>> I suspect you are right about the management vetting. In the past someone like 'Peely'
>> would air stuff that no-one else would touch. He was the first to play groups
>> such as Orchestral Manouevres in the dark (Electricity), and many many others.
Just read another part of Peel's biography last night, and it touches on our discussion the other day:
' The music industry had changed dramatically in the nineties. What would have been termed 'indie music' a few years earlier was becoming increasingly popular, and more easily accomodated into the daytime schedule. In the eighties, New Order, Echo and the Bunnymen, the Smiths, Pixies and Mudhoney had found their only British radio exposure on John's show, but their nineties equivalent - Blur, Radiohead, Pulp, Nirvana - were all over the airwaves.
There was no shortage of music that John played but which daytime radio wouldn't touch with a bargepole. Yet he found he had to realign himself, or readjust his expectations. Bands that he had been championing might want to record more sessions with him once they had found success. But their management or record company would often choose instead to plump for other show's earlier in the day, such as The Evening Session, which had a wider audience, So despite having helped their careers, John would lose out.
He was also incredulous to find that Radio 1 breakfast DJs were continuing the stations tradition about what they could be watching on television in the evenings rather than listening to John's show. Whenever he mentioned this, however, it had no effect other than to make him unpopular with colleagues.'
As written by his wife, who wrote the last part of the book as he never had time to finish it, because he never got round to learning how to use his computer.
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