WEBVTT 00:00:00.000 --> 00:00:02.620 Welcome in, everyone. We are so thrilled to have 00:00:02.620 --> 00:00:04.740 you sitting down with us today. Yeah, it's great 00:00:04.740 --> 00:00:06.860 to be here. Pull up a chair, grab a notebook, 00:00:06.960 --> 00:00:09.339 or, you know, just settle in for the ride. Because 00:00:09.339 --> 00:00:12.179 today we are treating you as our equal third 00:00:12.179 --> 00:00:15.439 partner in a really unique conversation. Absolutely. 00:00:15.619 --> 00:00:17.600 We want you right in the mix with us. Exactly. 00:00:17.879 --> 00:00:20.379 So we're pulling a pretty fascinating artifact 00:00:20.379 --> 00:00:22.480 out of the archives today. We're going to explore 00:00:22.480 --> 00:00:25.980 it together. Today's deep dive is taking us back 00:00:25.980 --> 00:00:31.829 to a... a very specific smoky reverb heavy moment 00:00:31.829 --> 00:00:35.840 in 1990s music history oh yeah The heavy eyeliner 00:00:35.840 --> 00:00:38.600 era. Right. We are looking at a Wikipedia article 00:00:38.600 --> 00:00:41.359 detailing a live album by the gothic rock band 00:00:41.359 --> 00:00:44.240 The Mission. But our goal today, it isn't just 00:00:44.240 --> 00:00:46.479 to review a track list. No, not at all. That 00:00:46.479 --> 00:00:48.299 would be too easy. The mission of today's deep 00:00:48.299 --> 00:00:51.299 dive pun, entirely intended, by the way, is to 00:00:51.299 --> 00:00:53.979 explore the unique anatomy of a live radio album 00:00:53.979 --> 00:00:56.179 compilation. We are going to uncover the invisible 00:00:56.179 --> 00:00:59.719 technical wizardry that goes into creating a 00:00:59.719 --> 00:01:02.359 fake, seamless concert experience. Which is an 00:01:02.359 --> 00:01:05.299 art form in itself, really. It is. And then we're 00:01:05.299 --> 00:01:08.000 going to look at how a completely random misunderstood 00:01:08.000 --> 00:01:12.359 word at a European border crossing ended up giving 00:01:12.359 --> 00:01:15.879 a massive global fandom its official name. I 00:01:15.879 --> 00:01:17.859 love this story so much. OK, let's unpack this. 00:01:17.980 --> 00:01:19.519 I'm really looking forward to this one. It's 00:01:19.519 --> 00:01:21.859 it's one of those historical documents that, 00:01:21.939 --> 00:01:25.060 well, on the surface, it just looks like a standard 00:01:25.060 --> 00:01:27.239 piece of band merchandise. Right. Like a quick 00:01:27.239 --> 00:01:29.620 cash grab or something. Exactly. But when you 00:01:29.620 --> 00:01:32.620 actually look under the hood, it reveals so much 00:01:32.620 --> 00:01:35.640 about. how bands evolve on the road, how media 00:01:35.640 --> 00:01:38.879 is curated, and, you know, how fan subcultures 00:01:38.879 --> 00:01:41.299 build their own mythologies completely out of 00:01:41.299 --> 00:01:44.560 thin air. So to set the stage for you, the listener, 00:01:44.739 --> 00:01:47.980 we are looking at a 1993 release by The Mission. 00:01:48.120 --> 00:01:51.819 The title of this album is No Snow, No Show for 00:01:51.819 --> 00:01:54.319 the Eskimo. Quite the mouthful. I know. And I 00:01:54.319 --> 00:01:56.340 know that title raises about 100 questions immediately. 00:01:56.420 --> 00:01:58.540 And I promise you, we will get to the Eskimo 00:01:58.540 --> 00:02:00.439 of it all very shortly. We have to. It's the 00:02:00.439 --> 00:02:02.659 best part. But first, can you walk us through 00:02:02.659 --> 00:02:05.060 the actual physical artifact we're dealing with 00:02:05.060 --> 00:02:07.459 here? What are the basic specs of this release? 