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Speaker 1: Ephemeral is production of my heart three D audio for

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Speaker 1: full exposure. Listen with that phones. The musical world is

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Speaker 1: a rich tapestry, and yet the sonic homogeneity of our

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Speaker 1: epoch can be deadening for all the artists working in

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Speaker 1: the fringes who are making brilliant music without a mainstream platform.

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Speaker 1: How do we amplify those voices. That's where Matt Worth

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Speaker 1: comes in. My name is Matt Worth, and I am

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Speaker 1: the proprietor of Revenge r VN International. When Matt founded

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Speaker 1: the Revenge label in two thousand three, he came in

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Speaker 1: with a lot of hands on experience before running a

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Speaker 1: record label. I was running a record label. I've kind

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Speaker 1: of always been running record labels. I was a part

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Speaker 1: of the punk rock scene in Little Rock, Arkansas, where

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Speaker 1: I grew up. In high school, an established record label

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Speaker 1: was handed down to me and a kind of ceremonial

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Speaker 1: or maybe non ceremonial way. The previous tenant was leaving

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Speaker 1: on tour and needed someone to kind of look over

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Speaker 1: mail order. I walked into a situation with a label

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Speaker 1: with international distribution and a big catalog and learned my

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Speaker 1: way around from there and never looked back. I moved

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Speaker 1: to New York City, discovered dance music, electronic music. I

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Speaker 1: still love punk rock, but I was participating in that

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Speaker 1: world quite a bit more than the scene that I

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Speaker 1: grew up in. Revenge was kind of like a punk

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Speaker 1: rock label in a dance music community. Akin to punk rock,

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Speaker 1: Revenge was founded on the basis of a moral code,

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Speaker 1: one that emphasizes the ethic of doing it yourself. It's

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Speaker 1: just fair d I Y is the fair shake almost literally.

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Speaker 1: Not that we still rely on handshake deals, but we

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Speaker 1: still maintain a fifty fifty net profit deal with all

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Speaker 1: of our artists. We still encourage artists participation and autonomy

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Speaker 1: and self starting, keeping their principles in the driver's seat.

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Speaker 1: Revenge is mutated a lot over the last eighteen years.

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Speaker 1: We went from kind of applying the same punk rock

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Speaker 1: practices spray painting the DJ mix covers, hand collating everything,

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Speaker 1: to finding distribution shape shifting from dance music into more

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Speaker 1: as a teric avant garde experimental music. We've never really

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Speaker 1: followed one specific genre. Instead just kind of followed an

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Speaker 1: instinct that's essentially informed the evolution of the label more

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Speaker 1: than anything, adaptability to new music and a very open

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Speaker 1: attitude and heart toward new sound. Well, Revenge does a

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Speaker 1: tremendous job breaking and promoting new artists, their efforts also

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Speaker 1: extend into reinvigorating existing mater room. Just like Revenge is

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Speaker 1: agnostic to genre, it's more of an intuitive feeling which

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Speaker 1: kind of new music we get involved with. The same

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Speaker 1: concept applies to archival music, except maybe the spin is

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Speaker 1: that we choose to focus on artists that didn't really

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Speaker 1: have a fair shake the first time around, or whose

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Speaker 1: music was appreciated but maybe under explored at the time.

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Speaker 1: We tend to favor musicians that we're doing it themselves

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Speaker 1: then too, so you'll see throughout the archival division a

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Speaker 1: lot of home produced music. There's that spirit of autonomy,

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Speaker 1: the idea that these musicians were doing it for themselves

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Speaker 1: with some hope that it would transmit beyond their home

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Speaker 1: studios or beyond the fifty cassettes they were duplicating and

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Speaker 1: sending out. Our first archival record was Synthesist by Harold Groskoff,

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Speaker 1: Originally released early eighties. Grosskoff was a staple in German

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Speaker 1: crowd rock bands and then went off to make this

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Speaker 1: extremely synthetic record compelled by his live drumming. There was

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Speaker 1: not a huge market for reissues at the time. There

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Speaker 1: were certainly a few labels that had started as reissued

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Speaker 1: labels and had huge catalogs from the beginning, but in

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Speaker 1: our sector, there just wasn't a lot of people going

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Speaker 1: deep on reissues. Honestly, it felt like Harold's record was

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Speaker 1: contemporary to our catalog and it just made sense to

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Speaker 1: contextualize it with what we were doing. Synthesis was like

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Speaker 1: a straight one to one reissue, and we had fun

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Speaker 1: mutating the experience around the album. We used different artwork.

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Speaker 1: We included a disc of reinterpretations of Harald's music, obviously

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Speaker 1: created all new context with liner notes too, add a

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Speaker 1: little bit more tech, sure, a little bit more colored.

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Speaker 1: The next one was Sensations Fix, the project of an

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Speaker 1: Italian musician named Franco Falsini who was making music in

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Speaker 1: the early seventies through the mid seventies of Sensations Fix.

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Speaker 1: For that one, we went through his archives and compiled

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Speaker 1: two LP set that covered the full Sensations Fixed gamnet

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Speaker 1: and lasted. Apart of the chronology, it wasn't like seventy

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Speaker 1: one through side A to side D. It was how

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Speaker 1: we responded to the sequence. From there, we visited the

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Speaker 1: archives of k Limber, an amazing bedroom producer composer from Seattle,

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Speaker 1: and then we reissued Craig Leon's No Moos and visiting

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Speaker 1: a pair of records that he made in the early eighties.

