPR signed to ABC Records and recorded the Timeless Smile EP. Early in 1988, the band recorded their second album At the Rivers Edge. In January 1989, CPR recorded their second single, "Wednesday 19:45"; the single, taken from the album was written about the Kings Cross fire on the London Underground in 1988. In March 1989, Stammers decided to leave the band and in September 1989 left London with his American girlfriend to live in Philadelphia, US.
Stammers teamed up again with Kirk Brandon in 1990 for 4 years doing a number of tours and a couple of albums under the Spear of Destiny, Theatre of Hate, Elephant Daze and 10:51 banners. During this time, Stammers would play with his own band Boy Boy Nova, as well as running a recording studio. In 1990, Spear of Destiny reformed for three nights at London's famous Marquee Club, the following year went on a UK wide tour as Theatre of Hate. In 1992, Spear of Destiny did another UK tour. In early 1993, Kirk Brandon moved to Philadelphia where they toured off and on for over a year as Theatre of Hate, for a few gigs as Elephant Daze. In mid-1994, the band recorded as Kirk Brandon's 10:51. An album, Stone in the Rain was released in the UK in 1995 and as Theatre of Hate, it was released under the title Retribution in the U. S. in 1996. The single "Children of the Damned" was released. In December 1994, Stammers decided to leave the band. Plastic Eaters were formed in Philadelphia in early 1996. Stammers had approach James Atkin, the lead singer from EMF.
The band played gigs around the US. In December 2008, Plastic Eaters released a version of the Slade hit "Merry X-Mas Everybody" as a digital download release; as well as working with his band Theatre of Hate, rejoining in 2012 as a full-time member, Stammers runs his own music production company, Plastic Eater Sound with his business partner Rob Daly. He works as a session musician for various artists, which includes both live and studio work; as of December 2017, Stammers had reformed Crazy Pink Revolvers as a side project alongside his work with Theatre of Hate, as of May 2018, were to tour the United Kingdom. Chart runs in the UK Singles Chart since 1952 Stan Stammers Crazy Pink Revolvers Plastic Eater Sound Plastic Eaters Plastic Eaters Plastic Eaters Plastic Eaters The Engine Room – Spear of Destiny's Rhythm Section
Craig Adams (musician)
Craig David Adams is an English musician, bass guitarist and songwriter. Over his career he has worked with a variety of rock bands while being part of a touring crew. Brought up in Leeds, Adams left school to pursue a career in music, he played keyboards in a local band the Expelairs who released a handful of singles. He took up bass. Inspired by Motörhead he began to channel his bass through distortion-effects. After a short conversation in a local bar with Andrew Eldritch he joined the Sisters of Mercy. Here Adams developed his songwriting abilities, contributing to arrangements and using his high-pitched voice for backing vocals which contrasted with Eldritch's melancholic baritone; when Adams and Hussey tired of the way that the Sisters of Mercy worked, they left and together they formed The Mission. Adams recorded four albums with two compilations; as one of the co-founders, Adams' presence was pivotal in its success although his destructive behaviour brought a level of instability to the line-up.
During the first tour of North America, Adams broke his hand while punching the window of the bus and was forced to return to the UK to recover. During the'Deliverance' tour of 1990 guitarist Simon Hinkler left, signalling the disintegration of the band. After the release of the 1992 album Masque, Adams was sacked, with the press reporting Hussey citing personal differences as the main motivation. In the biographical book about The Mission, Names Are For Baby. Adams was recruited by Billy Duffy in 1993 to play bass with the Cult on a European tour; the two had first met when the Sisterhood, including Adams, had opened for the Cult throughout Europe in Jan/ Feb 1986. Adams stayed with the Cult to record the self-titled'Cult' album in 1994 with producer Bob Rock, tour extensively throughout Europe, North and South America, his time with the Cult ended when the group disbanded in Mar 1995. Adams collaborated with Duffy again in 1998, forming Coloursound with Duffy, Mike Peters, Scott Garrett, who had played with the Cult at the same time as Adams.
Coloursound released one self-titled album on Peters' own 21st Century Records. Adams continued with Peters in several touring versions of the Alarm 1999-2005, played on their 2004 album In the Poppy Fields, produced by Steve Brown. In 2006, Adams was recruited by Kirk Brandon to join post-punk group Spear of Destiny, playing on several releases, including Imperial Prototype, Omega Point and 31. Adams has contributed to Brandon's other ongoing touring project, Theatre of Hate. In 2012 Adams released the album Demon King, produced by Mike Kelly. In 2014, Adams collaborated with Cuban American dark cabaret singer Voltaire in his tenth album, Raised by Bats; the Expelaires The Sisters of Mercy The Mission The Cult Coloursound with Mike Peters of the Alarm and Billy Duffy of the Cult The Alarm Spear of Destiny Theatre of Hate Allmusic profile
Adam and the Ants
Adam and the Ants were an English rock band active during the late 1970s and early 1980s. The group, which lasted from 1977 to 1982, existed in both fronted by Adam Ant; the first, founded in May 1977 and known as The Ants until November that year, achieved considerable cult popularity during the transition from the punk rock era to the post-punk and new wave era, were noted for their high camp and overtly sexualised stage performances and songs. The final line-up of this first incarnation – Dave Barbarossa, Matthew Ashman and Leigh Gorman – left the band in January 1980 at the suggestion of then-de facto manager Malcolm McLaren, to form the instrumentalist personnel of the controversial Bow Wow Wow; the second incarnation of Adam and the Ants featured guitarist Marco Pirroni and drummer-producer Chris Hughes, was noted for its use of Burundi drums. It lasted from February 1980 to March 1982, achieved major commercial success in the UK and abroad. Prior to Adam and the Ants, Adam Ant played bass in pub rock group Bazooka Joe, now known as the band that headlined when the Sex Pistols played their first concert on 6 November 1975 at Central Saint Martins College of Art and Design.