00:02:08.020 --> 00:02:10.240 Absolutely. So this compilation was released 00:02:10.240 --> 00:02:14.090 in 1993 on the Windsong label. For the serious 00:02:14.090 --> 00:02:16.569 physical media collectors out there, you'd be 00:02:16.569 --> 00:02:20.169 looking for catalog number WINCD035. Got it. 00:02:20.250 --> 00:02:23.469 And it clocks in at exactly 61 minutes and 11 00:02:23.469 --> 00:02:26.169 seconds. Okay, 61 minutes. Yeah. And those 61 00:02:26.169 --> 00:02:28.349 minutes are purely drawn from live recordings 00:02:28.349 --> 00:02:31.250 that were originally captured for the BBC, specifically 00:02:31.250 --> 00:02:34.759 broadcast live on BBC Radio 1. Now, music fans 00:02:34.759 --> 00:02:37.180 know that live albums are almost never just a 00:02:37.180 --> 00:02:40.099 single raw recording of one magical night. Oh, 00:02:40.099 --> 00:02:41.960 really? They're usually spliced together from, 00:02:42.020 --> 00:02:43.860 you know, a few different dates on the same tour 00:02:43.860 --> 00:02:45.800 to get the best vocal takes or the best guitar 00:02:45.800 --> 00:02:48.819 solos. But what they did with this specific 61 00:02:48.819 --> 00:02:51.639 -minute run is a totally different beast, isn't 00:02:51.639 --> 00:02:54.379 it? It really is. What's fascinating here is 00:02:54.379 --> 00:02:56.979 the sheer audacity of the illusion they created. 00:02:57.219 --> 00:02:59.240 I mean, this isn't just taking the best tracks 00:02:59.240 --> 00:03:01.000 from a Tuesday night show and a Wednesday night 00:03:01.000 --> 00:03:04.000 show in the exact same city. Right. This album 00:03:04.000 --> 00:03:06.419 is a Frankenstein's monster, stitched together 00:03:06.419 --> 00:03:08.620 from two entirely distinct eras of the band, 00:03:08.860 --> 00:03:11.860 recorded years apart and in vastly different 00:03:11.860 --> 00:03:14.319 acoustic environments. Right. Looking at the 00:03:14.319 --> 00:03:16.139 liner notes, the first half of the material comes 00:03:16.139 --> 00:03:18.360 from a concert at Wembley Arena on December 2, 00:03:18.460 --> 00:03:21.039 1988. Yes. And the second half comes from the 00:03:21.039 --> 00:03:23.960 Manchester Apollo. Completely down the road and 00:03:23.960 --> 00:03:27.240 across the calendar on March 15th, 1990, we are 00:03:27.240 --> 00:03:30.780 talking about a 16 -month gap. Exactly. And to 00:03:30.780 --> 00:03:33.159 fully appreciate the technical achievement here, 00:03:33.300 --> 00:03:36.180 you have to think about what that 16 -month gap 00:03:36.180 --> 00:03:38.860 actually represents for a touring rock band. 00:03:39.199 --> 00:03:42.139 And maybe more importantly, what those two venues 00:03:42.139 --> 00:03:45.039 actually sound like. Right. The room tone. Yeah. 00:03:45.400 --> 00:03:48.360 Wembley Arena in 1988 is a massive cavernous 00:03:48.360 --> 00:03:51.259 space. It holds over 12 ,000 people. That's huge. 00:03:51.539 --> 00:03:54.280 It is. The sound bounces around. The crowd noise 00:03:54.280 --> 00:03:56.719 is this roar that washes over the microphones 00:03:56.719 --> 00:03:59.460 with a massive delay. It's the sound of a band 00:03:59.460 --> 00:04:01.819 playing to a stadium. Okay. The Manchester Apollo, 00:04:02.039 --> 00:04:04.120 on the other hand, is a classic theater venue. 00:04:04.240 --> 00:04:07.759 It holds maybe 3 ,000 to 3 ,500 people. It has 00:04:07.759 --> 00:04:09.960 a tighter, punchier, much more aggressive acoustic 00:04:09.960 --> 00:04:12.659 profile. The reverb is entirely different. So 00:04:12.659 --> 00:04:15.000 you have two completely different sonic signatures. 