One of the biggest differences between the music business in England and the one in America is the relationship each has with the radio. American radio has become just another promotional tool, less a way to break new artists than a way to almost forcefully prolong the success of existing stars. But English radio has been dedicated to new and upcoming artists since the punk explosion, still introducing vital acts from the underground rather than selling staid product. Where else could the Orb's 40-minute single "Blue Room" go Top 40? Much of the relevance of English radio stems from the continued dedication of DJs such as John Peel, who has for decades recorded exclusive sessions with hundreds of bands. Two recent compilations reveal just how exciting it would be to rummage through his archives. Joy Division recorded two sessions with Peel in 1979, six months apart. One of the most influential post-punk acts of all time, Joy Division's ascent was halted by the 1980 suicide of singer Ian Curtis, and, since the band didn't leave behind many recordings, everything it did is worth tracking down. The first Peel Session includes early songs ("She's Lost Control," "Transmission"), but by round two, the band had graduated to "Love Will Tear Us Apart" and the material that would comprise the classic Closer. Joy Division was never considered an especially strong live act, but Peel inspires great performances from the group. Though these recordings have been released before, this edition includes two unreleased live songs, stronger and more thoroughly reworked versions of "She's Lost Control" and "Transmission" that show how far it had grown by the end of 1979. There's also a 20-minute interview with Curtis and drummer Stephen Morris that's a nice human document of a man and band too often worshipped as myth. The infamous Reid Brothers of The Jesus And Mary Chain, on the other hand, have spent most of their career deflating their myth through infighting and sloppy playing. Peel caught up with the band six times between 1984 and 1989, the first well before its epochal debut Psychocandy was even released. It's remarkable how fully formed the band's synthesis of Velvet Underground, Ramones, Phil Spector, and The Beach Boys already is, and the group's trademark—walls of nearly impenetrable feedback—is present, as well. The music is loud, raw, and essential, the kind of stuff American radio won't touch but the BBC remains happy to embrace.