He then went on to create further releases for Frankie Goes to Hollywood (including Sexmix and Inside the Pleasuredome) and all of the label's artists, notably 808 State, ACT, Adamski, All Saints, Art of Noise, The Buggles, The Frames, Kirsty MacColl, MC Tunes, Propaganda, Shades of Rhythm and Lisa Stansfield.
"[3] while The Quietus explained how "curator Ian Peel's exhaustive research match the care and attention he has lavished on other ZTT re-releases, and the wealth of material he has accumulated shed fascinating light on the working methods of both the band and the label.
"[4] Peel has worked on several live events celebrating the label's history including the Produced By Trevor Horn concert at Wembley Arena in London in 2008, an aborted "ZTT takeover of Trafalgar Square" with the Institute of Contemporary Arts the following year, and The Buggles' 'The Lost Gig' at which he arranged for Orchestral Manoeuvres in the Dark to perform as opening act, and for Horn to sing backing vocals on a performance of Duel by Claudia Brücken and Paul Humphreys.
[5] His curation of the visual style and ethos of the label has included exhibitions of cover art in London and Tokyo called The Art of ZTT and a DVD titled The Television is Watching You featuring videos directed by Johnny Depp, Anton Corbijn, Brian De Palma, Godley & Creme, Wayne Hemingway, Zbigniew Rybczyński, Andy Morahan and Bernard Rose.
13 on the Amazon Pop Chart), Nasty Rox Inc., Tara Newley, The Orb, Anne Pigalle, Andrew Poppy, Propaganda, Sexus, Shades of Rhythm, Sun Electric and Time Unlimted.
In an article titled Ian Peel's One-Man Campaign Takes Another Brilliant Twist, Kris Needs wrote:[8] "Considering that everything which ZTT touched during their early 80s purple patch immediately seemed to swell to widescreen proportions, it's fortuitous that Ian Peel, though only a teenage record-buyer at the time, shares their panoramic visions when it comes to the reissue programme he's been lovingly masterminding.
It seems he won't rest until every reel from production supremo Trevor Horn's archives has been distilled into one of his lavish double-disc sets, his accompanying sleevenotes always an invaluable source of facts and memorabilia."
Peel's ZTT recordings archive was profiled by The Word in 2010:[9] "What Ian inherited was a ton of rotting cardboard boxes and a cataloguing nightmare," reported Andrew Harrison.
He also devised and was Editor of the magazine's first eight spin-off special editions, which covered Kate Bush, David Bowie, Madonna, Paul McCartney, Prince, George Michael and Elton John.
[13] Cover art was given a regular section in the magazine from early on, Peel - having previously written for The Guardian newspaper on the subject - interviewing designers such as Peter Saville and Neville Brody.
Classic Pop broke away from the music monthlies routinely and regularly doing cover stories on Bob Dylan, Pink Floyd or the Rolling Stones."
[20] It is the only book to offer an in-depth history and analysis of McCartney's work in the field of experimental and avant-garde music, notably under the pseudonyms Thrillington and The Fireman, on projects such as Liverpool Sound Collage and Carnival of Light (with The Beatles), and as occasional collaborator with Allen Ginsberg, Brian Wilson and Yoko Ono.
One review commented that "Peel goes to lengths to put forward the argument that though the seemingly 'constantly cheerful one' may have been responsible for the MOR apocalypse of Wings, experimentation in other genres was never far away.