Today marks the thirteenth anniversary of the death of John Peel, so I’m Keeping It Peel with a choice session from his long-running Radio 1 show. Since we also tragically lost Soundgarden’s astonishing vocalist Chris Cornell earlier this year, I decided on this, recorded by the Seattle band in 1989 – just before the grunge scene exploded into the mainstream.
This session shows Soundgarden in a slightly different light to their usual downtuned metal-influenced rock, featuring as it does unexpected and rather fun versions of Sly & The Family Stone’s ‘Thank You (Falettinme Be Mice Elf Again)’ and John Lennon’s ‘Everybody’s Got Something To Hide (Except Me and My Monkey)’.*
As always with Soundgarden, I recommend you crank the volume up high – and while you do that, I’ll be off to play Badmotorfinger at the wrong speed in tribute to Peel and Cornell; two men who shaped my musical taste at a formative age.
Until next year, keep it Peel…
*If you fancy more unexpected and frankly odd cover versions, head over to Twitter and follow @UnlikelyCovers.
With the lights out, it’s less dangerous
Here we are now, entertain us
I feel stupid and contagious
Here we are now, entertain us…
It’s one of the greatest album openers of all time – on what is arguably one of the greatest rock albums of all time. And, believe it or not, it’s twenty years old this month…
Released in September 1991, Nirvana’s second album, Nevermind, had an immediate and dramatic impact on the music scene (even going so far as to knock Michael Jackson’s Dangerous off the top spot in the US album charts). It has sold more than 30 million copies worldwide in the twenty years since its release, making it almost certainly the biggest selling alternative rock album of all time and placing ‘tragic singer’ Kurt Cobain straight into the canon of rock legends alongside the likes of Jimi Hendrix and Janis Joplin.
In September 1991, I was a troubled, music-loving 15 year old; just the right impressionable age to be utterly blown away by Nevermind. And blow me away it did. I couldn’t stop listening to it – and I was not the only one. It became one of those albums that was glued to the stereo at every single drunken teenage house party I went to over the next few years. It was on all our personal stereos, it went everywhere with us.