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Speaker 1: Craig was a fixture in the downtown New York scene,

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Speaker 1: famously the producer of the first Ramons record, Blondie the Fall,

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Speaker 1: and then went off to make this highly experimental electronic record.

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Speaker 1: From there we went through Oriel Kalmas archives, French saxophone

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Speaker 1: player two, melded his wind instruments with synthesizers, Bred Woman,

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Speaker 1: the character the myth making of Anna Homler, which was

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Speaker 1: also a collaboration with Stephen Mosher, went back to kay

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Speaker 1: Lymber's archives to release Savants Ensemble with other Seattle musicians

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Speaker 1: doing like a Brian you know, David Byrne sample vibe

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Speaker 1: and the grules of this. I need to like Syrinx,

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Speaker 1: which was a Canadian trio pioneering mogue, synthesizers, Pauline and

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Speaker 1: a strong again an archival effort to go through all

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Speaker 1: of her independently released work. Mark Renner, the musician from Baltimore,

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Speaker 1: in the eighties, making Drudy column esque shimmering UK influenced

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Speaker 1: guitar driven music. Michelle Mercure the collection for her self

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Speaker 1: released music from the eighties, and that was the most

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Speaker 1: recent before Peter Iver's, which was our Catalog number nine,

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Speaker 1: and then took another six years to actually release. Developing

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Speaker 1: the album that would be titled Becoming Peter Ivor's began

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Speaker 1: a unique journey from math through the archives of another

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Speaker 1: person's ephemera. The best way to get to know Peter

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Speaker 1: is through his music. I really wish I could just

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Speaker 1: like carry around the little Peter toy box that I

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Speaker 1: could open and crank and it would play Miraculous Weekend

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Speaker 1: or eighteen and Dreaming. Peter grew up in Massachusetts. Bypassing

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Speaker 1: his fildhood, he ended up at Harvard in the late sixties,

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Speaker 1: joined by so many other wild, imaginative characters Fight Harvard, Fight, Fight, Fight,

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Speaker 1: demonstrate to them our skill from Doug Kenny, who founded

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Speaker 1: National Lampoon. By their friends and neighbors Stargard Channing, John Lithgow.

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Speaker 1: There's explosive creativity happening all around Peter. He gravitated towards music.

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Speaker 1: He would make trips out to Chicago to study blues

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Speaker 1: heart players and come back with that knowledge sharpening his

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Speaker 1: harmonica playing skills. He would help create music for his

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Speaker 1: friend Tim Mayor's theater productions at Harvard, and then ended

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Speaker 1: up making his own record still in college or just

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Speaker 1: out of college, called Knight of the Blue Communion COMMUNIONCOUM,

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Speaker 1: which is kind of the Zappa esque Free for All

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Speaker 1: that somehow ended up on Epic Records because Peter barged

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Speaker 1: in on a meeting that he wasn't really invited to.

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Speaker 1: This is all happening to Peter before He's tonight, another

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Speaker 1: myth from Massachusetts. Fresh slices of Osiris littered the city,

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Speaker 1: The cock of the walk, the talk of the town,

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Speaker 1: waits for his hawkheaded son to come down and assemble him.

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Speaker 1: Will the result resemble him? The record flopped, but Peter

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Speaker 1: was determined and headed out to California. He eventually was

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Speaker 1: signed to Warner Brothers by Van Dyke Parks, who at

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Speaker 1: the time was in r but had more notably produced

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Speaker 1: The Beach Boys music and his own fantastical orchestrated music.

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Speaker 1: Peter had another shot at stardom or pop success. The

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Speaker 1: Academy and Fellow with this new deal and submitted a

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Speaker 1: highly avant pop record called Terminal Of for his debut

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Speaker 1: on Warder Brothers. It's a masterpiece by my estimation, but

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Speaker 1: again it didn't quite connect space sound. But even with

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Speaker 1: a string of less than successes, Peter's individualism remained intact

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Speaker 1: and doors continued to open before him. I think there

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Speaker 1: was a belief in Peter around the label. He really

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Speaker 1: brought such a magnetic energy to any environment. It created

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Speaker 1: a support system for his antics. Around the time Eternal

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Speaker 1: Love he opened for Fleetwood Mac. Famously, he wore a

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Speaker 1: diaper on stage and through hot dogs at the audience.

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Speaker 1: A lot of people look at that as this self

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Speaker 1: sabotaging tactic, but Peter was genuinely interested in transforming the

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Speaker 1: audience expectations and felt that that was the best way

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Speaker 1: that he could go out and win over a Fleetwood

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Speaker 1: Mac crowd. It didn't work so well, obviously, it makes

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Speaker 1: a great story, but he remained connected in the music world.

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Speaker 1: Got to make another record with Gary Wright, who famously

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Speaker 1: wrote and produced dream Weaver for his second Warner Brothers album,

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Speaker 1: m M, that again did not perform. Around that time,

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Speaker 1: he was introduced to David Lynch a friend named Steve Martin,

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Speaker 1: not to be confused with that Steve Martin, nonetheless a

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Speaker 1: very instrumental figure in Peter's life who ran a midnight

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Speaker 1: cinema in l A that kind of broke David Lynch's

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Speaker 1: career by showing eraser Head for several years. I thought

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Speaker 1: I heard a stranger. We've got chicken tonight. The soundtrack

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Speaker 1: of David Lynch's seminal film is made up of mostly

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Speaker 1: amplified ambience, Fats Waller's swinging pipe organ, and one signature

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Speaker 1: sing along. As our main character lays awake in bed,

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Speaker 1: we peer inside the radiator to reveal a checkered stage

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Speaker 1: upon which a smiling blonde with swollen cheeks dance is

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Speaker 1: the two step and sings to Cameron Peter wrote in Heaven,

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Speaker 1: which became a centerpiece of that film. That's Peter's voice,

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Speaker 1: By the way, a lot of people primarily know Peter

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Speaker 1: through that song. You know the most famous song I wrote,

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Speaker 1: It's called Him and Diana. Are you sure? The song

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Speaker 1: in a razor Hood is called which certainly is a

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Speaker 1: testament to his songwriting. In the weird effect of Peter's sensibilities,

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Speaker 1: but is just one part of a huge catalog of music.

