Podcast appearances and mentions of Alice Cooper

In this episode, the hosts discuss a wide array of topics related to wrestling, including preparations for the upcoming SummerSlam event with match predictions and insider insights. They analyze the new WWE e Unreal series on Netflix, comparing it with the LFG reality show, and debate how realistic these portrayals are of the wrestling world. The conversation also dives into the dynamics within WWE, featuring discussions about wrestlers like Rhea Ripley, Seth Rollins, Cody Rhodes, and more. Additionally, they reflect on wrestler personas, match bookings, and the impact of personal stories on fan engagement. The hosts also share their thoughts on classic and recent music, offering a nostalgic look at bands like Alice Cooper, Offspring, and more.00:00 Getting Ready for the Show01:06 Podcasting Challenges and Improvements03:14 Music Talk: Nostalgia and New Discoveries07:24 Concert Memories and Iconic Performances16:51 Wrestling Talk: Promotions and Experiences22:22 Behind the Scenes of Wrestling Reality Shows40:44 Keeping the Audience Engaged41:01 Concert and Festival Experiences42:28 Wrestling Event Lengths and Costs43:42 CM Punk and Triple H Relationship45:30 Wrestling Dreams and Realities49:25 Women's Wrestling Evolution54:53 Wrestling Politics and Personalities01:07:11 SummerSlam Night One Preview01:20:15 Roxanne's Wrestling Skills and WWE's Missed Opportunities01:21:05 Intergender Matches and Missed Storylines01:24:19 Judgment Day and Tag Team Dynamics01:37:34 Bailey's Character Evolution and Women's Wrestling01:44:57 John Cena vs. Cody Rhodes: Potential Double Turn01:48:15 Upcoming Events and Final ThoughtsBecome a supporter of this podcast: https://www.spreaker.com/podcast/wrestling-soup--1425249/support.

This episode is a deep dive into the life and career of iconic rock photographer Glen La Ferman, recorded on his birthday. The discussion covers Glen's accidental entry into photography, driven by his fascination with music. They explore his famous sessions with rock legends like KISS, Eddie Van Halen, and Alice Cooper. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bassist Dennis Dunaway joins Metal Mayhem ROC to dive into ‘The Revenge of Alice Cooper', the first new album in 50 years from the original Alice Cooper Band. As pioneers of shock rock and theatrical stagecraft, Dennis shares behind-the-scenes stories of the creative process with bandmates Alice Cooper, Michael Bruce, Neal Smith, and legendary producer Bob Ezrin. Hear how the album's dark, haunting themes came together, the spontaneity that fueled the sessions, the enduring friendship that traces back to Dennis and Alice's teenage years, and the deep camaraderie that has kept the band connected over the years. From the band's legacy to Glenn Buxton's posthumous contribution, learn about the new album's concept, songwriting and what the future holds for this legendary unit! Metal Mayhem ROC: https://metalmayhemroc.com/ Dennis Dunaway Official Website https://dennisdunaway.com Alice Cooper Official Website: https://alicecooper.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Programa 335 La Hora del Rock fernando Nadales Zenón perez y Paco Jimenez Music From The Elder1981 - Music From The Elder Escape From The Island.(sintonia) Ninth Circle - Anthem of the Immortal (2025)8 - Futuresonic. Ashes Of Ares - New Messiahs (2025)2. New Messiahs. Alice Cooper2025 - The Revenge Of Alice Cooper12 What Happened to You. Epica - Aspiral (2025)9 - Eye of the Storm. Crematory - Destination (2025)12 - Das Letzte Ticket.mp3 Amom Amart We Rule the Waves.(2025) Avenged Sevenfold - Hail to the King.mp3 Nunez Easter.(2025) Helloween Universe (Gravity For Hearts) (2025) Danny Veras Crazy train (homenaje a OZZY) (2025) Black Jack - XXI (Info Sheet 2025)Black Jack - XXI2. Believe. Ramonda - The Walls Are Crumbling Down (2025)10. The One To Blame. Burning Witches - High Priestess Of The Night.(2025) H.E.A.T - Welcome To The Future (2025)7 - Rock Bottom Amorphis bones.(2025) Triumph - Magic Power All Star Tribute to Triumph (Collaboration) (2025)3. Magic Power (feat. Joey Belladonna) Ozzy Osbourne Fire In the Sky (1998) Styx2025 - Circling From Above2 Build And Destroy. Black Majesty - Oceans Of Black (2025)10 - Here We Go.(Disco Del Mes) Lex Luger La Invasion De Las Cucarachas (2023) Crowne waiting for you.(2025) FM Shot in the dark Ouijabeard (Sweden)2025 - Phantoms Of Tomorrow2 - Burning Shadows. Judas Priets- Giants in the Sky.(2024) Lita Ford. Close My Eyes Forever (Feat. Ozzy Osbourne).mp3 *SI TE GUSTA LO QUE HACEMOS COMPARTE,A SI CREAREMOS UNA GRAN FAMILIA ROCKERA STAY FUCKING METAL* SIGUENOS !!

