The origin of the BBC radio session came about due to restrictions imposed on the corporation by the Musicians Union and Phonographic Performance Limited with regards the airing of recorded music.
The thinking behind this was to create employment, as well as force people to buy records and not listen to them free of charge on the air. As a result, the BBC had to hire bands and orchestras to perform cover versions of recorded music to make up for the shortfall.
When the policy evolved with the advent of the more pop and rock oriented station Radio1, bands ventured into BBC’s Maida Vale studios to lay down between 3 to 5 tracks, with in-house personnel such as John Walters, Dale Griffin, Jeff Griffin, Chris Lycett, Mike Robinson, John Owen Williams and (not that) Tony Wilson helming the sessions.
The most celebrated of these BBC sessions were recorded for John Peel, but equally of merit and perhaps more of an indicator to potential breakthroughs into the mainstream were those produced for Richard Skinner and Kid Jensen.
Sessions were usually recorded and mixed in a single day, so had a rougher feel that lay somewhere between a live performance and a studio recording, sounding almost like a polished demo. While acts would often use the opportunity to promote their latest single or album, others would premiere recently written compositions, try out different arrangements on established songs or perform cover versions. A number of these session recordings were even superior to their eventual officially released versions.
So ELECTRICITYCLUB.CO.UK presents its favourite 25 BBC Radio1 session tracks with other selection criteria including rare songs or tracks capturing the zeitgeist and signalling a change in the course of music. Presented in chronological and then alphabetical order within each year with a restriction of one track per artist moniker, here are some special moments from our beloved Auntie Beeb.
THE HUMAN LEAGUE Blind Youth (John Peel 1978)
In Summer 1978, THE HUMAN LEAGUE perhaps surprisingly recorded their only session for the BBC which included ‘Being Boiled’, ‘No Time’ (which became ‘The Word Before Last’), a cover of ‘You’ve Lost That Lovin’ Feeling’ and ‘Blind Youth’. The latter was the frantic percussive highlight of the four, a wonderfully shambolic slice of synth punk with bum bleeps and avant waves of white noise, all held together by the metallic rhythmic bed of a sequenced Roland System 100.
Not officially released
http://www.thehumanleague.co.uk/
TUBEWAY ARMY I Nearly Married A Human (John Peel 1979)
Gary Numan’s session as TUBEWAY ARMY for John Peel in early 1979 captured an artist in transition. From the comparatively punky ‘Me! I Disconnect From You’ to the dystopian synthpop of ‘Down In The Park’, the electronics were gaining more prominence to suit his unsettling lyrical themes. On the mostly instrumental ‘I Nearly Married A Human’, the machines launched a coup d’etat and took over like an army of replicants with the murmurs of the title being the only sign of flesh and blood.
Available on the GARY NUMAN // TUBEWAY ARMY album ‘Replicas – The First Recordings’
OMD Pretending To See The Future (John Peel 1980)
After the release of their self-titled debut album, OMD returned for their second of their four John Peel sessions with Paul Humphreys and Andy McCluskey accompanied by drummer Malcolm Holmes and keyboardist Dave Hughes. By now, their live sound had expanded and this change was captured with the version of ‘Pretending To See The Future’ having more presence and a looser percussive edge compared with the underwhelming drum machine-led album version.
Available on the OMD album ‘Peel Sessions 1979-1983’
B-MOVIE Polar Opposites (John Peel 1981)
One of the bands alongside SOFT CELL, DEPECHE MODE and BLANCMANGE who got a profile boost from their inclusion on the ‘Some Bizzare Album’, although they were signed by Phonogram to take on DURAN DURAN, B-MOVIE had more of a psychedelic vibe as reflected by songs like ‘Welcome To The Shrink’ and ‘All Fall Down’ on their first John Peel session in March 1981. But the highlight was ‘Polar Opposites’ with its mighty ‘2001: A Space Odyssey’ synth line.
Available on the B-MOVIE album ‘BBC Radio Sessions 1981-1984’
DEPECHE MODE Boys Say Go (Richard Skinner 1981)
Broadcast in Summer 1981, this session captured the original DEPECHE MODE several months before the release of debut album ‘Speak & Spell’. Refining into a pop band but still retaining much of the synthetic rawness, the session was characterised by use of the Korg Rhythm KR55 drum machine with its charming klanky metallics. This version of ‘Boys Say Go’ possessed an aggression that was lost on the eventual album cut.