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Speaker 1: Everything is everything is everything. He was a studious home

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Speaker 1: recorder in the house that he and Lucy Fisher, his

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Speaker 1: girlfriend of many years, lived. He almost had a monkish

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Speaker 1: ascetic practice of recording music every single day, and he

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Speaker 1: left this incredible trail of music in various stages, which

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Speaker 1: ultimately became vocal to our collection. He was also a

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Speaker 1: black belt in karate. He was a yoga master. He

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Speaker 1: was on the scene. He was a social butterfly and

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Speaker 1: clubs and all these different contexts, and I think that's

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Speaker 1: how he ended up hosting a new wave theater WelCom.

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Speaker 1: The New Wave Theater was a customer accent increased to

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Speaker 1: pass a skeleton around the table before every banquet to

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Speaker 1: remind every one of their mortality, which was a seminal

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Speaker 1: cable access show in Los Angeles in the early eighties.

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Speaker 1: New Wave Theater fearlessly documented a scene which arose from

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Speaker 1: the discontent and uncertainty of the youth of the country

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Speaker 1: that broke a lot of punk rock bands Janitor, Suburban Lawns,

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Speaker 1: Dead Kennedy's Black Flag. He kind of walked into that

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Speaker 1: situation treating it as a gig. What are you projecting,

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Speaker 1: by the way your presentention of the music. Most of

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Speaker 1: our songs are rags, you know. I mean, we're just

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Speaker 1: we're talking about outmoded sensibilities, outmoded sensibilities like read him,

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Speaker 1: like surf culture. Famously, as host, he presented all these

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Speaker 1: monologues before bands would play that have become so synonymous

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Speaker 1: with him. Hey, every Gigel has an unconscious idea of

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Speaker 1: what good art is. The New Way Theory drill Bits

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Speaker 1: Survey says real art always has some stack of the

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Speaker 1: unknown woman into its spine. Yes, there's nothing like the

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Speaker 1: unknown to make people stop to fulfill art's purposes. Change

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Speaker 1: maker art and music as art is truth in a play.

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Speaker 1: Only Geegle set limits on their future, not understanding that

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Speaker 1: the unknown as a friend. A New Way Theater Bible

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Speaker 1: bulletin says it's better to spend more time on where

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Speaker 1: you're going than where you've been. Does that mean we're

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Speaker 1: timeless and we can just bounce off the bumpers of

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Speaker 1: burger them like somebody abandoned shopping cards. And the sixties

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Speaker 1: it was never trust anyone over thirty and the new

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Speaker 1: music eighties has never trust anyone who's alive. In the fifties,

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Speaker 1: it was banned the bomb. In the eighties, it's which bomb,

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Speaker 1: we've forgotten, the atomic lessons of yesterday and a hopeless

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Speaker 1: frenzy of shredded plastic and vital vitriol. But is still

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Speaker 1: time to him the Hackles, provided we the pioneers, share

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Speaker 1: the same blend o vision, the people will not perish,

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Speaker 1: enjoy the show. But these were monologues that he actually

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Speaker 1: didn't writes today. In Regan Country, it's only at funerals

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Speaker 1: and times of loss that we allow ourselves to see

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Speaker 1: the tranjiance of life. For no one wants to be

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Speaker 1: reminded of the passage of time, especially when they're having

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Speaker 1: a good one. Peter Tree Neway Theater as a day

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Speaker 1: job when he really wanted to be working on his music.

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Speaker 1: That's sadly where Peter's story ends. He was murdered in

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Speaker 1: in his downtown l a loft. It remains an unsolved case.

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Speaker 1: Maybe that's the third thing that Peter is most known for,

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Speaker 1: and obviously the most tragic thing that he's known for.

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Speaker 1: Though they never met, Matt found a personal connection to

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Speaker 1: Peter through his music. You and New Yez just Carny Lights, Dream,

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Speaker 1: I wanted you Way Well and a dream. My infatuation

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Speaker 1: with Peter started about ten years ago, finding all of

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Speaker 1: his albums, which they're probably so they weren't a ton

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Speaker 1: of becoming familiar with New Way theater. This fact has

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Speaker 1: not been lost on the young, who today, at the

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Speaker 1: very least, are making enough poetic noise to waken the

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Speaker 1: dead and chill the living. And a couple of years

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Speaker 1: after I discovered his music, and oral history of Peter's

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Speaker 1: life was written, which eventually led me to his archives.

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Speaker 1: Lucy Fisher, as mentioned, was Peter's longtime girlfriend. She became

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Speaker 1: a quite powerful executive at Warner Brothers and has gone

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Speaker 1: on to produce a number of films. A story like

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Speaker 1: mine has never been told. Very humbly, I approached Lucy

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Speaker 1: to see what was being done with Peter's music archives,

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Speaker 1: knowing that she was so close, and finding out that

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Speaker 1: she was actually administering Peter's estate, she granted permission to

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Speaker 1: visit Harvard and go through Peter's archives, which had been

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Speaker 1: sent there for safekeeping after his murder. It was the

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Speaker 1: first of many, many times, because the first experience was

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Speaker 1: just so overwhelming. To Harvard's credit, they had at least

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Speaker 1: put everything in boxes. Once opening those containers, though, there

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Speaker 1: was just no organization whatsoever. It was like Peter's brain overflowing.