MUSICPaul Gallagher, the older brother of Oasis' Liam and Noel Gallagher, has been charged with three counts of sexual assault, three counts of intentional strangulation and more in the U.K. The Guardian reports that the charges stem from a series of incidents involving a woman that allegedly took place between 2022 and 2024. https://www.theguardian.com/uk-news/2025/jul/28/noel-and-liam-gallagher-brother-paul-charged-with-rape-and-other-sexual-offencesWhile in London last week to promote the new Alice Cooper band album, The Revenge of Alice Cooper, which came out Friday, Alice spoke about the death of Ozzy Osbourne, telling Planet Rock how he found out he died and their relationship. https://www.youtube.com/watch?v=8RT1ZBDy8RMSurprise! Hayley Williams just released 17 new songs on her website hayleywilliams.net. https://variety.com/2025/music/news/hayley-williams-surprise-releases-17-new-songs-website-1236472196/ TVAfter a whirlwind 50th anniversary season, Saturday Night Live season 51 will return on Saturday, October 4, 2025. https://www.nbc.com/nbc-insider/saturday-night-live-season-51-premiere-date-cast-hosts MOVING ON INTO MOVIE NEWS:The next installment in the beloved Meet the Parents franchise gets a new title and premiere date! https://www.yahoo.com/entertainment/articles/meet-parents-4-gets-official-160248910.html?guccounter=1&guce_referrer=aHR0cHM6Ly9wcmVwcGx1cy5mdXR1cmltZWRpYS5jb20v&guce_referrer_sig=AQAAANazakzLidHfptxmdBkBVLjW4fsP2XdiQ6DZuJ96FPBbVxo4PPDvE7HOlP3uTjXfWmW2gceKAhcifR0SaoGMUaHCF2VoWx9iauTbPPRy6ozLash-tYCKEayCTztdXxm--49lBzkGesCdml2s-ZQcyuunx17UlT_zz1ORI3_TcHBr Stormtrooper helmet sells for $256,000 at auction … Over the weekend at Comic-Con in San Diego, a stormtrooper helmet from the original Star Wars movie was auctioned off for a staggering $256,000. The original stunt helmet – believed to be featured in scenes on Tatooine – is one of only six known to exist in private collections.Everyone's trying to go viral with their crazy popcorn buckets, but the latest one went a step further . . . by setting an actual Guinness World Record. https://www.mentalfloss.com/entertainment/movies/marvel-releases-galactus-popcorn-bucket AND FINALLYHappy Gilmore 2" came out last Friday. And if you haven't seen it yet, you might be wondering how it stacks up against Adam Sandler's other movies, or even the original. https://www.yahoo.com/entertainment/articles/adam-sandler-movies-ranked-worst-130000862.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cud2lzZWJyb3RoZXIuY29tLw&guce_referrer_sig=AQAAAN2WjeF-rEip0J1sYs96GHg-2WH9KN_kYWqg-tgvE6wRZFFvX6Ov6wavalwJBwqCbO4EYb6QiBx1k34ysgkTqu8dT9Pe9DknocF9dJaXjgBxF5dnB6qiUJc1WeugNIqvLwN6puSC1ny-mR40-m1HKz34BfXmQzE24j94gQRrrFfUAND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, Jason McMaster of Dangerous Toys takes us behind the scenes of the band's 1989 hit “Scared,” a track born from fear, adrenaline, and a deep love for theatrical rock. Inspired by Alice Cooper and crafted in a quirky home studio setting, “Scared” blends personal storytelling with pounding percussion and a structure that wastes no time getting to the hook. Jason shares how the lyrics were shaped by real-life anxieties, how spontaneous moments and misheard lines sometimes added unexpected charm, and how collaboration played a key role in bringing the song to life. Along the way, he and Chris reflect on the nostalgic glory of late '80s rock, the emotional weight that music can carry, and what keeps the creative fire burning decades later. Chris DeMakes A Podcast is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/demakes  For bonus episode of The After Party podcast, an extensive back catalog of past After Party episodes, early ad-free releases of new episodes of Chris DeMakes A Podcast, full video versions of episodes, and MUCH more, head to the Patreon at http://www.ChrisDeMakes.com  Follow Chris DeMakes A Podcast on Instagram: https://www.instagram.com/chrisdemakesapodcast/ Join the Chris DeMakes A Podcast community on Facebook: https://www.facebook.com/groups/2643961642526928/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Dan Loges delivers the latest entertainment news on:- Alice Cooper brings out Johnny Depp for a tribute concert to Ozzy Osbourne.- Jay Leno discusses his belief on political humor in response to Stephen Colbert's show ending.- Ja Rule says that his feud with 50 Cent is purely for fun now.

new Enuff Z'nuff, Glenn Hughes, Ellefson / Soto and Alice Cooper! The chosen. 

