People give way to much credit to studio trickery when they talk about the sound of MBV. It has at least as much to do with playing technique and creative use of tone as anything else. Loveless used some sampling and MIDI drums, but even with that album everything could be replicated live. According to Shields, reversed reverb was responsible for a lot of what people perceived as tons of layers of guitar, and that was achieved with a rack unit that could be used live.
Yeah when I saw them on the loveless tour in SF I was blown away by how close it sounded to the record. I thought it was all studio trickery. Boy was I wrong. It was so efing loud too. But I had to get it all in me. It seriously felt like my cells were rocked!
Is it? I thought Peel Sessions were live studio recordings, mostly, with the occasional overdub. I reckon it's Debbie on this recording, unless you know otherwise. I know Kevin played pretty much everything on Loveless. @UFO_computers
I was lucky enough to catch them in Long Beach, Ca. at this tiny club in 1989. They were just making the transition from "Strawberry Wine" to "Feed Me with Your Kiss" so - the PERFECT set that night.
@@raphaelmann And now I'm jealous of you all, besides the fact that people's idiocy was much less obvious given the fact that there were no computers with internet access available everywhere...
@@maxmordon7295 I'm not somebody that gets nostalgic much, and there's lots of positive things about the technology we have now...but...it's difficult not to look back and think that we were happier then without all this...
I wonder where this is sourced from? It's never been released officially but this doesn't sound like an off-air recording? I guess we can expect to see an official release of this session sometime around 2030 at the usual rate of MBV activity.
Good session! But it’s a shame Kevin keeps brushing the early mini lp’s and ep’s under the carpet as they desperately need reissuing! There’s only so many times you can reissue and remaster the creation stuff before it becomes boring and “done!”
I really wish there would be a reissue of all their old stuff, from when they first started recording with that other singer - I forget his name, maybe it was David Conway - and the early Bilinda EP's like Strawberry Wine and Ecstasy. The evolution of their sound is so interesting and some of my favourite songs of theirs are from the earlier period that goes so ignored. Never Say Goodbye for example, such a beautiful song. I wonder who owns the rights of their early discography and if there's some issues with that, or if they just don't want to acknowledge that material anymore... 😶
Thanks for posting this. I heard this when aired and it stood out made me listen and turned my musical taste inside out and on its head. Saw them live on the rollercoaster tour at Brixton with the Mary chain absolute bliss wallowing in their wall of sound
This is so awesome! Hey have you guys heard that guy that does acoustic versions of MBV? He’s a fricken genius! It’s super cool! 🌊🏄♂️🪷 Ps Bilinda sounds so good in this recording! I absolutely love her voice =]
He turned out to be a horrible, corrupt individual, like most (all?) of BBC radio 1 DJs of the era. See DJ Mark Devlin’s “Musical Truths” books. I own all of them.
@@amdersonrambao9282 they're just joking about how MBV takes forever to make music, and a small session, such as a Peel session (which is like a radio session) should've taken months.
That's exactly how this sounded in 1988. Well said. I was 16 back then, and the first time I heard Isn't Anything I thought the aliens had landed, and boy I wanted to go wherever they came from.