Available on the compilation album ‘1 & Only – 25 Years of BBC Radio 1’
DURAN DURAN Like An Angel (Peter Powell 1981)
Like THE HUMAN LEAGUE, DURAN DURAN only did the one BBC session for their biggest champion Peter Powell. Broadcast in June 1981 to coincide with the release of their self-titled debut, they recorded near-facsimile versions of ‘Girls On Film’, ‘Anyone Out There’ and ‘Night Boat’. But a surprise came with ‘Like An Angel’, a sprightly love song unreleased at the time which pointed away from the New Romantics to the more mainstream pop ambition that was to come .
Available on the DURAN DURAN boxed set ‘Duran Duran’
SOFT CELL Seedy Films (Richard Skinner 1981)
Recording their first BBC session as ‘Tainted Love’ was rising up the UK chart, brilliant songs like ‘Bedsitter’, ‘Entertain Me’, ‘Chips On My Shoulder’ and ‘Youth’ demonstrated the potential of SOFT CELL, even in basic form. While ‘Seedy Films’ was faster paced and a bit “snap, crackle and pop” compared to the more sophisticated and laid-back clarinet-laden ‘Non-Stop Erotic Cabaret’ album version, it outlined why at the time, the duo were rated higher than DEPECHE MODE.
Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’
SPANDAU BALLET Mandolin (Studio B15 1981)
‘Studio B15’ was a Sunday magazine show hosted by the late Adrian Love where guests to performed live. SPANDAU BALLET had just released their debut album ‘Journeys To Glory’ and didn’t tour. ‘Mandolin’ featured a prominent Yamaha CS10 synth line while this version featured Simmons drums and a much clearer vocal with a more pronounced diction from Tony Hadley compared to the oddly smothered album version.
Available on the SPANDAU BALLET deluxe album ‘Journeys to Glory’
BLANCMANGE Running Thin (John Peel 1982)
BLANCMANGE were captured in their only John Peel session as a much darker proposition than was later perceived by their UK chart success. It included an early take on ‘Living On The Ceiling’ without its Indian embellishments but the session was notable for ‘I Would’ and ‘Running Thin’, two songs that would not be on their first album. ‘Running Thin’ in particular saw Neil Arthur and Stephen Luscombe trapped in a stark state of gloomy resignation.
Available on the BLANCMANGE album ‘The Very Best Of’
CHINA CRISIS This Occupation (John Peel 1982)
CHINA CRISIS’ first John Peel session saw the duo exploring territory that sat between electronic and traditional pop. ‘Seven Sports For All’ and ‘Some People I Know To Lead Fantastic Lives’ ended up on the album while the more moody ‘Be Suspicious’ was already a B-side. This version of ‘This Occupation’ was pure machine-propelled synthpop complete with sequencing and strong lead lines.
Available on the CHINA CRISIS deluxe album ‘Difficult Shapes & Passive Rhythms’
https://www.facebook.com/chinacrisisofficial
EURYTHMICS I’ve Got An Angel (Kid Jensen 1982)
After their 1981 German-inspired debut ‘In The Garden’, Annie Lennox and David A Stewart explored the possibilities of the synthesizer and acquired a Movement Drum Computer to live up to their moniker. In a BBC session that also included ‘Love Is A Stranger’ which was soon to be issued as a single , ‘I’ve Got An Angel’ was an unusual hybrid of synths, electronic drums and wah-wah guitar, with flute by the front woman alongside her particularly intense and raw vocal.
Not officially released
NEW ORDER Too Late (John Peel 1982)
Not actually recorded at the BBC, NEW ORDER’s second self-produced John Peel session was a fascinating document of their transitioning sound with‘586’ highlighting a future proto-dance direction. Meanwhile ‘Turn The Heater On’ was a cover of the Keith Hudson reggae song in tribute to Ian Curtis. But ‘Too Late’ was significant, sounding like it could have come off debut album ‘Movement’ with its lingering gothic doom but also discarded as if a relic from another era.
Available on the NEW ORDER boxed set ‘Power, Corruption & Lies’
TEARS FOR FEARS Memories Fade (Kid Jensen 1982)
Featuring ‘The Prisoner’, ‘The Hurting’, ‘Start Of The Breakdown’ and ‘Memories Fade’, the arrangements for this BBC session aired after TEARS FOR FEARS’ success with ‘Mad World’ differed significantly from the versions on their debut album. Featuring Linn Drum programming and Banshees-like guitar instead of sax, ‘Memories Fade’ was far superior, utilising a powerful mechanised rhythmic tension that reflected the fraught paranoia and resignation of Roland Orzabal’s lyrical angst.
Available on the TEARS FOR FEARS boxed set ‘The Hurting’
YAZOO In My Room (Kid Jensen 1982)
Reshaped with a Fairlight and Linn Drum Computer, this version of ‘In My Room’ recorded in session for Kid Jensen was far superior to the irritating album version on ‘Upstairs At Eric’s’. Forming the basis for the live interpretation, it was now free of Vince Clarke’s ‘Lord’s Prayer’ tape loop monologue and allowed Alison Moyet space to express her emotive frustration without distractions. Other songs in the session included beefed up takes on ‘Situation’ and ‘Too Pieces’.
