THE BODYSNATCHERS - John Peel session #1 1980 (Flac)

The Bodysnatchers - John Peel Session #1
Recorded at Maida Vale, London: 8 April 1980

01. What's This
02. Happy Time Tune
03. The Boiler
04. The Ghost Of The Vox Continental

This is the Bodysnatcher's first session for DJ John Peel's legendary BBC Radio 1 show. It was broadcast three times in 1980. This recording is from the first broadcast on 14 April, 1980. The session was repeated on 15 May 1980 and also included in the 2-tone special broadcast on 9 June 1980. That whole show is available on the John Peel Wiki.

Notable for the early version of 'The Boiler' Rhoda's vocals are pretty much word for word, the same as on the Special A.K.A released version. What it lacks is the sinister edge that Jerry's cinematic organ arrangement brought with it.

Now it's possible to compare and contrast such a hugely poignant and important song, as it evolved between the writing and recording.

Further information is available in the download notes included with the audio files..

All of the initial 2-Tone first sessions have been officially released, The Specials, The Beat, Madness & The Selecter, this is the only one that hasn't. It's excellent quality and I've passed on the recording as found and resisted editing any of the speech or fades used.

LINK

JOHNNY MARR - KCRW FM Session 2013 (Flac) *Special Post* #14

Special Post #14

This was recorded by the esteemed 'Nibbler' - a Dime regular and provider of many high quality KCRW sessions.

Original Notes:
Legendary guitarist for The Smiths, Johnny Marr recently performed several classics plus some of his new songs in the intimate setting of Apogee Studio. KCRW FM broadcast highlights from the evening on Morning Becomes Eclectic.

JOHNNY MARR
KCRW FM Radio Session
Broadcast on Monday November 18, 2013  

Session recorded at the Apogee Studio, Los Angeles Ca. 
Monday November 4, 2013

01. Intro
02. Upstarts
03. Sun And Moon
04. New Town Velocity
05. Lockdown
06. Interview
07. The Messenger
08. Please, Please, Please Let Me Get What I Want (The Smiths)
09. Bigmouth Strikes Again (The Smiths)
10. How Soon Is Now? (The Smiths)

Lineage: FM > Onkyo HT-R520 > Analog Out (RCA Plugs) > Phone Jacks In > Zoom H4n @ 16bit - 44.1 KHz > USB-2 > CD WAVE Tracking > TLH Checksums Flac.8)

 Notes:
A pre-recorded and edited session, the band is in great form

Johnny Marr - Vocals / Guitar 
James Doviak - Guitar / Keys 
Iwan Gronow - Bass
Jack Mitchell - Drums

LINK

There are some brilliant photos from the show with an interview here:
http://blogs.kcrw.com/musicnews/2013/11/photos-johnny-marr-live-on-kcrw/

IGGY POP - KCRW FM Session 2016 (Flac) *Special Post* #13

Special Post  #13

Iggy Pop is back! 'Post Pop Depression' finds the iconic rocker returning to his Berlin-era swagger, with the help of Josh Homme from Queens of the Stone Age and an all-star group of musicians.
If you are a fan of QotSA & 'Humbug' era Arctic Monkeys, you will enjoy this.

IGGY POP
KCRW Radio Session
FM Broadcast
Santa Monica, California.

Delayed Recording (date unknown)
Session Recorded at The Village Studio - West Los Angeles CA.
Aired: March 30, 2016

Lineage: FM > Onkyo HT-R520 > Analog Out (RCA Plugs) > Phone Jacks In > Zoom H4n @ 16bit - 44.1 KHz > USB-2 > CD WAVE Tracking > TLH Checksums Flac.8)

01. Intro
02. Break Into Your Heart
03. Gardenia
04. American Valhalla
05. Sunday
06. German Days
07. Fall In Love With Me
08. Repo Man

The Band:
Iggy Pop: Lead Vocals
Josh Homme: Guitar, Vocals
Dean Fertita: Keys
Matt Helders: Drums
Matt Sweeney: Guitar/Bass
Troy Van Leeuwen: Multi-Instrumentalist

Notes:
The DJ announces they pre-recorded the session at The Village Studio, but some sources have said it was Apogee Studios. Clarification welcomed! (Uploaded to Dime by Nibbler 2016)

LINK

Fate has a way of putting things into an interesting context. When it was announced that Iggy Pop would be collaborating with Josh Homme of Queens of the Stone Age, the music press buzzed with anticipation about the project. What would the proto-punk icon and the snarky hard rock smart guy come up with? The surprise answer is, in many respects, 2016's Post Pop Depression, an unwitting but loving tribute to Pop's friend and collaborator David Bowie. Post Pop Depression arrived two months after Bowie's death, and was completed before his health problems became common knowledge. More than anything, though, this music evokes the sound and feel of Pop's first two solo albums. 1977's The Idiot and Lust for Life were cut with Bowie in Germany as Pop struggled to make sense of his life and career after the Stooges collapsed. With the reunited Stooges gone following the deaths of Ron and Scott Asheton.

Post Pop Depression finds Iggy returning to the work he made in 1977, in ways that count the most. It is smart and thoughtful, intelligent without being pretentious, and full of bold but introspective thinking. While Josh Homme is certainly no David Bowie, he's a skilled musician who challenges Pop in a way many of his previous producers have not.

The sound of Post Pop Depression occasionally gestures to Bowie's work, with and without Pop, but Homme has given this music a personality of its own. Dark and richly textured, Post Pop Depression puts Pop's craggy but authoritative voice and intelligent tirades front and center. Homme and his rhythm section of Dean Fertita (QotSA & The Dead Weather) and Matt Helders (Arctic Monkeys) have created strong, muscular backdrops for Pop's lyrics that add to their power. They counter his thoughtful anger with sounds that are rich, cleanly designed, and a successful compliment for the star's work.

Pop has suggested that this may be his last album, and if that's true, it wraps up his career with a strong and atypical work. It tips its hat to Bowie, but also to the freedom and creative possibilities Pop discovered in their collaborative work. It confirms that Pop has never lost the ability to surprise and upend expectations. In the bitter rant that closes "Paraguay," Pop declares he wants to run away and live as "your basic clod." It's an ironic thought, closing an album that once again proves Pop never was and never will be an ordinary guy.