Dans Noiseweek sur Heavy1, nous dirons adieu à Ozzy Osbourne et célébrerons la sortie d'un nouveau disque d'une autre légende du rock, Alice Cooper, dans sa formation originelle. : « The Revenge Of Alice Cooper » est notre album de la semaine. Egalement au programme présenté par Christophe Droit, sa sélection des nouveautés discographiques albums et singles de Bruce Dickinson • Honeymoon Suite • The Violent Hour • Mass Deception • Enuff Z'nuff • Hearts On Fire et Cold SlitherUne émission réalisée par Jean-Baptiste Lamet - En partenariat avec RIFFX.frHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Rock on, even as the legends leave us

Interview by Kris Peters Alice Cooper was set loose on the world in the mid to late 1960s, and it is fair to say the music world has never been the same since. Blending rock music with ghoulish tales of the macabre backed up by a live show that pushed every conceivable boundary of the time, Alice Cooper soon became the man (band) people hated to love. His elaborate set pieces, including the infamous guillotine beheading cornerstone of his live show, gave birth to legend, and it is a testament to the enduring legacy of the great man that he continues unabated to this day. While Alice Cooper will always be the one in the public eye, much of his early success was largely due to the band he assembled around him - lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith - who recorded with Cooper for the first seven albums, including School's Out and Billion Dollar Babies. While their departure after Muscle Of Love in 1973 didn't affect Cooper's career trajectory, it still marked the end of an era, one which is still held fondly by earlier fans of the band. After half a century without officially fully reuniting, the Alice Cooper Band returned earlier this year with the announcement of a new album, The Revenge Of Alice Cooper, and a return to the sound that paved the way for generations of budding rock stars the world over. In a truly special moment, the album features a posthumous appearance by Glen Buxton, the band's original guitarist who passed away in 1997, through an unreleased recording that seamlessly blends the past with the present on What Happened To You, featuring his original guitar part. Alice, Neal, Michael, and Dennis reunited with their producer Bob Ezrin in an old-school recording studio in Connecticut, rekindling the magic from the 70s. This album is a celebration of friendship, nostalgia, and the timeless sound that solidified Alice Cooper as a rock icon. Fans can expect a powerful and nostalgic experience that bridges the gap between the band's storied past and their vibrant present. HEAVY was fortunate enough to spend time chatting with all three returning members in a riotous and informative 20-odd-minute interview that felt like it was only five. We ask if this reunion was something that they always thought would happen one day, or if it came as a surprise. "No, we didn't know it was gonna happen," Dunaway smiled. "We thought it was gonna happen a couple of times over the decades, and then it didn't. So this was kind of like another one of those. We weren't popping any champagne until we actually were in the studio recording." "And even when we were in the studio recording, the mixes didn't happen until about a year later," Smith interjected. "So… We were more like, I wanna see the album cover in my hands before I believe it, which I have now (laughs)." In the full interview the band talks more about The Revenge Of Alice Cooper and getting the original band back together, if they had all been in contact over the years, the musical side of the album and how it harks back to the early days of the band, how easy they slipped back into the groove and jamming out to the first song back. We also spoke of the loss of Glen Buxton and how they managed to include his work on this album, the glory days of the band, what they think the band's musical legacy will be, working with Alice and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

07-22-25 - Hot Releases - Alice Cooper - Enuff Z Nuff - Dua Lipa - Ariana Grande - Love Cat - Fender Twins - Happy Gilmore 2 - Fantastic FourSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is Play That Rock n' Roll's interview with Gary Graff, editor of "501 ESSENTIAL ALBUMS OF THE '80s: The Music Fan's Definitive Guide"! In this conversation, we talk about some of the major musical trends of the ‘80s and how Gary felt about them in his early days as a music journalist. And since we had both recently seen Devo on their current tour, Gary shares his review of that show. From there, we dive in on some Classic Rock selections that he wrote the reviews for, specifically albums from Genesis, Steve Winwood, Toto, Night Ranger, Alice Cooper, among others. We also discuss why so many ‘60s artists had comebacks in the ‘80s, and of course I had to ask him about what Bob Seger was up to in that era. Gary on facebook: https://www.facebook.com/GaryGraffonMusic Gary on Bluesky: https://bsky.app/profile/graffonmusic.bsky.social Gary on Instagram: https://www.instagram.com/realgraffonmusic Our Links: https://linktr.ee/playthatpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