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Speaker 1: There was sheet music, magazine clippings, tapes, BHS, cassettes, stoodles, notebooks,

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Speaker 1: just a really random assortment of ephemera. The first couple

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Speaker 1: of days was more of a psychological gestation phase. What

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Speaker 1: am I walking into? What am I contending with here?

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Speaker 1: But if you've ever been through a personal archive, like

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Speaker 1: sorting the belongings of a late family member, you know

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Speaker 1: there's more to contend with than the materials at hand,

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00:23:02,160 --> 00:23:06,600
Speaker 1: going through the belongings of someone else, reckoning with that

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Speaker 1: spirit that looms over you. I know, I don't love

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Speaker 1: people going through my ship. So it's a very personal

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Speaker 1: experience and a reverent one. You kind of have to

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Speaker 1: respectfully acknowledge the mess. When it comes to cataloging one's

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Speaker 1: own stuff, everybody has a different approach. He was thorough,

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Speaker 1: he was not exact. So once we actually got to

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Speaker 1: the audio portion of the archives at Harvard, it was

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Speaker 1: a total game of whackamrole. The tapes were largely unmarked

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Speaker 1: or they work marked critically and there were over seven

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Speaker 1: hundred cassettes and reels. Instead of being scientific about it

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Speaker 1: and looking for like exact brands that may have matched

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Speaker 1: the years that we were trying to capture audio from,

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Speaker 1: we just transferred everything. We transferred every single reel and

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Speaker 1: essentially created the database for Peter's archives at Harvard along

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Speaker 1: the way, which was fun and also ruling over seven tapes,

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Speaker 1: there's just going to be a large amount of unused,

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Speaker 1: sometimes unlistenable music or just audio detritus. Speaking from my

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Speaker 1: own experience, what keeps your head down during that exercise

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Speaker 1: and tedium is holding out for the eureka moments? How

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Speaker 1: far would you go before you sold yourself? Martin? We

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00:25:01,760 --> 00:25:06,720
Speaker 1: set up these impromptu tape transferred studios. I was in

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Speaker 1: one very barren, vacant room. There was no heating, there

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00:25:12,960 --> 00:25:18,840
Speaker 1: were no curtains over the windows, lonely environment, super conducive

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Speaker 1: to having an intimate experience with the project at hand.

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Speaker 1: Going through mostly unmarked consumer grade cassettes and pulling out

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Speaker 1: of super nondescripts C sixty cassette that had ain't that

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Speaker 1: a kick written on the label, putting it in and

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Speaker 1: then hearing in a totally different way. Six or seven

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Speaker 1: versions of Peter songs that I knew and adored one

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Speaker 1: day love the camp new orchestration is added level of

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00:26:11,080 --> 00:26:19,239
Speaker 1: production and sheen. It was truly astounded and probably like

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00:26:19,359 --> 00:26:22,720
Speaker 1: an experience that only I could have at that time

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Speaker 1: as someone on that mission, as someone so invested in

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Speaker 1: infatuated with Peter's work. But yeah, for me, it turned

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Speaker 1: my brain inside out. And now, of course we have

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Speaker 1: to cut to a commercial, and Heaven everything is fine,

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00:27:08,400 --> 00:27:14,240
Speaker 1: and Heaven, everything is fine in heaven. You got your

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Speaker 1: good thanks, and I've got mine gone gone, gone gone,

295
00:27:19,920 --> 00:27:25,600
Speaker 1: And Heaven do you have it on take? When can

296
00:27:25,680 --> 00:27:32,520
Speaker 1: we get a Copye? How do you go from that

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00:27:33,000 --> 00:27:37,320
Speaker 1: massive archived transfer to paring it down and turning it

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Speaker 1: into a record. You don't do it by yourself, that's

299
00:27:41,119 --> 00:27:46,760
Speaker 1: for sure. I enlisted my friend Matthew Sanders to help

300
00:27:46,840 --> 00:27:50,800
Speaker 1: me go through everything. We weren't working in the same

301
00:27:50,920 --> 00:27:53,600
Speaker 1: room because we would just be too much, and we

302
00:27:53,720 --> 00:28:03,919
Speaker 1: were allowing ourselves the leisure of time. We set up

303
00:28:04,040 --> 00:28:10,359
Speaker 1: a pretty elaborate Google spreadsheets that linked to all of

304
00:28:10,400 --> 00:28:13,960
Speaker 1: the transfers on a Dropbox server. Big shoutouts to those

305
00:28:14,240 --> 00:28:20,720
Speaker 1: huge corporate platforms. We would make notes on these linked

306
00:28:20,880 --> 00:28:24,960
Speaker 1: reels in different fields, clearly being able to mark music

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00:28:25,119 --> 00:28:27,760
Speaker 1: that could possibly make the cut, that was definitely going

308
00:28:27,840 --> 00:28:29,520
Speaker 1: to make the cut, and that was definitely not going

309
00:28:29,600 --> 00:28:39,880
Speaker 1: to make the cut. Walking in a through collaborative feedback,

310
00:28:40,400 --> 00:28:45,320
Speaker 1: we arrived at a much more lean track selection, no

311
00:28:45,640 --> 00:28:50,719
Speaker 1: knock to Peter's capabilities, but surprisingly, after going through seven reels,

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00:28:51,600 --> 00:28:56,800
Speaker 1: it was not insanely imposing. What we landed on was like, Okay,

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00:28:56,880 --> 00:29:01,080
Speaker 1: this is the best of the best, seeing you face

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Speaker 1: the taste of there's no time just stop myself haunted

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00:29:10,520 --> 00:29:16,280
Speaker 1: by your careful stacreously looking through just to see if

316
00:29:16,320 --> 00:29:20,600
Speaker 1: that wasn't paying. But we still need to slim this down.