After witnessing this, Adam quit the band with the intention of forming his own, inspired by the Pistols. Tentatively called The B-Sides, they practised over the following months but, lacking a drummer, never managed to play a gig. Meanwhile, Adam Ant had befriended some influential figures in the burgeoning London punk scene, most notably Jordan, who worked in Malcolm McLaren and Vivienne Westwood's SEX boutique; the Ants formed in early 1977 with a line-up of Lester Square, Andy Warren and Paul Flannagan. Lester Square left to finish his course at an art school just days after The Ants played their first gig on 5 May 1977, at a bedroom in Muswell Hill. Mark Ryan played the first formal gigs. In early June, Flannagan was replaced with Dave Barbarossa and the resulting line-up recorded "Plastic Surgery" and featured in the film Jubilee as the band of Adam's character Kid, until Ryan was replaced by Johnny Bivouac in October 1977. Shortly after this, the group adopted the longer the Ants bandname.
The band made their radio debut on the John Peel show with a session recorded on 23 January 1978. The following day and the Ants re-recorded "Deutscher Girls" for the Jubilee soundtrack album, which would be released in April—the two tracks on the album being the group's vinyl debut. Although popular, the outfit were, according to critic Simon Price, "dismissed by the punk cognoscenti as something of a joke band". Touring extensively around the UK with Siouxsie and the Banshees, they proved to be unpopular with much of the British music press who disliked their fetishistic lyrics and imagery. In response, the group formed a strong – at times ideological – rapport with amateur punk fanzines such as Ripped And Torn which gave them more favourable coverage; the band built up a strong cult following but struggled to find overground success or a record deal until 1978, when they were signed to Decca. By this time and the Ants had been through several line-up changes before settling on the stable line-up of Adam Ant, Matthew Ashman, Andy Warren and Dave Barbe.
It would be this line-up that recorded and released their first single "Young Parisians" to confused reviews and little success. They recorded both sides of a planned second single, "Zerox"/"Kick" at RAK Studios, plus a total of 19 demo recordings all of which were recorded at Decca's own studio in West Hampstead. All of these, as well as other early recordings and demos surfaced as bootleg recordings, they recorded two further John Peel Sessions in July 1978 and March 1979. Unable to satisfactorily market the band, Decca let them go in early 1979, the group, still with the same line-up but employing a lighter sound than signed with independent label Do It Records and rerecorded and released their second single "Zerox" before recording their debut album Dirk Wears White Sox, after which Warren left to join Lester Square in The Monochrome Set. Ashman temporarily left the band at this point, Ant and Barbe recorded a set of nine demos at Solid Gold Sound Studios in London for a putative Ant solo project, using a soul/funk/disco influenced sound.
Do It rejected the new songs and Ashman returned to the band shortly thereafter. Late 1979 saw the release of Dirk Wears White Sox; the title referenced Dirk Bogarde. The album was somewhat dark, with post-punk riffs and some vestiges of glam rock, as well as attempts to fuse this sound with funk and soul. Lyrically it addressed subjects such as fetishism, historical figures like Adolf Hitler, John F. Kennedy and Cleopatra as well as art history the Futurism movement, it gained a cult following rather than commercial success, le
Brian "Dolphin" Taylor is a British drummer. Taylor's first band was Dragon's Playground. In 1976 Dragon's Playground appeared on ATV's New Faces, his career with the Tom Robinson Band started when Taylor gave a friend a lift to an audition as bass guitarist for the Tom Robinson Band in 1976. As the band had no drummer at that point, Taylor filled in. By the end of the evening, the band was still looking for a bass guitarist, but had found their drummer, he stayed for two years resigning in 1978. In 1982 he joined Stiff Little Fingers, playing on the £1.10 or less EP, the Now Then... album, before the band split in 1983. In 1983 after the demise of SLF, Taylor become the occasional session drummer for producer Nick Tauber. Towards the end of 1983 through his work with Nick Tauber, he was introduced to and joined Spear of Destiny as their full-time drummer. Dolphin became a part of The Engine Room, the Spear of Destiny rhythm section, along with bass player Stan Stammers, he left Spear of Destiny in 1986 after they were dropped by their record label CBS, after the band went through a line-up change.