07-22-25 - Hot Releases - Alice Cooper - Enuff Z Nuff - Dua Lipa - Ariana Grande - Love Cat - Fender Twins - Happy Gilmore 2 - Fantastic FourSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Az előfizetők (de csak a Belső kör és Közösség csomagok tulajdonosai!) már szombat hajnalban hozzájutnak legfrissebb epizódunk teljes verziójához. A hétfőn publikált, ingyen meghallgatható verzió tíz perccel rövidebb. Itt írtunk arról, hogy tudod meghallgatni a teljes adást. Szavazati jogot a krumplinak! Igazságot Steven Adlernek! Sokáig éljen Geyer Flórián, a hős vezér! Winkler Róbert parasztháborúpárti! Vége a bulinak! Magyar útra magyar futárt! Vendégek haza! 00:26 Üdvözöljük a betegeket a stúdióban! Augusztus 3-án csillagvizsgálás Uj Péterrel és vedégeivel. Gáspár Laci magára tetováltatja Sördinger macskáját. A Sierra Delta munkássága. 05:46 Grindcore vagy death metál? Annihilistic Pestilence-t vágod? Guns'N'Roses: Live at the Ritz. Az ember, akit életmódproblémák miatt kidobtak a Gunsból. Amikor Duff 12 évig csak alkohollal hidratált. 08:06 Bobby Liebling és Arhur Brown nagy találkozása. A proto-Alice Cooper. The God of Hellfire. A Prodigy verziója. 11:18 Geyer Flórián átível a rendszereken. Marduk: Equestrian Bloodlust. A protonáci Burzum. Engels és Geyer. A Florian Geyer Waffen SS-hadosztály. 18:40 Dózsa Györgyöt csak a kommunisták bírták. A Derkovits-rézkarcok. A hiúságok máglyája. 24:31 A proto-Trump lófő. Nagybotú Mészáros Lőrinc. A proto-Kun Páter. 26:45 Minden a kenyércímkéről. A kenyércímkés Napirajz. Bárdos András és a kenyércímke. 29:15 Minden idők autósüldözése a Blahán. Bede Mártonban felmerül, hogy Winkler Róbertnek igaza van. 34:25 A bulizás vége. Az antiszociális évszázad cikk. 39:15 Elszomorodó magányosok. Kitakarítás vendégség előtt. Na de ki csinálja meg a svédgombát? 43:41 Futárkalandok az Andrássy úton. Női Tour de France. Amikor Uj Péter Kiss Lenkével kosarazott. 48:58 A WNBA nézettsége. A női sportokat is inkább férfiak nézik. See omnystudio.com/listener for privacy information.

We're back with a brand spankin' new edition of the Decibel Geek Times! Here's what Aaron's covering for us this time! Rockstar Deathdays: Remembering Jim Morrison, Arthur Kane, Jeff LaBar, and Gary Corbett. Album Anniversaries:Orchid's final EP Sign of the Witch turns 10. KoRn's back-to-basics KoRn III hits 15. Alice Cooper's Dirty Diamonds and Iommi/Hughes' Fused both turn 20.Mötley Crüe's New Tattoo hits 25, marking Randy Castillo's last album. Kyuss's final record turns 30, leading to QOTSA.35 years since Suicidal Tendencies broke through with Lights, Camera, Revolution! and Poison followed up with Flesh & Blood.AC/DC's Fly on the Wall and Lizzy Borden's debut both turn 40.UFO's Force It cover controversy happened 45 years ago.55 years since Funhouse by The Stooges, CCR's unstoppable Cosmo's Factory, and the heavy debut of Cactus. New Music:Wanted returns with Cutting Edge. Gods of Tomorrow unleash a shred-heavy debut. Laguna's Ghost of Katrina brings desert-fueled melodic rock. Madhouse delivers glam rock gold with Plead the 5th. Enuff Z'Nuff drop Xtra Cherries packed with guest appearances and rare cuts. It's all that and a lot more. We hope you enjoy the Decibel Geek Times for the week of 07.18.25 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back with a brand spankin' new edition of the Decibel Geek Times! Here's what Aaron's covering for us this time! Rockstar Deathdays: Remembering Jim Morrison, Arthur Kane, Jeff LaBar, and Gary Corbett. Album Anniversaries:Orchid's final EP Sign of the Witch turns 10. KoRn's back-to-basics KoRn III hits 15. Alice Cooper's Dirty Diamonds and Iommi/Hughes' Fused both turn 20.Mötley Crüe's New Tattoo hits 25, marking Randy Castillo's last album. Kyuss's final record turns 30, leading to QOTSA.35 years since Suicidal Tendencies broke through with Lights, Camera, Revolution! and Poison followed up with Flesh & Blood.AC/DC's Fly on the Wall and Lizzy Borden's debut both turn 40.UFO's Force It cover controversy happened 45 years ago.55 years since Funhouse by The Stooges, CCR's unstoppable Cosmo's Factory, and the heavy debut of Cactus. New Music:Wanted returns with Cutting Edge. Gods of Tomorrow unleash a shred-heavy debut. Laguna's Ghost of Katrina brings desert-fueled melodic rock. Madhouse delivers glam rock gold with Plead the 5th. Enuff Z'Nuff drop Xtra Cherries packed with guest appearances and rare cuts. It's all that and a lot more. We hope you enjoy the Decibel Geek Times for the week of 07.18.25 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