317
00:29:22,760 --> 00:29:26,720
Speaker 1: In that process, we started sequencing, working with really long

318
00:29:27,160 --> 00:29:30,080
Speaker 1: sequences of songs just to see what was working and

319
00:29:30,200 --> 00:29:37,120
Speaker 1: what wasn't. There was another process of elimination, and then

320
00:29:37,400 --> 00:29:41,080
Speaker 1: we ended up where we needed to end up, but

321
00:29:41,240 --> 00:29:44,760
Speaker 1: still didn't have everything we needed to complete the story,

322
00:29:45,440 --> 00:29:47,240
Speaker 1: so we had to go to Warner Brothers to license

323
00:29:47,280 --> 00:29:51,080
Speaker 1: a few tracks. I'm a little hot dog, really yeah,

324
00:29:51,480 --> 00:29:54,880
Speaker 1: your love is hot, but that's the thrill of happy

325
00:29:55,120 --> 00:30:00,200
Speaker 1: on the ground the Harvard Boxes. In addition to audio

326
00:30:00,280 --> 00:30:03,840
Speaker 1: recordings contained a hodgepodge of other ephemera. All right, here

327
00:30:03,880 --> 00:30:08,400
Speaker 1: we go again. Now we came across a lot of

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00:30:08,680 --> 00:30:12,160
Speaker 1: amazing photography of Peter that had never been seen before,

329
00:30:12,560 --> 00:30:14,920
Speaker 1: which ended up on the cover and ends up on

330
00:30:15,000 --> 00:30:17,800
Speaker 1: the liner notes. Come on, come on, give me a smile.

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00:30:18,320 --> 00:30:26,080
Speaker 1: None super intimate, but quite a few professionally shots revelatory

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00:30:26,520 --> 00:30:30,200
Speaker 1: photos of Peter during that time. Problem here, I can't

333
00:30:30,240 --> 00:30:32,400
Speaker 1: make up my mind. Which one do you? This was

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00:30:32,840 --> 00:30:36,719
Speaker 1: the time when major labels were splashing money around photo shoots.

335
00:30:36,800 --> 00:30:41,840
Speaker 1: Anyone would do? They're all good. Lots of contact sheets

336
00:30:44,320 --> 00:30:50,800
Speaker 1: and then an enormous amount of his notebooks with lyrics,

337
00:30:51,120 --> 00:30:56,959
Speaker 1: with to do list, phone numbers, a lot of anecdotal questions,

338
00:30:57,360 --> 00:31:00,880
Speaker 1: what do you look for in a relationship? Written mostly

339
00:31:00,920 --> 00:31:05,840
Speaker 1: in pencil, posed to himself, posed to other people, because

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00:31:05,840 --> 00:31:12,400
Speaker 1: any expectation makes it? On spontaneous notes to Lucy that

341
00:31:12,840 --> 00:31:15,440
Speaker 1: you could tell he'd fixed to the front door of

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00:31:15,520 --> 00:31:28,360
Speaker 1: their house. And then there were tons of formal proposals, Hi,

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00:31:28,920 --> 00:31:31,120
Speaker 1: I'm Peter Iver's you here to do a presentation of

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00:31:31,200 --> 00:31:35,080
Speaker 1: my musical Nirvana Beach. Those jolly themes are set deep

345
00:31:35,120 --> 00:31:43,880
Speaker 1: depression and death that's right, Rision you like an angel

346
00:31:44,080 --> 00:31:59,920
Speaker 1: shine miraculous Weekend. There were multiple copies of various scripts

347
00:32:00,560 --> 00:32:03,720
Speaker 1: for the screenplays that he was working on, plays that

348
00:32:03,840 --> 00:32:08,160
Speaker 1: he had written xerox from tight to originals, and tons

349
00:32:08,200 --> 00:32:11,480
Speaker 1: of sheet music that spoke to his musicality. When his

350
00:32:11,520 --> 00:32:14,720
Speaker 1: friends would come over and jam, presumably he was handing

351
00:32:14,760 --> 00:32:21,800
Speaker 1: out with sheet music for everyone to follow. Get the

352
00:32:21,880 --> 00:32:37,719
Speaker 1: style rack in this Weekend You This Weekend back at

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00:32:37,760 --> 00:32:39,960
Speaker 1: the Vortex. The song ends with the audience blewing the

354
00:32:40,040 --> 00:32:48,440
Speaker 1: band on two three D four you. While Peter Ivor's

355
00:32:48,600 --> 00:32:53,200
Speaker 1: is most associated with contemporaneous new wave artists, his approach

356
00:32:53,320 --> 00:32:56,160
Speaker 1: his songwriting has been compared to that of Irving Berlin

357
00:32:57,080 --> 00:33:05,920
Speaker 1: and the great American songbooks. And they say you learn

358
00:33:06,120 --> 00:33:14,240
Speaker 1: how without me? So okay, I told you to forget

