[peel] John Peel Day - Stanley Winston track (and anecdote)

[Eddie Duffy]

It's also available on the Kershaw-compiled "More Great Moments Of Vinyl 
History":

http://www.amazon.co.uk/exec/obidos/ASIN/B00023NDIG/qid=1129315818/sr=8-1/ref=sr_8_xs_ap_i1_xgl/026-0367819-5562815

The release of that compilation gave Peel the excuse to play the track 
in 2004, congratulating Kershaw on 'wisdom beyond his years' in 
including it. And yes, as soon as the song was over he was banging on 
about Simply Red again!

Trevor Huddleston wrote:

> Hi,
>
> The Stanley Winston track is a work of genius. I took many years to 
> track it
> down on CD. It can be found on "Soul Jewels - Volume 2". The link below
> takes you to the Amazon page for this item:
>
> http://www.amazon.co.uk/exec/obidos/ASIN/B00005QD11/qid=1129293637/sr=8-1/ref=sr_8_xs_ap_i1_xgl/202-1459738-2848638
>
> The George Perkins tracks are also worth the price alone!
>
> Trevor H
>
>
> >From: John Bravin <john.bravin@...>
> >Reply-To: peel@yahoogroups.com
> >To: peel@yahoogroups.com
> >Subject: [peel] John Peel Day - Stanley Winston track (and anecdote)
> >Date: Thu, 13 Oct 2005 22:54:44 +0200
> >
> >Heard the Stanley Winston track No More Ghettos in America on the BBC
> >Radio 1 John Peel Day show tonight and was reminded of the Peel quote
> >about Stanley Winston/Mick Hucknall.  For those who missed the article
> >in The Grauniad in September 2000 see below.
> >
> >  >>>
> >**With more than 25,000 LPs straining the floorboards of his home, *John
> >Peel* is more curator than collector, tending to a precious archive of
> >leftfield music
> >
> >*Will Hodgkinson
> >Friday September 1, 2000
> >The Guardian <http://www.guardian.co.uk>*
> >
> >When a man's house has to be fitted with reinforcements in order to take
> >the weight of his records, you know that his vinyl addiction has reached
> >rarely seen heights of severity. John Peel's record collection is beyond
> >a joke. There's a large wooden shed used only to accommodate his 12-inch
> >singles, and another one, just past the chicken coop, which houses the
> >45s. Being Britain's leading vanguard of any kind of music that falls
> >out of the mainstream justifies the addiction somewhat, but these
> >records aren't just the tools of his trade - they're too cherished for
> >that.
> >
> >Article continues
> ><http://www.guardian.co.uk/arts/homeentertainment/story/0,12830,1336434,00.html#article_continue>
> >------------------------------------------------------------------------
> >------------------------------------------------------------------------
> >"As my wife would confirm if she wasn't out shopping, I still spend an
> >insane amount of time - six to eight hours a day - listening to records
> >and putting together lists for the show," says Peel from the hub of his
> >record world, which is his East Anglian farmhouse's old garage. All the
> >new releases come here, a large cardboard box making up a week's worth
> >of the records sent. The room has a boyish, den-like feel; between the
> >racks of records and CDs are football memorabilia, photographs of his
> >wife, Sheila, and hot rod magazines from the 50s and 60s.
> >
> >Although the room feels chaotic and cramped, the records are very well
> >ordered. The ones chosen to be played on future shows are recorded on a
> >list, before being elevated from the boxes on the floor to the heights
> >of the collection itself. Each is recorded on a card index. "People say,
> >'Why don't you put the collection on computer?' But to put 25,776 LPs on
> >to a computer would almost certainly take the rest of my life."
> >
> >Passing into another room that houses Peel's first 1,500 records, it
> >dawns on me that a curator's mindset must be essential just to keep the
> >collection at least reasonably accessible. This is where his four
> >children, and their boyfriends and girlfriends, come in handy. "Last
> >summer I paid my daughter Flossie's then boyfriend to file my seven-inch
> >singles, and he turned out to be the best filer I ever had.
> >Unfortunately he and Flossie broke up shortly afterwards. Young people
> >have so little consideration. My son William did that lot of CDs," says
> >Peel, pointing to a rack, "and got paid prodigious sums of money to do
> >so, but he took all summer - he's naturally an extremely indolent boy.
> >He seems to have no grasp of the alphabet, either."
> >
> >Some men have garden sheds to potter about in and get away from the
> >wife; Peel has his two outhouses of records. "I'll come in here to find
> >something, and almost always find something else that I've completely
> >forgotten about. It's a great stress-reliever." Peel mulls over a 45 by
> >Wild Willy Barrett, an eccentric hippie chiefly famed for his
> >collaboration with 70s pub rocker John Otway. The record collector's
> >mind is at work here - revelling in the obscure, celebrating the
> >authentic, and finding release in a three-minute song.
> >
> >Peel has been a DJ since 1963, working in the US for a number of radio
> >stations before joining Radio 1 from its birth in 1968. He has the
> >freedom to play what he likes, and what tends to make it through is
> >anything that fulfils a degree of honesty, be that a scratchy old reggae
> >45 or the latest student union indie favourite. A few records have moved
> >beyond work into the realm of the intensely personal. "I've got a clutch
> >of about 20 records which I'll grab in an emergency, and which will go
> >into the grave with me," Peel explains. They're all 45s, they're all
> >impossibly obscure, and each one, says Peel, "can almost always reduce
> >me to tears".
> >
> >Within this sacred box, there's a Jagger-Richards composition, I'd
> >Rather Be Out with the Boys, by mid-1960s Manchester no-hit wonders the
> >Toggery Five; and a great reggae take on Paul Simon's Richard Cory by
> >Jamaican singer Yami Boro, who, not quite understanding the words of the
> >song, called it Richer Cory. "There's a reggae version of Whiter Shade
> >of Pale which does the same thing," says Peel, "but the lyrics of that
> >song were complete bollocks anyway, so misinterpreting them just adds
> >another dimension."
> >
> >There are also a number of heartbreaking early-70s soul ballads. In one,
> >Stanley Winston's No More Ghettos in America, the singer's voice quivers
> >before collapsing into feverish falsetto. "This is the only record this
> >guy made," Peel explains, just as Winston breaks down entirely. "You
> >hear somebody like Mick Hucknall described as a soul singer after his
> >25th LP. This guy made this one 45 and the first 30 seconds eclipses
> >Hucknall's entire output." And each of these records tells a story in
> >Peel's life - such as the R'n'B classic You'd Better Move On by Arthur
> >Alexander. "It was given to me by a girlfriend in Texas, and I think it
> >was a hint. Her way of saying, 'Suit action to the title, fatboy.' "
> >
> >A British institution, John Peel, like so many music lovers, is a
> >sentimentalist at heart, a man who can live through his most valued
> >vinyl finds. "I'll play them all together one day," he says of his 20
> >moments of greatness, "and then go mad."
>
>
>
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