July 16, 2025Download the app HEREwww.TheDailyMojo.com"Ep 071625: Getting Reagan Done - The Daily MoJo"The narrative explores various intriguing topics, including the connection between seismic activity in Yellowstone and animal behavior, a fire at Area 51, and the implications of recent vaccine-related health concerns. It discusses the significance of political decisions, historical events, and the experiences of notable figures like Alice Cooper and Gene Simmons. The conversation emphasizes the need for transparency in public health and encourages individuals to seek more information about vaccine impacts.Phil Bell's Morning Update - Guess who's DECRIMINALIZING knowingly spreading the deadly HIV virus: HEREMark Joseph - Author of Making Reagan & Producer of Reagan - Joins the program to discuss his book chronicling the making of the movie starring Dennis Quaid and Mena Suvari. He also talks about the political culture and what it'll take to return to relative "normalcy".Mark's Book HERETom Haviland - Engineer & Data Analyst - Reveals the evidence he's uncovered that he says proves the jab has caused dangerous and deadly blood clots in those who received the covid vaccine. More Information - https://laurakasner.substack.com/Our affiliate partners:Take care of your body - it's the only one you'll get and it's your temple! We've partnered with Sugar Creek Goods to help you care for yourself in an all-natural way. And in this case, "all natural" doesn't mean it doesn't work! Save 15% on your order with promo code "DailyMojo" at SmellMyMoJo.comCBD is almost everywhere you look these days, so the answer isn't so much where can you get it, it's more about - where can you get the CBD products that actually work!? Certainly, NOT at the gas station! Patriots Relief says it all in the name, and you can save an incredible 40% with the promo code "DailyMojo" at GetMoJoCBD.com!Romika Designs is an awesome American small business that specializes in creating laser-engraved gifts and awards for you, your family, and your employees. Want something special for someone special? Find exactly what you want at MoJoLaserPros.com  There have been a lot of imitators, but there's only OG – American Pride Roasters Coffee. It was first and remains the best roaster of fine coffee beans from around the world. You like coffee? You'll love American Pride – from the heart of the heartland – Des Moines, Iowa. AmericanPrideRoasters.com   Find great deals on American-made products at MoJoMyPillow.com. Mike Lindell – a true patriot in our eyes – puts his money where his mouth (and products) is/are. Find tremendous deals at MoJoMyPillow.com – Promo Code: MoJo50  Life gets messy – sometimes really messy. Be ready for the next mess with survival food and tools from My Patriot Supply. A 25 year shelf life and fantastic variety are just the beginning of the long list of reasons to get your emergency rations at PrepareWithMoJo50.comStay ConnectedWATCH The Daily Mojo LIVE 7-9a CT: www.TheDailyMojo.com (RECOMMEDED)Rumble: HEREFacebook: HEREMojo 5-0 TV: HEREFreedomsquare: HEREOr just LISTEN:The Daily MoJo Channel Become a supporter of this podcast: https://www.spreaker.com/podcast/the-daily-mojo-with-brad-staggs--3085897/support.