Available on the YAZOO boxed set ‘Three Pieces’
DEAD OR ALIVE Give It To Me (Kid Jensen 1983)
Co-written with Wayne Hussey, ‘Give It To Me’ was Pete Burns at his filthy lyrical best, declaring that “Apart from all your obvious attractions, I’ve got the bullets, you’ve got the gun, bang me into action, let’s make this obvious distraction, physically you are just what I wanted!”. Although this slice of Middle Eastern favoured HI-NRG later surfaced as a bonus track on the 12 inch single of ‘I’d Do Anything’, it seems almost unbelievable now this was never developed further.
Available on the DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ via Edsel Records
https://dead-or-alive-band.fandom.com/wiki/Dead_or_Alive
JOHN FOXX Hiroshima Mon Amour (Saturday Live 1983)
‘Saturday Live’ featured interviews and live sessions. Touring for the first time since ULTRAVOX, John Foxx eschewed material from ‘Metamatic’ but perhaps surprisingly, mined his former band’s catalogue. Backed by Robin Simon, Peter Oxdendale, David Levy and Barry Watts, he performed ‘Hiroshima Mon Amour’ sans rhythm machine but with guitars, ARP Odyssey and the ubiquitous thud of Simmons drums.
Available on the JOHN FOXX album ‘Metadelic’
HOWARD JONES Don’t Put These Curses On Me (Kid Jensen 1983)
Howard Jones impressed with his first BBC session featuring songs like ‘New Song’ and ‘Natural’ which would be included on his debut album ‘Human’s Lib’. The album title track also featured on the session with its original love triangle monologue intro. But ‘Don’t Put These Curses On Me’ would not be released until 2003, thanks to Jones considering the song unlucky following an equipment breakdown while attempting to perform it on the live Channel 4 TV show ‘Loose Talk’.
Available on the HOWARD JONES boxed set ‘Human’s Lib’ via Cherry Red Records
SIMPLE MINDS The Kick Inside Of Me (Kid Jensen 1983)
SIMPLE MINDS were leaning heavily towards more rockist climes with songs like ‘Waterfront’. But for a three song BBC session, there was the debut of ‘The Kick Inside Of Me’, a lively track with catchy synth riffs, an infectious bassline and minimal guitar. But come the version for the Steve Lillywhite produced ‘Sparkle In The Rain’, it had totally been ruined with distorted guitar, overblown drums and yobbish shouting in a pointless attempt to emulate THE SEX PISTOLS!
Available on the SIMPLE MINDS boxed set ‘Sparkle In The Rain’
TALK TALK Why Is It So Hard? (Kid Jensen 1983)
This session captured TALK TALK after the departure of keyboardist Simon Brenner but before producer Tim Friese-Greene came on board as Mark Hollis’ writing partner. Showcasing four brand new songs, only ‘Call In The Night Boy’ ended up on the next album ‘It’s My Life’ while ‘For What It’s Worth’ and ‘Again A Game Again’ became B-sides. ‘Why Is It So Hard?’ was originally only on the Canadian ‘It’s My Mix’ EP as an Extended Version.
Not officially released
https://www.facebook.com/Talk-Talk-Mark-Hollis-12307963901/
VISAGE Questions (Kid Jensen 1983)
With only Steve Strange and Rusty Egan now remaining, VISAGE surprised all by recording a BBC session with new members Steve Barnacle and Andy Barnett, featuring previously unheard songs including the funky standout ‘Questions’. With a more live feel, there was hope that VISAGE would be able to sustain some creative momentum despite the departure of Midge Ure, Billy Currie and Dave Formula but the eventual over-produced ‘Beat Boy’ album was rotten.
Not officially released
HARD CORPS Metal + Flesh (John Peel 1984)
Despite the patronage of Rusty Egan, Daniel Miller and Martin Rushent as well as a tour opening for DEPECHE MODE, the industrial pop of HARD CORPS did not breakthrough. But the gothic tension and edgy energy of their music was perhaps best represented by their BBC sessions for John Peel and Richard Skinner, with ‘Metal + Flesh’ from the 1984 Peel session far outstripping the eventual album title track studio incarnation.