359
00:33:14,560 --> 00:33:24,720
Speaker 1: about me by there's not another girl amused me. I

360
00:33:25,160 --> 00:33:30,920
Speaker 1: told you to go. Peter sense of songcraft was not

361
00:33:31,120 --> 00:33:34,360
Speaker 1: necessarily like old fashioned, but it did kind of have

362
00:33:34,800 --> 00:33:40,560
Speaker 1: a sensibility tucked away in some history of songbooks. One

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00:33:40,640 --> 00:33:50,120
Speaker 1: thing I do know she where isisy to keep as

364
00:33:53,480 --> 00:34:09,520
Speaker 1: simple but unstep the actual sonics, especially from the collection

365
00:34:09,560 --> 00:34:12,240
Speaker 1: that we put together, they kind of have a feel

366
00:34:12,600 --> 00:34:17,360
Speaker 1: of the day, but then you stripped back the ornamental

367
00:34:17,520 --> 00:34:21,920
Speaker 1: rock and roll instrumentation and get down to a very

368
00:34:22,280 --> 00:34:27,279
Speaker 1: intimate sensibility. The night it didn't come, I had so

369
00:34:27,520 --> 00:34:32,240
Speaker 1: many questions. I didn't know where, and I don't know where.

370
00:34:34,960 --> 00:34:38,920
Speaker 1: I checked the clock to talking my memory, and then

371
00:34:39,040 --> 00:34:44,160
Speaker 1: I checked my Peter with a Fender Rhodes drum machine

372
00:34:45,000 --> 00:34:49,560
Speaker 1: and harmonica doubling his vocal takes to me is just

373
00:34:49,680 --> 00:34:53,239
Speaker 1: as profound as Peter with an orchestra behind him on

374
00:34:53,360 --> 00:34:56,080
Speaker 1: the night, on the night, on the night, on the night,

375
00:34:56,239 --> 00:35:00,040
Speaker 1: on the night it didn't come, on the night, on

376
00:35:00,160 --> 00:35:02,400
Speaker 1: the night, on the night, on the night, on the

377
00:35:02,560 --> 00:35:07,560
Speaker 1: night didn't come. One of the things that I just

378
00:35:07,800 --> 00:35:11,080
Speaker 1: wish I could hear now is where would he have

379
00:35:11,200 --> 00:35:13,800
Speaker 1: ended up? What kind of music would he have written?

380
00:35:14,200 --> 00:35:17,680
Speaker 1: And how would he have placed that songwriting approach to

381
00:35:17,800 --> 00:35:23,239
Speaker 1: new movements in music or to new genres. It's a

382
00:35:23,320 --> 00:35:27,640
Speaker 1: tremendous responsibility to curate what's essentially the summation of a

383
00:35:27,680 --> 00:35:31,640
Speaker 1: life's work. How do you capture that magic and something

384
00:35:31,719 --> 00:35:39,600
Speaker 1: that is consumable by the public. I've waited so long. Girls,

385
00:35:39,760 --> 00:35:47,319
Speaker 1: set yourself and take your chances. One of the things

386
00:35:47,480 --> 00:35:51,000
Speaker 1: I was constantly reckoning with was my super fandom and

387
00:35:51,640 --> 00:35:55,040
Speaker 1: the fact that most people have no idea who Peter is.

388
00:35:56,160 --> 00:36:00,200
Speaker 1: So how do you present a case for Peter? How

389
00:36:00,280 --> 00:36:09,640
Speaker 1: do you make his music approachable? A good song amazing

390
00:36:11,239 --> 00:36:15,600
Speaker 1: to go? You can't expect a girl like I Want

391
00:36:15,640 --> 00:36:18,560
Speaker 1: You when she doesn't know you want her to. You

392
00:36:18,640 --> 00:36:23,000
Speaker 1: gravitate toward the hits first, but even then, the most

393
00:36:23,040 --> 00:36:27,520
Speaker 1: successible music is not that accessible. Then you gravitate towards

394
00:36:27,760 --> 00:36:32,360
Speaker 1: the intimate moments, the human moments that everyone could possibly

395
00:36:32,480 --> 00:36:37,200
Speaker 1: relate to. Why don't you let yourself go so she

396
00:36:37,480 --> 00:36:44,960
Speaker 1: can let herself come to? Fortunately we had that in spades.

397
00:36:48,120 --> 00:36:52,160
Speaker 1: There were just all these incredible demos of stripped back

398
00:36:52,680 --> 00:36:57,520
Speaker 1: Peter Ivor's songs that took away the brass, that took

399
00:36:57,560 --> 00:37:00,480
Speaker 1: away the production and kind of left spare and these

400
00:37:00,480 --> 00:37:12,239
Speaker 1: amazing songs started my song sweet Melody come On and

401
00:37:12,440 --> 00:37:22,560
Speaker 1: singing in Peter's printed material. The Revenge team came across

402
00:37:22,600 --> 00:37:27,399
Speaker 1: the document with a particularly telling quote, demos are often

403
00:37:27,480 --> 00:37:34,040
Speaker 1: better than records, more energy, more soul, more guts. That

404
00:37:34,160 --> 00:37:38,080
Speaker 1: was another Eureka moment for us. We're clearly focusing on

405
00:37:38,400 --> 00:37:41,600
Speaker 1: a lot of his demo material, and he said it

406
00:37:41,800 --> 00:37:45,160
Speaker 1: here in this broader context. It was just kind of

407
00:37:45,239 --> 00:37:48,719
Speaker 1: like the invitation from Peter to keep going along the

408
00:37:48,800 --> 00:38:05,400
Speaker 1: path that we're going beautiful Conference Conference. The context that

409
00:38:05,480 --> 00:38:08,120
Speaker 1: that appears from is actually a proposal that he was

410
00:38:08,239 --> 00:38:12,000
Speaker 1: writing too Warner Brothers, which was called the Peter Iver's Plan.