00:04:15.259 --> 00:04:18.000 The room tone doesn't match. The crowd energy 00:04:18.000 --> 00:04:20.540 is different. The tuning of the instruments might 00:04:20.540 --> 00:04:22.980 sit differently in the mix. And frankly, a lead 00:04:22.980 --> 00:04:25.180 singer's voice can change drastically after a 00:04:25.180 --> 00:04:27.100 year and a half of relentless touring. Without 00:04:27.100 --> 00:04:29.500 a doubt. Who is actually tasked with making these 00:04:29.500 --> 00:04:32.189 two wild... different puzzle pieces fit together. 00:04:32.550 --> 00:04:35.589 The heavy lifting of compiling this was done 00:04:35.589 --> 00:04:38.490 by band member Wayne Hussey, along with Joe Gibb. 00:04:38.649 --> 00:04:41.149 And the actual production credits for the BBC 00:04:41.149 --> 00:04:44.209 broadcasts go to Mark Radcliffe and Pete Donsie. 00:04:44.310 --> 00:04:47.129 Their job was to take these two discreet moments 00:04:47.129 --> 00:04:50.329 in time, the cavernous echo of Wembley 88 and 00:04:50.329 --> 00:04:52.970 the tight punch of Manchester 90, and weave them 00:04:52.970 --> 00:04:56.129 into a single, cohesive 61 -minute narrative. 00:04:56.430 --> 00:04:58.850 That sounds like a nightmare. They had to match 00:04:58.850 --> 00:05:01.959 EQ levels. blend crowd noise during the transitions, 00:05:02.060 --> 00:05:04.720 and sequence the tracks so that the listener 00:05:04.720 --> 00:05:06.879 just assumes they're hearing one relentless, 00:05:07.139 --> 00:05:10.819 unbroken gothic rock concert from track 1 to 00:05:10.819 --> 00:05:14.220 track 11. Wow. It's a master class in audio curation. 00:05:14.319 --> 00:05:17.209 It's like... A film director taking footage of 00:05:17.209 --> 00:05:20.569 an actor from 1988 and then splicing it with 00:05:20.569 --> 00:05:23.170 a reaction shot of that same actor from 1990, 00:05:23.470 --> 00:05:26.329 but manipulating the lighting and the color grading 00:05:26.329 --> 00:05:28.790 so perfectly that the audience never notices 00:05:28.790 --> 00:05:31.629 the cut. That is a perfect analogy. It's brilliant. 00:05:31.730 --> 00:05:34.110 But as much as I love nerding out over the acoustic 00:05:34.110 --> 00:05:36.949 differences between Wembley and the Apollo, we 00:05:36.949 --> 00:05:38.610 have to talk about the title of this album. Yes, 00:05:38.610 --> 00:05:40.850 let's do it. Here's where it gets really interesting. 00:05:41.569 --> 00:05:45.550 Why on Earth? is a gothic rock album recorded 00:05:45.550 --> 00:05:48.889 in england called no snow no show for the eskimo 00:05:48.889 --> 00:05:52.310 it's definitely not your standard brooding dark 00:05:52.310 --> 00:05:55.230 goth title is it not at all when i first saw 00:05:55.230 --> 00:05:58.339 the title i assumed it was some deep metaphorical 00:05:58.339 --> 00:06:00.759 poetry about, I don't know, the coldness of isolation. 00:06:00.959 --> 00:06:02.779 Or maybe they literally had a winter tour get 00:06:02.779 --> 00:06:04.920 snowed out. A very logical guess. But it has 00:06:04.920 --> 00:06:06.560 absolutely nothing to do with weather, and it 00:06:06.560 --> 00:06:09.300 has zero connection to actual Eskimos. None. 00:06:09.620 --> 00:06:12.540 Eskimo was the official moniker adopted by the 00:06:12.540 --> 00:06:15.339 mission's most diehard fans. These were the people 00:06:15.339 --> 00:06:17.199 who practically lived on the road, following 00:06:17.199 --> 00:06:19.620 the band from city to city, crossing borders 00:06:19.620 --> 00:06:22.779 to catch every single show. The level of dedication 00:06:22.779 --> 00:06:26.639 in pre -internet fan culture is always staggering. 