This episode is a deep dive into the life and career of iconic rock photographer Glen La Ferman, recorded on his birthday. The discussion covers Glen's accidental entry into photography, driven by his fascination with music. They explore his famous sessions with rock legends like KISS, Eddie Van Halen, and Alice Cooper. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chart-topping bands, musicians and rappers are increasingly singing about God. Why? In this documentary episode Justin Brierley revisits the religious awakening of music stars such as Bob Dylan, Alice Cooper, Cliff Richard and U2 as veteran music journalist Steve Turner explains how faith influenced their music. Justin also speaks to TGC editor Brett McCracken about the current religious revival in rock and rap from musicians such as Stormzy, Mumford & Sons, Nick Cave and Coldplay. But there are pitfalls to being a celebrity music convert. Jon McCray (Whaddo You Meme), KD Ruslan and Nick Brewer share thoughts on the case of Kanye and the conflicted world of rap stars singing about faith. X-Factor contestant Talia Dean also shares her story of recently leaving the secular music industry after discovering something much bigger... God. 'Responding To The Rebirth' Conference: http://rebirthconference.net/ More info, book & newsletter: https://justinbrierley.com/surprisingrebirth/ Support via Patreon for early access to new episodes and bonus content: https://www.patreon.com/justinbrierley/membership Support via Tax-deductible (USA) and get the same perks: https://defendersmedia.com/portfolio/justin-brierley/ Give a one-off gift via PayPal: https://www.paypal.com/paypalme/brierleyjustin Buy the book or get a signed copy: https://justinbrierley.com/the-surprising-rebirth-of-belief-in-god/ Got feedback? Share it with us by emailing: feedback@think.faith Ep 16 show notes: https://justinbrierley.com/surprisingrebirth/season-2-episode-16-music The Surprising Rebirth of Belief in God is a production of Think Faith in partnership with Genexis, and support from The Jerusalem Trust. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kankelfritz & Friends chat about the toys they didn't get a kids along with a clip from music artist, Alice Cooper, on how God delivered him from addiction.

Send us a message! This week, King Bill and I recap the blackout era by Alice Cooper and share our favorite and least favorite songs along with a lot of opinions... This was a lot of fun to do with a great legendary behemoth of podcasting that is Bill!Support the show

In this episode of Two Shot Tuesday, we introduce our new video format and dive into our signature two shots of Jamison Triple Triple. We review the classic comedy film 'Kingpin', then shift to 'Ripped from the Headlines', where we explore intriguing topics including evolution and body parts, and Alice Cooper's involvement in saving the Hollywood sign. Dive in with us.

Bassist Dennis Dunaway was—and is—one of the key figures in the 1970s rock band, Alice Cooper. That's right, the band Alice Cooper, which recorded seven albums between 1969 and 1973 (and had such hits as "I'm Eighteen" and "School's Out") before the singer Alice Cooper (nee Vince Furnier) went on to a successful solo career. Now the surviving members of the Alice Cooper band, which was inducted into the Rock and Roll Hall of Fame in 2011, have reunited to record their first album in 52 years, The Revenge of Alice Cooper. Dunaway, described by the singer as “one of the few true surrealists that I've ever met,” reflects on what it was like finally to write and record again as a group, with producer Bob Ezrin also back. Did old tensions resurface? What's the deal with the band touring—or not touring—to support this album? (Photo by Jenny Risher.)

Ever dreamed of jamming with rock legends like Ringo Starr, Gene Simmons, or Alice Cooper? David Fishof — legendary music producer, sports agent, and founder of Rock ‘n' Roll Fantasy Camp has been making those dreams come true for 25 years and counting. On this episode of The Debbie Nigro Show, it was an absolute blast welcoming David to share his wild ride from managing NFL stars to organizing epic jam sessions for everyday rockers. (And yes, he created Ringo's All-Starr Band!) “It's my fantasy to change people's lives through the power of music,” David said. And wow, he sure is doing just that. From high-powered lawyers to high school band alumni, campers come from all walks of life to fulfill their rock and roll dreams — and leave transformed. As David shared: “Joe Perry once told a camper, ‘You're not a lawyer who plays guitar. You're a guitarist who practices law to pay for his guitars.'” You can get a good glimpse inside David's world and his Rock ‘n Roll Fantasy Camp by watching the documentary ‘Rock Camp' free on Amazon Prime. You'll see 4 rock ‘n' rollers from various walks of life getting a once in a lifetime chance to jam with their heroes and 30+ legendary musicians who've been a part of it all.  New in 2025: David's expanding the current Rock ‘n Roll Fantasy Camp experience with songwriting camps led by hitmakers like Linda Perry (“What's Up”), plus don't miss the upcoming camps in Phoenix and Fort Lauderdale featuring Alice Cooper, Rob Halford, and members of the Billy Joel Band and many more. David also spoke of a heartwarming film project spotlighting music's healing power which will air after October 7th. Now based back in New York, David Fishof is also giving back by teaching at Yeshiva University's Sy Syms School of Business, helping young people learn sports and entertainment marketing — and how to bring personality to business. “Book smarts alone don't cut it. If you can't connect, you can't close.” David's advice? Surround yourself with people better than you. Be bold. And take the shot — And You KNOW My Advice Always! Risk It! Or Regret It! “– Debbie Nigro Whether you play or just love music, Rock ‘n' Roll Fantasy Camp is a one-of-a-kind experience — and a rockin' gift idea, by the way. Listen to the full interview on The Debbie Nigro Show – shared now as a podcast and get inspired to finally live your rock dream. Who says it's too late to be a rockstar?

