Mike Peters

The entries below are works composed by the subject, as the institutional registers catalogue them; later performances and commercial recordings of the same music are listed separately. They belong to a run of 97 titles in all, from 1994 to 1996.

95 further compositions are catalogued under Peters's name without a date the collections agree on, which is why they are set apart from the dated run rather than placed in it. A selection is set out below and the complete run may be opened beneath it. All Is Forgiven. After the Rock and Roll Has Gone. Happy Xmas (War Is Over).

These are catalogued publications carrying the name — editions and printings, distinct from the works they contain and from writing about the subject. The 1990s are the densest part of the run, with 22 titles, and that concentration is a fact about what the registers have catalogued rather than a judgement on the work itself. They belong to a run of 63 titles in all, from 1987 to 2025.

2 further editions are catalogued under Peters's name without a date the collections agree on, which is why they are set apart from the dated run rather than placed in it.

These are published sound issues catalogued under the name. Most postdate the works they carry, and an issue is never counted here as a work of composition. 8 issues carry dates between 1994 and 2001. The run opens with Breathe and closes with The Millennium Gathering. They belong to a run of 9 titles in all, from 1994 to 2001.

1 further issue are catalogued under Peters's name without a date the collections agree on, which is why they are set apart from the dated run rather than placed in it. Abbey Road Sessions.

The discography assembled here shows how Peters's work has been published in sound, not what Peters made. 50 sound issues are catalogued, carrying dates from 1993 to 2019. An issue is a published recording, distinct from the composition it carries, from a printed score of that composition and from any single performance of it; none of the entries below is counted in the catalogue of compositions above, and several of them carry the same work in different readings. The 2000s are the densest decade of publication, with 27 issues. The performers and issuing labels are as the discographic register states them; where it names no performer the article names none.

An authority file is a statement of identity, not a source of facts: it tells a reader that the Peters named here is the same person the register catalogues, and it is what allows the material above to be gathered under one heading rather than several.