00:06:26.699 --> 00:06:29.259 to look back on. But how did that specific word 00:06:29.259 --> 00:06:31.600 get attacked to them? The origin story is pure 00:06:31.600 --> 00:06:33.639 comedic gold. If you look at Martin Roach and 00:06:33.639 --> 00:06:36.699 Neil Perry's 1993 book, which, by the way, has 00:06:36.699 --> 00:06:38.839 the incredible title Names Are for Tombstones, 00:06:38.879 --> 00:06:41.879 Baby. Such a good title. So good. And a 2004 00:06:41.879 --> 00:06:45.079 piece from the NME. They outline exactly how 00:06:45.079 --> 00:06:48.459 this happened. Picture this. It's the late 1980s. 00:06:48.459 --> 00:06:51.360 A highly dedicated fan who goes by the name Ramon 00:06:51.360 --> 00:06:54.420 is following the ban on a European tour. OK, 00:06:54.500 --> 00:06:56.399 setting the scene. Keep in mind, this is before 00:06:56.399 --> 00:06:58.759 the open borders of the modern European Union. 00:06:58.839 --> 00:07:01.019 So going from... Country to country meant dealing 00:07:01.019 --> 00:07:04.339 with strict security checkpoints. Ramon is getting 00:07:04.339 --> 00:07:06.439 frisked by a border patrol guard. And we can 00:07:06.439 --> 00:07:08.579 assume Ramon is fully decked out in the late 00:07:08.579 --> 00:07:11.560 80s gothic rock aesthetic, right? Oh, absolutely. 00:07:11.639 --> 00:07:14.100 The big hair, the black clothes, the boots, the 00:07:14.100 --> 00:07:16.339 whole vibe. So this guard, who doesn't speak 00:07:16.339 --> 00:07:18.860 a word of English, is patting down this towering 00:07:18.860 --> 00:07:22.180 goth kid. The guard is clearly bewildered by 00:07:22.180 --> 00:07:25.220 what he is looking at. He shakes his head. mutters 00:07:25.220 --> 00:07:28.259 a completely unknown foreign word under his breath 00:07:28.259 --> 00:07:31.740 in his native language and sends ramon through 00:07:31.740 --> 00:07:34.300 the checkpoint okay ramon obviously doesn't speak 00:07:34.300 --> 00:07:37.079 the guard's language but the foreign word he 00:07:37.079 --> 00:07:40.459 just heard sounded to his english -speaking ears 00:07:40.459 --> 00:07:44.399 exactly like the word eskimo that is just brilliant 00:07:44.399 --> 00:07:47.800 it's such a beautifully human moment of miscommunication 00:07:47.800 --> 00:07:51.259 right he hears eskimo and instead of being confused 00:07:51.259 --> 00:07:54.300 or ignoring it he walks back to the rest of the 00:07:54.300 --> 00:07:55.959 fans waiting on the other side of the border 00:07:55.959 --> 00:07:58.319 and says hey that guard just called me an eskimo 00:07:58.319 --> 00:08:01.339 yeah and instead of laughing it off The fans 00:08:01.339 --> 00:08:04.160 adopt it. They start calling themselves the Eskimos. 00:08:04.160 --> 00:08:06.920 I love looking at this from a sociological perspective 00:08:06.920 --> 00:08:09.459 because it shows you exactly how group identities 00:08:09.459 --> 00:08:11.860 actually form in the wild. What do you mean by 00:08:11.860 --> 00:08:14.620 that? Well, we have this misconception that massive 00:08:14.620 --> 00:08:16.439 fan bases, whether it's the Deadheads or the 00:08:16.439 --> 00:08:19.240 Kiss Army, sit down and purposely workshop their 00:08:19.240 --> 00:08:21.540 names, looking for the perfect branding that 00:08:21.540 --> 00:08:23.920 encapsulates their shared ethos. Yeah. But the 00:08:23.920 --> 00:08:26.079 reality is almost always an accident. It makes 00:08:26.079 --> 00:08:29.779 you wonder how many other massive fandoms got 00:08:29.779 --> 00:08:32.519 their names through complete accidents rather 00:08:32.519 --> 00:08:35.500 than PR meetings. Exactly. The fans took a moment 00:08:35.500 --> 00:08:38.059 of feeling alienated or misunderstood by a figure 00:08:38.059 --> 00:08:41.120 of authority and they flipped it. They took this 00:08:41.120 --> 00:08:43.740 random throwaway