Available on the HARD CORPS album ‘Radio Sessions’ directly via https://hardcorps.bandcamp.com/album/radio-sessions
https://www.facebook.com/hard-CORPS-217860235015406
BRONSKI BEAT The Potato Fields (John Peel 1984)
BRONSKI BEAT took the unusual step of recording three solo tracks, with the only band offering being a take on ‘Why?’ B-side ‘Close To The Edge’. Larry Steinbachek presented a HI-NRG instrumental ‘Ultraclone’ while Jimmy Somerville offered the acapella ‘Puit D’amour’. But Steve Bronski contributed the most unusual track, a beautifully new age piece called ‘The Potato Fields’ which took its lead from the Japanese composer Kitaro.
Not officially available
FIAT LUX Breaking The Boundary (Kid Jensen 1984)
FIAT LUX stepped into BBC Maida Vale for a session to demonstrate their diversity and musicality as more than just a synth act. As well as the single ‘Blue Emotion’, there was its Brechtean B-side ‘Sleepless Nightmare’ and an acoustic version of ‘Secrets’. But best of all was ‘Breaking The Boundary’, a glorious burst of uptempo North European melancholy that did not see the light of day until the shelved FIAT LUX album ‘Ark Of Embers was finally released by Cherry Red in 2019.
Not officially available
ERASURE Who Needs Love Like That? (Bruno Brookes 1985)
With ERASURE, Vince Clarke had found himself back to square one after YAZOO and THE ASSEMBLY. Recruiting Andy Bell as the flamboyant front man capable of falsetto and creating the vocal tones of Alison Moyet, ‘Who Needs Love Like That?’ did sound like a YAZOO outtake and in this BBC session recording, was busier and more percussive than the already released single version. While ERASURE were not an instant success, the song did eventually chart on its remixed re-release in 1992.
Available on the ERASURE deluxe album ‘Wonderland’
PET SHOP BOYS A Powerful Friend (John Peel 2002)
John Peel was not a fan of PET SHOP BOYS or much synthpop for that matter, so it was a surprise when the duo did a session for him using the back to basics approach that they had adopted for the ‘Release’ tour. The bonus for fans was that two of the songs recorded ‘If Looks Could Kill’ and ‘A Powerful Friend’, which had been written in 1983 and shelved, were specially revived for the occasion. Both numbers were particularly energetic with the latter even featuring loud rock guitars!
Available on the PET SHOP BOYS deluxe album ‘Release: Further Listening 2001 – 2004’
https://www.petshopboys.co.uk/
Text by Chi Ming Lai
2nd January 2021
was an informative in-depth look inside NEW ORDER, it was not unsurprisingly tinged with bitterness and anger. Meanwhile, Bernard Sumner’s 
was a good read but the story was expressed in very straight manner, perhaps in an attempt not to upset anyone.
album cover and the tour’s corresponding AAA passes. Hilariously recounting being refused entry into venues that NEW ORDER were performing at, at Factory Records’ Festival of the Tenth Summer with THE SMITHS at Manchester G-Mex, Morris only got into the former railway station by saying he was his near namesake Steven Morrissey!
album in 1993, but against the odds, they reunited in 1998. There were triumphant shows at Manchester Apollo and Reading Festival in the summer, although the quartet were less than impressive at Manchester Arena for the ‘Temptation’ dance event before New Year’s Eve.
in 2015 was a far better record than its two predecessors ‘Get Ready’ and ‘Waiting For The Sirens’ Call’, re-establishing NEW ORDER as a credible creative force.
is published in hardback by Constable
was notable for featuring the first released recording by the three surviving members of JOY DIVISION following the sad passing of Ian Curtis before they adopted the name 
in 2016 with support from The Blitz Club legend Rusty Egan; a North American tour with 
with 
album.
series which at the last count had reached ‘Now 106’ and spawned numerous spin-offs and even cable TV channels. In 1984, Sony BMG and Warner Music joined in the action with the ‘Hits’ series, but such was the domination in the UK of these types of albums that in 1989, they were given their own chart and excluded from the main one!
sets over two volumes contained a wide range of freeform experimental works from Germany, but occasionally forgot about the Trade Descriptions Act implications of its title. Meanwhile, ‘Reward’ by post-punk trip-poppers THE TEARDROP EXPLODES had a regular place on collections such as ‘Club For Heroes’, ‘New Romantic Classics’, ‘It’s Electric’ and ‘Our Friends Electric’ despite being brass dominated.
, a 3CD collection by Sony Music in 2015 which totally missed the point by featuring AZTEC CAMERA and HAIRCUT 100!??! Now while the inclusion of IMAGINATION’s ‘Body Talk’ with its iconic Moog bassline could be justified, the set highlighted just how much the modern day definition of “synth pop” had become particularly blurred…
and the Trevor Jackson’s 
series were historically fascinating, but not always easy collections to listen to in one sitting. With some of the music close to being unlistenable, it could be akin to studying a hefty text book… highly educational but not always entirely fun!
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