In 1987 Taylor was asked to join the reformed SLF, with whom he stayed until 1996, playing on 1991's Flags and Emblems and 1994's Get a Life. In 1997 he and one time SLF manager Russell Emanuel set up Extreme Music, a company that composes and sells production music. Category:Songs written by Dolphin Taylor Extreme Music Stiff Little Fingers The Engine Room - Spear of Destiny's Rhythm Section Mike Dolbear Drums - Dolphin Taylor Interview
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
John Robert Parker Ravenscroft, known professionally as John Peel, was an English disc jockey, radio presenter, record producer and journalist. He was the longest serving of the original BBC Radio 1 DJs, broadcasting from 1967 until his death in 2004, he was one of the first broadcasters to play psychedelic rock and progressive rock records on British radio, he is acknowledged for promoting artists working in a multitude of genres including pop, dub reggae, punk rock and post-punk, electronic music and dance music, indie rock, extreme metal, British hip hop. Fellow DJ Paul Gambaccini described Peel as "the most important man in music for about a dozen years". In 2012 he was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover. Peel's Radio 1 shows were notable for the regular "Peel sessions", which consisted of four songs recorded by an artist live in the BBC's studios, which provided the first major national coverage to bands that would achieve great fame.
Another popular feature of his shows was the annual Festive Fifty countdown of his listeners' favourite records of the year. Peel appeared on British television as one of the presenters of Top of the Pops in the 1980s, he provided voice-over commentary for a number of BBC programmes, he became popular with the audience of BBC Radio 4 for his Home Truths programme, which ran from the 1990s, featuring unusual stories from listeners' domestic lives. John Peel was born in Heswall Cottage Hospital in Heswall near Liverpool, his father was an upper middle-class cotton merchant, he grew up in the nearby village of Burton. He was educated as a boarder at Shrewsbury School, where one of his contemporaries was future Monty Python member Michael Palin; the solitary Peel was an avid radio listener and record collector from an early age, cutting his teeth on fare offered by the American Forces Network and Radio Luxembourg. He recalled an early desire to host a radio programme of his own "so that I could play music that I heard and wanted others to hear."His housemaster, R. H. J. Brooke, whom Peel described as "extraordinarily eccentric" and "amazingly perceptive", wrote on one of his school reports, "Perhaps it's possible that John can form some kind of nightmarish career out of his enthusiasm for unlistenable records and his delight in writing long and facetious essays."In his posthumously published autobiography, Peel said that he had been raped by an older pupil while at Shrewsbury.
After finishing his National Service in 1959 in the Royal Artillery as a B2 radar operator, he worked as a mill operative at Townhead Mill in Rochdale and travelled home each weekend to Heswall on a scooter borrowed from his sister. Whilst in Rochdale during the week, he stayed in a bed-and-breakfast in the area of Milkstone Road and Drake Street and would develop long-term associations with the town as the years progressed. In 1960, aged 21, he went to the United States to work for a cotton producer who had business dealings with his father. Once this job finished, he took a number of others, including working as a travelling insurance salesman. While in Dallas, where the insurance company he worked for was based, he conversed with the presidential candidate John F. Kennedy, his running mate Lyndon B. Johnson, who were touring the city during the 1960 election campaign, took photographs of them. Following Kennedy's assassination in November 1963, Peel passed himself off as a reporter for the Liverpool Echo in order to attend the arraignment of Lee Harvey Oswald, he and a friend can be seen in the footage of the 22/23 November midnight press conference at Dallas Police Department when Oswald was paraded before the media.
He phoned in the story to the Liverpool Echo. While working for the insurance company, Peel wrote programs for punched card entry for an IBM 1410 computer, he got his first radio job, albeit unpaid, working for WRR in Dallas. There, he presented the second hour of the Monday night programme Kat's Karavan, hosted by the American singer and radio personality Jim Lowe. Following this, as Beatlemania hit the United States, Peel got a job with the Dallas radio station KLIF as the official Beatles correspondent on the strength of his connection to Liverpool, he worked for KOMA in Oklahoma City, until 1965 when he moved to KMEN in San Bernardino, using the name John Ravencroft to present the breakfast show. While in Dallas, in 1965, he married his first wife, Shirley Anne Milburn aged 15, in what Peel described as a "mutual defence pact"; the marriage was never happy and although she accompanied Peel back to Britain in 1967, they were soon separated. The divorce became final in 1973. Milburn took her own life.
Peel returned to England in early 1967 and found work with the offshore pirate radio station Radio London. He was offered the midnight-to-two shift, which developed into a programme called The Perfumed Garden, it was on "Big L" that he first adopted the name "John Peel" and established himself as a distinctive radio voice. Peel's show was an outlet for the music of the UK underground scene, he played classic blues, folk music and psychedelic rock, with an emphasis on the new music emerging from Los Angeles and San Francisco. As important as the musical content of the programme was the personal – sometimes confessional – tone of Peel's pres