muttering from a frustrated 00:08:43.740 --> 00:08:47.159 guard and transformed it into an exclusive badge 00:08:47.159 --> 00:08:49.620 of honor. A badge of honor. It became the binding 00:08:49.620 --> 00:08:52.639 lore for a global community. And it was embraced 00:08:52.639 --> 00:08:57.289 so fully by the band. That by 1993, this accidental 00:08:57.289 --> 00:09:00.570 inside joke became the literal title of a commercially 00:09:00.570 --> 00:09:03.070 released live album. It's the ultimate validation 00:09:03.070 --> 00:09:05.610 for those fans who spent their own money to cross 00:09:05.610 --> 00:09:08.269 those borders. Truly. So we have this incredible 00:09:08.269 --> 00:09:10.830 title and we have this technically marvelous 00:09:10.830 --> 00:09:14.539 61 minute illusion of a concert. Let's talk about 00:09:14.539 --> 00:09:16.379 the people actually making the noise on stage. 00:09:16.759 --> 00:09:19.019 I know Wayne Hussey is funding the band. He's 00:09:19.019 --> 00:09:20.840 handling the vocals, playing guitar and getting 00:09:20.840 --> 00:09:23.299 on the piano. And he's backed by Craig Adams 00:09:23.299 --> 00:09:25.820 holding down the bass, Simon Hinkler on guitars 00:09:25.820 --> 00:09:28.379 and Mick Brown on the drums. That's the core 00:09:28.379 --> 00:09:31.519 four. But when you look closely at the liner 00:09:31.519 --> 00:09:34.120 notes, there's a highly specific nuance to the 00:09:34.120 --> 00:09:36.360 personnel, isn't there? There is. And it's the 00:09:36.360 --> 00:09:38.580 kind of subtle detail that actually unlocks a 00:09:38.580 --> 00:09:39.960 lot of the history we've been talking about. 00:09:40.320 --> 00:09:43.299 There is a fifth musician credited on this album. 00:09:43.610 --> 00:09:46.309 David Wolfenden. Okay. He is credited on guitars, 00:09:46.490 --> 00:09:49.690 but crucially, the notes explicitly state that 00:09:49.690 --> 00:09:53.129 he is credited only for the 1990 Manchester Apollo 00:09:53.129 --> 00:09:55.990 recordings. Wait, so he completely vanishes from 00:09:55.990 --> 00:09:57.889 the track list whenever the album shifts back 00:09:57.889 --> 00:10:01.250 to the 1988 Wembley show? Precisely. If we connect 00:10:01.250 --> 00:10:03.570 this to the bigger picture, this subtle credit 00:10:03.570 --> 00:10:06.409 reveals the genuine sonic evolution of the band. 00:10:07.070 --> 00:10:10.330 It acts as a historical ledger. How so? In 1988, 00:10:10.570 --> 00:10:12.509 the Mission was largely operating as a four -piece 00:10:12.509 --> 00:10:15.710 on stage, but between 88 and 90, their sound 00:10:15.710 --> 00:10:17.769 was shifting. They were moving away from the 00:10:17.769 --> 00:10:20.269 leaner, post -punk roots and leaning heavily 00:10:20.269 --> 00:10:22.710 into a much thicker, layered, a wiener rock sound. 00:10:22.950 --> 00:10:25.870 Ah. By crediting David Wolfenden only for the 00:10:25.870 --> 00:10:29.850 1990s show, this compilation inadvertently documents 00:10:29.850 --> 00:10:33.029 that transition. It shows you that by the time 00:10:33.029 --> 00:10:35.330 they hit the Apollo, four guys were no longer 00:10:35.330 --> 00:10:38.029 enough to achieve their sonic vision live. They 00:10:38.029 --> 00:10:40.990 needed more sound. Exactly. They needed that 00:10:40.990 --> 00:10:43.549 secondary guitar layer to thicken the wall of 00:10:43.549 --> 00:10:46.250 sound. It captures the fluid nature of a band 00:10:46.250 --> 00:10:48.909 in motion. And they absolutely needed that extra 00:10:48.909 --> 00:10:51.049 firepower for the songs they were playing because 00:10:51.049 --> 00:10:55.049 the track list on this album is massive. We are 