Send us a message! This week we revisit my review of the 1983 Alice Cooper album, DaDa, with my friend Brandon in Kentucky. My thought was that if anyone wants to hear the reviews of the four Alice Cooper blackout albums, why not have them all in order?! So here you have it! Hope you enjoy it for the first time or again! Cheers.. Support the show

The Original Alice Cooper Group is releasing their first album together in 51 years called The Revenge of Alice Cooper! On this episode we check in with equipment manager Ron Volz! Ron was the roadie behind the scenes that set up the stage with sound gear and props over the years working for the glam rock group! Ron has many stories that gives the Alice Cooper fans a different perspective of the band and how they traveled and worked as a team together to perform their theatrical rock concerts that they were best known for in the early 70's! If you loved the original band you will be entertained by Ron and his behind the scenes experiences with The Original Alice Cooper Group! Check out the latest album from the original guys in the band with "The Revenge of Alice Cooper"! 

Escucha el episodio de esta semana con Alfonso Cardenal y Manuel Recio

Mercury Rising! Turning up the heat with a theme show featuring Alice Cooper, King Kobra, Lizzy Borden, Black 'N Blue and so much more

Pour cette dernière émission de la saison, Alexis propose une soirée riche en énergie et en émotions. Franz Ferdinand ouvre la marche avec "Build It Up", en duo avec Johnny Marr. On découvre ensuite le rock alternatif de Sports Team avec "Sensible", et The Avener revisite "Masters of War" de Bob Dylan. L'album de la semaine reste celui de Bruce Springsteen, avec "I'm Not Sleeping", extrait du coffret "Tracks II: The Lost Albums". Francis Zégut mise sur Christopher Holt et son lumineux "That Magic Feeling". Côté live, ZZ Top résonne depuis le Texas avec "Just Got Paid". La reprise du jour est signée Chris Cornell, qui offre une version sombre et habitée de "Billie Jean". En conclusion, Blur clôt la soirée avec le long format "Tender", extrait de "13", leur album de 1999. Le rendez-vous est donné fin août pour une nouvelle saison. Franz Ferdinand & Johnny Marr - Build It Up Them - Gloria U2 - Vertigo Florence & The Machine - What The Water Gave Me Sports Team - Sensible The Rolling Stones - Angie The Avener & Bob Dylan - Masters Of War (The Avener Rework) Bruce Springsteen - I'm Not Sleeping Cream - White Room Christopher Holt - That Magic Feeling Pearl Jam - Alive The Hives - Paint A Picture The Undertones - Teenage Kicks Goldfrapp - Ooh Lala Eels - Flyswatter Machine Head - Bønescraper Ozzy Osbourne - Mr. Crowley Gemma Hayes - Back Of My Hand ZZ Top - Just Got Paid (Live From Texas) Fatboy Slim - The Rockafeller Skank Erasure - Stop! Chris Cornell - Billie Jean Alice Cooper - School's Out Fiona Apple - Fast As You Can Oasis - Let There Be Love Blur - Tender Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Back in 1970, inspired by the success of Woodstock, a couple of enterprising Akron lads decided to bring a rock festival to Akron. Filled with peace and love, featuring bands such as the Byrds, Canned Heat, the Rascals, Alice Cooper, and others,  the Piper Rock Festival would be one of the biggest concert events ever to happen in NE Ohio…. That is, until “The Man” got word of what was happening….. A classic tale of idealism, bureaucracy, money, rain and mud, the Piper Rock Festival is the stuff of legend. As is our guest, Ernie Passeos!  Well known in the area for his Harley-Davidson dealership and community good works, Ernie was one of those idealistic entrepreneurs trying to bring the good vibes to Akron in 1970. Join us for a hilarious and fun look back, and ahead, with the remarkable Ernie Passeos!

This week it's a show of independence. Favorites from X, Neil Young,James Brown, Prince, Alice Cooper and more. Make this the soundtrack to your Fourth. Rock. Mock. Dance. Laugh. Don't explode.