411
00:38:12,200 --> 00:38:14,000
Speaker 1: We fade to black and we come up once more

412
00:38:14,080 --> 00:38:18,040
Speaker 1: on avan of Beach Party. He was interested in starting

413
00:38:18,160 --> 00:38:23,080
Speaker 1: an arm of Warner Brothers that dealt in music videos

414
00:38:23,120 --> 00:38:25,720
Speaker 1: before there were music videos, And this time the images

415
00:38:25,760 --> 00:38:28,040
Speaker 1: from the song become the set. You see a blue

416
00:38:28,120 --> 00:38:31,440
Speaker 1: diamond moon cresting the horizon and a timeless island floating

417
00:38:31,800 --> 00:38:35,920
Speaker 1: in the distance. A version of MTV. This is the

418
00:38:35,960 --> 00:38:38,000
Speaker 1: way we want to do it, a video feature using

419
00:38:38,120 --> 00:38:47,080
Speaker 1: film and video, highly designed, energized, and hot. Part of

420
00:38:47,120 --> 00:38:52,120
Speaker 1: that proposal was looking at the everyday life of musicians.

421
00:38:52,400 --> 00:38:55,480
Speaker 1: Does that mean lick the microphone? Yeah, lick the microphone

422
00:38:57,960 --> 00:39:02,360
Speaker 1: and being able to document the process of how different

423
00:39:02,440 --> 00:39:09,680
Speaker 1: musicians creates. These accomplishments are written in a memorial somewhere

424
00:39:09,760 --> 00:39:12,280
Speaker 1: in someone's mind. I don't think about video. It lives

425
00:39:12,520 --> 00:39:18,160
Speaker 1: here without you. After six years of work, becoming Peter

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00:39:18,280 --> 00:39:23,800
Speaker 1: Ivor's was released in twenty nineteen. Once we'd landed on

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00:39:23,960 --> 00:39:28,440
Speaker 1: that selection and sequence, we hesitantly. I think I remember

428
00:39:28,520 --> 00:39:31,320
Speaker 1: just like putting this off for so long, sending the

429
00:39:31,520 --> 00:39:36,960
Speaker 1: final tracks to Lucy Fisher and to Steve Martin's our

430
00:39:37,000 --> 00:39:40,959
Speaker 1: gatekeepers for the project, being two of the closest people

431
00:39:41,000 --> 00:39:44,560
Speaker 1: to Peter. We just wanted nothing more than to make

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00:39:44,640 --> 00:39:48,200
Speaker 1: them happy. Eventually getting that selection and sequence over and

433
00:39:48,840 --> 00:39:52,400
Speaker 1: from both of them, receiving one of the most positive

434
00:39:52,520 --> 00:39:56,080
Speaker 1: responses possible and the green light to go ahead with

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00:39:56,200 --> 00:40:02,319
Speaker 1: those selections. Then it became a us us of There

436
00:40:02,360 --> 00:40:05,880
Speaker 1: were so many other obstacles after that. We had to

437
00:40:05,960 --> 00:40:08,520
Speaker 1: license a few tracks from Warner Brothers. As I mentioned,

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00:40:09,360 --> 00:40:12,799
Speaker 1: we ended up remixing a few of the tracks because

439
00:40:12,840 --> 00:40:17,239
Speaker 1: we had multitrack versions transferred and just needed a little

440
00:40:17,239 --> 00:40:21,480
Speaker 1: bit more life out of the music. We had to

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00:40:21,560 --> 00:40:24,759
Speaker 1: re transfer some of the cassettes because the fidelity was

442
00:40:25,040 --> 00:40:28,719
Speaker 1: not necessarily the best on our audition transfer, and then

443
00:40:28,760 --> 00:40:31,719
Speaker 1: we had to master the entire thing while simultaneously writing

444
00:40:31,760 --> 00:40:37,000
Speaker 1: the liner notes, compiling the artwork, and starting the early

445
00:40:37,480 --> 00:40:41,760
Speaker 1: conversations with press and our distributor and stuff. That's really music,

446
00:40:42,000 --> 00:40:52,680
Speaker 1: a real fabulous billion. It's been really heartwarming. Making Lucy

447
00:40:52,719 --> 00:40:57,359
Speaker 1: and Steve happy was the biggest battle one. From there,

448
00:40:57,840 --> 00:41:00,480
Speaker 1: seeing other people that had been a part of Peter's

449
00:41:00,560 --> 00:41:05,560
Speaker 1: life embrace the collection and participate in interviews What's the

450
00:41:05,640 --> 00:41:10,080
Speaker 1: meaning of life? And show up at the release parties.