00:10:55.049 --> 00:10:58.500 talking about some of the most iconic... towering 00:10:58.500 --> 00:11:00.799 staples of the genre. Oh, heavy hitters for sure. 00:11:01.019 --> 00:11:03.580 You've got a blistering version of Amelia. You've 00:11:03.580 --> 00:11:05.899 got Wasteland, which sprawls out for over six 00:11:05.899 --> 00:11:08.779 minutes. You have the absolute epic that is Tower 00:11:08.779 --> 00:11:10.720 of Strength, which pushes the eight minute mark. 00:11:10.860 --> 00:11:13.340 And of course, Butterfly on a Wheel clocking 00:11:13.340 --> 00:11:15.820 in near six minutes. Tower of Strength alone 00:11:15.820 --> 00:11:18.919 requires such a massive atmospheric push from 00:11:18.919 --> 00:11:21.620 the band to work in a live setting. You can't 00:11:21.620 --> 00:11:23.159 just strum that out. It has to wash over the 00:11:23.159 --> 00:11:25.500 audience. Right. It's an experience. So bringing 00:11:25.500 --> 00:11:28.340 in Wolfenden for the 1990 dates makes complete 00:11:28.340 --> 00:11:30.879 sense when you hear the sheer weight of these 00:11:30.879 --> 00:11:33.580 live arrangements compared to the tighter studio 00:11:33.580 --> 00:11:36.860 versions. It's a heavy, immersive listening experience. 00:11:37.159 --> 00:11:39.440 But I was looking ahead at the release history 00:11:39.440 --> 00:11:41.720 of these specific BBC recordings and something 00:11:41.720 --> 00:11:44.620 really weird jumped out at me. Uh -oh. The plot 00:11:44.620 --> 00:11:48.230 thickens. It does. The story of no snow, no show 00:11:48.230 --> 00:11:50.230 for the Eskimo doesn't actually end with its 00:11:50.230 --> 00:11:54.309 release in 1993. Fast forward 15 years to 2008. 00:11:54.950 --> 00:11:57.529 The label decides to release a brand new box 00:11:57.529 --> 00:12:00.730 set simply titled Live at the BBC. Did they just 00:12:00.730 --> 00:12:03.009 repackage the original CD and slap a new cover 00:12:03.009 --> 00:12:05.840 on it? Not exactly. The 2008 box set had a much 00:12:05.840 --> 00:12:08.700 broader goal, which was to open up the BBC vaults 00:12:08.700 --> 00:12:11.159 and collect all of the band's BBC performances. 00:12:11.440 --> 00:12:13.240 Okay. Now, naturally, you would assume it includes 00:12:13.240 --> 00:12:15.379 the tracks from the 1993 album, because those 00:12:15.379 --> 00:12:18.320 were BBC Radio 1 broadcasts. And it does include 00:12:18.320 --> 00:12:20.720 most of them. Most of them. Right. It also goes 00:12:20.720 --> 00:12:23.259 a step further by adding more previously unreleased 00:12:23.259 --> 00:12:26.399 tracks from both the 1988 Wembley Night and the 00:12:26.399 --> 00:12:29.019 1990 Manchester Night. Which sounds great on 00:12:29.019 --> 00:12:31.299 paper. I mean, more is always better. You're 00:12:31.299 --> 00:12:33.879 giving fans the deeper cuts that Hussie and Gibb 00:12:33.879 --> 00:12:35.779 originally left on the cutting room floor back 00:12:35.779 --> 00:12:38.179 in 93. Right. It seems like a win for the fans. 00:12:38.419 --> 00:12:42.000 But here is the catch. While they were shoveling 00:12:42.000 --> 00:12:45.320 all these new tracks into the 2008 box set, they 00:12:45.320 --> 00:12:48.159 took a scalpel to the original 1993 track list. 00:12:48.340 --> 00:12:51.720 They completely axed three specific songs from 00:12:51.720 --> 00:12:54.220 the original compilation. Right. If you grew 00:12:54.220 --> 00:12:57.179 up listening to No Snow No Show. and you bought 00:12:57.179 --> 00:12:59.960 the 2008 box set expecting that same curated 00:12:59.960 --> 00:13:02.019 flow with some bonus tracks at the end, you were 00:13:02.019 --> 00:13:05.080 in for a rude awakening. Track six, Butterfly 00:13:05.080 --> 00:13:07.580 on a Wheel, was cut. Track eight, Kingdom Come, 00:13:07.720 --> 00:13:11.000 forever again, gone. And track nine, Deliverance, 00:13:11.159 --> 00:13:13.580 was completely removed. They just vanished from 00:13:13.580 --> 00:13:16.399 the official BBC historical record. Deliverance 00:13:16.399 --> 00:13:19.320 is a massive track for them. Why would a label 00:13:19.320 --> 00:13:21.940 actively remove tentpole songs from a concert 00:13:21.940 --> 00:13:24.139 they are specifically trying to archive? This 00:13:24.139 --> 00:13:26.629 raises an important question. How much should 00:13:26.629 --> 00:13:28.730 we trust the definitive editions of the media 00:13:28.730 --> 00:13:31.370 we consume? That's a great point. In the 2000s, 00:13:31.370 --> 00:13:33.590 there was a huge trend of labels doing these 00:13:33.590 --> 00:13:37.110 BBC session vert box sets. They are marketed 00:13:37.110 --> 00:13:39.490 as the ultimate complete historical documents. 00:13:39.850 --> 00:13:42.830 But what we see here is historical revisionism. 00:13:43.159 --> 00:13:46.100 Why erase pieces of a beloved 1993 compilation 00:13:46.100 --> 00:13:49.500 when repackaging that exact same history 15 years 00:13:49.500 --> 00:13:51.259 later? Especially when they are simultaneously 00:13:51.259 --> 00:13:54.120 adding new tracks from the exact same master 00:13:54.120 --> 00:13:56.480 tapes. It's not like the tape degraded because 00:13:56.480 --> 00:13:58.580 they clearly had access to the pristine recordings 00:13:58.580 --> 00:14:01.220 to pull the unreleased songs. Exactly. So why 00:14:01.220 --> 00:14:03.820 cut Deliverance? Was it a sudden licensing issue 00:14:03.820 --> 00:14:05.940 with those specific publishing rights? Maybe. 00:14:06.200 --> 00:14:08.740 Was it a running time constraint on the physical 00:14:08.740 --> 00:14:11.980 CDs of the 2008 box set forcing them to make... 00:14:12.330 --> 00:14:15.149 brutal cuts to fit the disc space? Or was it 00:14:15.149 --> 00:14:17.230 simply a creative decision by a completely different 00:14:17.230 --> 00:14:19.970 producer in a boardroom in 2008 who felt that 00:14:19.970 --> 00:14:22.190 Kingdom Come messed with the pacing of their 00:14:22.190 --> 00:14:26.110 new vision? Whatever the reason, it reshapes 00:14:26.110 --> 00:14:29.090 the band's legacy. It forces you to realize that 00:14:29.090 --> 00:14:31.169 history in the music industry is constantly being 00:14:31.169 --> 00:14:34.759 edited. The 1993 version of these concerts is 00:14:34.759 --> 00:14:37.059 a totally different emotional experience than 00:14:37.059 --> 00:14:39.740 the 2008 version of these exact same concerts. 00:14:39.899 --> 00:14:41.519 It totally changes the momentum of the album. 00:14:41.720 --> 00:14:44.100 Removing Butterfly on a Wheel right from the 00:14:44.100 --> 00:14:46.379 middle of the set list alters the whole emotional 00:14:46.379 --> 00:14:48.840 arc of that 61 minutes. It really does. It's 00:14:48.840 --> 00:14:51.320 a great reminder that when we buy a live album 00:14:51.320 --> 00:14:54.159 or a box set, we aren't just buying history, 00:14:54.460 --> 00:14:57.360 we are buying a highly curated perspective of 00:14:57.360 --> 00:14:59.730 history. So what does this all mean? It means 00:14:59.730 --> 00:15:02.190 that the artifacts we leave behind are messy, 00:15:02.330 --> 00:15:05.309 layered and constantly shifting. Let's do a quick 00:15:05.309 --> 00:15:07.789 recap of everything we unpacked today. We started 00:15:07.789 --> 00:15:10.429 with a wildly specific Wikipedia article about 00:15:10.429 --> 00:15:14.370 a CD from 1993, no snow, no show for the Eskimo. 