451
00:41:12,040 --> 00:41:16,040
Speaker 1: That was the peripheral reward, and then the further reward

452
00:41:16,239 --> 00:41:18,880
Speaker 1: is just seeing all sorts of new people come to

453
00:41:18,960 --> 00:41:25,759
Speaker 1: Peter's music, which is happening in very different ways, from

454
00:41:25,960 --> 00:41:29,560
Speaker 1: amazing press to one of Peter's songs is going to

455
00:41:29,640 --> 00:41:32,960
Speaker 1: close this Friday's episode of High Maintenance. Oh yeah, you're

456
00:41:33,040 --> 00:41:45,600
Speaker 1: You're my favorite customer. So we also learned that Peter

457
00:41:45,800 --> 00:41:50,279
Speaker 1: is huge in Japan. We shipped so many records and

458
00:41:50,360 --> 00:41:54,400
Speaker 1: CDs over there and received such a positive response from

459
00:41:54,719 --> 00:42:03,360
Speaker 1: Japanese man. So there's a new appreciation around Peter. In

460
00:42:03,440 --> 00:42:07,320
Speaker 1: the narrative that built up posthumously around Peter Ivor's, the

461
00:42:07,480 --> 00:42:11,480
Speaker 1: artist himself was often overshadowed by the tragedy of his murder.

462
00:42:12,680 --> 00:42:16,120
Speaker 1: One of the efforts underpinning this project was to avoid

463
00:42:16,239 --> 00:42:21,359
Speaker 1: falling into that trap. Having known the Cold Case story

464
00:42:21,440 --> 00:42:24,759
Speaker 1: for so long, and especially for the people that surrounded

465
00:42:24,920 --> 00:42:30,120
Speaker 1: and new Peter. It happened. It's tragic, and it's tragic

466
00:42:30,200 --> 00:42:34,800
Speaker 1: that it's not been solved, But it's the past, beyond

467
00:42:35,280 --> 00:42:41,680
Speaker 1: sensational tabloid true crime narratives, which you know that there

468
00:42:41,800 --> 00:42:45,040
Speaker 1: was so much more to Peter's life. There was such

469
00:42:45,040 --> 00:42:51,440
Speaker 1: a curiosity in his creativity. There was clearly such admiration

470
00:42:51,719 --> 00:42:57,800
Speaker 1: amongst his peers, amongst collaborators, honoring this incredible history of

471
00:42:58,120 --> 00:43:03,200
Speaker 1: Peter's creativity. That's what compelled us the entire time. Having

472
00:43:03,320 --> 00:43:06,319
Speaker 1: the opportunity to reactivate his music and to see how

473
00:43:06,400 --> 00:43:10,520
Speaker 1: it works. Now, that wasn't even so much an experiments,

474
00:43:10,600 --> 00:43:13,719
Speaker 1: just providing a little platform for it. We knew it

475
00:43:13,760 --> 00:43:18,400
Speaker 1: would find its audience. It's not a super immediate process,

476
00:43:18,640 --> 00:43:22,000
Speaker 1: but neither was the process when Peter was alive in

477
00:43:22,080 --> 00:43:26,040
Speaker 1: making music. It was a kind of gradual accumulation of fans.

478
00:43:27,000 --> 00:43:29,040
Speaker 1: It's become so much a part of me. I can't

479
00:43:29,120 --> 00:43:34,320
Speaker 1: help but continue evangelizing and advocating that story. I'm in

480
00:43:34,680 --> 00:43:37,520
Speaker 1: the Peter business. I'm in Peter's life for the rest

481
00:43:37,560 --> 00:43:43,080
Speaker 1: of my life. Can't just stay with me to can't

482
00:43:43,200 --> 00:43:46,479
Speaker 1: you whole lack of la You've always got some place

483
00:43:46,600 --> 00:43:50,279
Speaker 1: to go with stars are putting on a show, but

484
00:43:50,560 --> 00:43:59,160
Speaker 1: I don't watch it to I want to can't stay

485
00:43:59,360 --> 00:44:02,840
Speaker 1: with need no be to Why can't you hold me

486
00:44:03,040 --> 00:44:05,759
Speaker 1: like a like? I wan't a chance to turn you one,

487
00:44:05,840 --> 00:44:10,520
Speaker 1: but when I turn around your gun, I don't want

488
00:44:10,640 --> 00:44:19,400
Speaker 1: to do I want to be Peter? Why can't you

489
00:44:19,719 --> 00:44:27,920
Speaker 1: stay with me? Tonight? We're gonna have to talk, touch

490
00:44:28,960 --> 00:45:31,000
Speaker 1: or too much, but stay with me tonight. Ephemeral is

491
00:45:31,000 --> 00:45:34,160
Speaker 1: written and assembled by Alexis and produced by Any Reese,

492
00:45:34,400 --> 00:45:38,120
Speaker 1: Matt Frederick, and Tristan McNeil, with additional mixing from Josh

493
00:45:38,239 --> 00:45:42,000
Speaker 1: Thing and special thanks this episode to Matt Worth and

494
00:45:42,120 --> 00:45:47,000
Speaker 1: Sammy Joe Concilia. Learn more about becoming Peter Ivor's and

495
00:45:47,160 --> 00:45:50,000
Speaker 1: all of Revenge is other releases at I get r

496
00:45:50,080 --> 00:45:55,720
Speaker 1: VN dot com. Next week, Matt will be back, along

497
00:45:55,760 --> 00:46:01,400
Speaker 1: with three more artists from Revenge's archival catalog, Michelle Mercure,

498
00:46:11,120 --> 00:46:22,160
Speaker 1: Pauline and a Strong and Anna Hommler, a k A

499
00:46:22,600 --> 00:46:37,680
Speaker 1: bread Woman, go O Got back Room. Until then, you

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00:46:37,760 --> 00:46:48,440
Speaker 1: can find us online at Ephemeral dot Show You and

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00:46:52,000 --> 00:47:04,400
Speaker 1: Tiny Last and Tea and a Dreaming m m