00:15:14.509 --> 00:15:17.149 We found out that this gothic rock live album 00:15:17.149 --> 00:15:20.269 is actually an elaborate audio illusion meticulously 00:15:20.269 --> 00:15:22.669 spliced together by Wayne Hussey and Joe Gibb 00:15:22.669 --> 00:15:26.970 to bridge a cavernous 1988 arena show and a punchy 00:15:26.970 --> 00:15:29.750 1990 theater show. A true feat of engineering. 00:15:30.200 --> 00:15:32.639 We discovered how a single touring credit for 00:15:32.639 --> 00:15:35.720 guitarist David Wolfenden documented the band's 00:15:35.720 --> 00:15:38.759 sonic evolution toward a heavier arena rock sound. 00:15:39.629 --> 00:15:42.970 We explored the bizarre 2008 box set revisionism 00:15:42.970 --> 00:15:46.269 that added new tracks while mysteriously erasing 00:15:46.269 --> 00:15:50.049 fan favorites like Deliverance and Butterfly 00:15:50.049 --> 00:15:52.710 on a Wheel. The Lost Tracks. And beating at the 00:15:52.710 --> 00:15:55.169 heart of it all, we uncovered the brilliant origin 00:15:55.169 --> 00:15:58.529 of the album's title. A diehard fan named Ramone 00:15:58.529 --> 00:16:01.529 mishearing a bewildered border guard, turning 00:16:01.529 --> 00:16:04.190 a random foreign muttering into a legendary badge 00:16:04.190 --> 00:16:06.980 of honor for a global fan base. It really is 00:16:06.980 --> 00:16:09.539 incredible how much humanity and history is packed 00:16:09.539 --> 00:16:12.480 into the metadata of one album. And before we 00:16:12.480 --> 00:16:14.059 wrap up today, I want to leave you with a final 00:16:14.059 --> 00:16:15.860 thought to mull over. Please do. We talked a 00:16:15.860 --> 00:16:18.039 lot today about Ramon and that Eskimo moniker. 00:16:18.440 --> 00:16:20.700 That word wasn't a calculated branding decision. 00:16:20.820 --> 00:16:23.159 It was a complete accident, a misunderstood phrase 00:16:23.159 --> 00:16:25.940 at a tense border crossing. Yet because the fans 00:16:25.940 --> 00:16:28.879 embraced it, it became immortalized in commercial 00:16:28.879 --> 00:16:31.840 art and defined the identity of thousands of 00:16:31.840 --> 00:16:35.320 people. So I want you to think about your own 00:16:35.320 --> 00:16:39.210 world. What random, misheard or entirely accidental 00:16:39.210 --> 00:16:42.169 moments have unintentionally shaped your own 00:16:42.169 --> 00:16:44.649 identity? Oh, I love that. Think about the friend 00:16:44.649 --> 00:16:47.070 groups, the families or the subcultures you belong 00:16:47.070 --> 00:16:50.460 to. How many of your most closely held inside 00:16:50.460 --> 00:16:53.799 jokes, nicknames or traditions were born from 00:16:53.799 --> 00:16:56.340 a simple mistake or a complete misunderstanding 00:16:56.340 --> 00:16:59.120 that you all just decided to run with? That is 00:16:59.120 --> 00:17:01.620 a phenomenal question to walk away with. It really 00:17:01.620 --> 00:17:04.420 makes you appreciate the beautiful, messy accidents 00:17:04.420 --> 00:17:07.359 that end up defining us. Absolutely. Thank you 00:17:07.359 --> 00:17:09.180 so much for sitting down with us on this deep 00:17:09.180 --> 00:17:11.740 dive today. We love pulling these strange hidden 00:17:11.740 --> 00:17:14.000 histories out of the archives, and we hope you 00:17:14.000 --> 00:17:16.079 keep digging into the weird, wonderful stories 00:17:16.079 --> 00:17:18.559 behind the music and media you love. It's been 00:17:18.559 --> 00:17:20.700 a blast. Until next time, stay curious, keep 00:17:20.700 --> 00:17:22.880 asking questions, and we will catch you on the 00:17:22.880 --> 00:17:24.640 next deep dive. Take care, everyone.