MUSICWe may not have seen the last of Aerosmith in concert. In a recent interview, Joe Perry talked about possibly touring or doing one final show.Alice Cooper will be inducted into the Radio Hall of Fame on October 30th in Chicago. He's being recognized for his syndicated shows, Nights With Alice Cooper and Alice's Attic. Deftones teased some new music before their show in London on Sunday night, posting a graphic on their video screens that used Roman numerals to spell out July 10th, 2025. Three Day Grace's "I Hate Everything About You" has joined Spotify's Billions Club for one-billion streams on the platform. Zach Top's girlfriend, Amelia, posted a video backstage of his concert with the caption, "POV: me scanning the crowd for all these wild texts chicks are holding up." And she said, "Y'all need some self-respect, for real." Nelly refuses to change his and Ashanti's new baby's diapers. · TVTOP TALK SHOWS GUESTS:Jimmy Fallon has actress Jessica Biel, actor Simon Pegg, musical guest sombrStephen Colbert has actor Mariska HargitayJimmy Kimmel has actor Sam Rockwell, musical guest Valerie JuneSeth Meyers has actor Benicio Del Toro President Trump said in an interview Sunday that a "group of very wealthy people" are buying TikTok. NASA and Netflix are teaming up with NASA+ live programming will be available where audiences will be able to stream rocket launches, astronaut spacewalks, mission coverage, and breathtaking live views of Earth from the International Space Station.Podcasts:Olivia Munn has a condition called trichotillomania, which is a compulsion to pull out your own hair. She targets her eyelashes. She explained on the recent episode of ‘Armchair Expert'. MOVING ON INTO MOVIE NEWS:Ryan Gosling puts the "not" in "astronaut" . . . his words, not mine . . . in "Project Hail Mary". Check out the trailer. Since the Fourth of July is Friday, ThePioneerWoman.com put together a list of 50 movies that are perfect to add to your watchlist. Here are 15:1. "Jaws" (1975)2. "Top Gun" (1986)3. "The American President" (1995)4. "Rocky" (1976)5. "The Sandlot" (1993)6. "An American Tail" (1986)7. "Live Free or Die Hard" (2007)8. "National Treasure" (2004)9. "Captain America: The First Avenger" (2011)10. "Apollo 13" (1995)11. "Mr. Smith Goes to Washington" (1939)12. "Air Force One" (1997)13. "Forrest Gump" (1994)14. "Hamilton" (2020)15. "1776" (1972)AND FINALLYAND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a message! On episode 301, we discuss the third of Alice Cooper's four blackout albums, 1982's Zipper Catches Skin. This one was a lot of fun to discuss and if you aren't that familiar with Alice Cooper, it's a good chance to learn about a very interesting era in his long storied career! Support the show

Arizona has been home to many musical acts — some born and raised here, others who found fame along the way. But who's the biggest artist to come out of the Grand Canyon state? Is it Alice Cooper? Stevie Nicks? Linda Ronstadt? The answer might surprise you. This week on Valley 101, a podcast by The Arizona Republic and azcentral.com about metro Phoenix and beyond, host ⁠Bill Goodykoontz teams up with Republic pop music critic and reporter Ed Masley⁠ to settle the debate. ⁠Submit your question⁠⁠⁠⁠ about Phoenix! Subscribe to ⁠⁠⁠⁠The Watchlist⁠⁠⁠⁠, our Friday media newsletter. Follow us on ⁠⁠⁠⁠X,⁠⁠⁠⁠ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ and ⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠. Guests: Ed Masley Host: ⁠⁠⁠⁠Bill Goodykoontz⁠⁠⁠⁠ Producer: ⁠⁠⁠⁠Abby Bessinger Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Nothing Shocking Podcast episode 288 with our guest Eric Dover of Sextus (Slash's Snakepit, Alice Cooper, The Lickerish Quartet, Imperial Drag, Jellyfish).  We discuss Sextus' new Hello the Mushroom EP.  We also discuss Sick Existence single by Agents of Your Demise, the band featuring Eric Dover, Stephen Chesney, Billy Sheehan, Ray Luzier, Dizzy Read; Greg Bissonette and more!   For more information visit:  https://sextus.com/ https://www.agentsofyourdemise.com/   Song  - Sick Existence   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on X at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org 

Are you still reading these silly show notes? Honestly, bless your heart. You're a true Time Machiner. Or you're just really bored at work. Anyway, on this week's episode, Dave and Milt climb into the Time Machine and rocket back to June 21, 1975 — the land of lava lamps, fringe vests, and an absolutely bonkers Billboard Top 10 Albums chart. We're talkin' Elton, Earth, Wind & Fire, The Beach Boys, and even Alice Cooper giving us all the Welcome-to-My-Nightmare vibes (spoiler: it's not a lullaby). But wait — Milt's back from Africa! That's right, our Chartmeister went on a literal safari. Lions. Giraffes. Possibly cursed sand. He's got stories, and Dave is mildly concerned for his health and sanity. Oh, and intern Jack "The Fact Machine" Nathanson drops in to host a chaotic 80s music trivia quiz that somehow leads to Warrant, Mr. Roboto, David Lee Roth, and yes, Michael Bolton co-writing a KISS song. You can't make this stuff up. The episode ends (because it has to) with the boys politely kicking some albums off the list and replacing them with stuff they actually like. Sorry, Chicago, but y'all were in your weird phase.

Currently on tour with rock legend Alice Cooper and the Hollywood Vampires Glen Sobel has played in a variety of genres including rock, hip hop, pop, metal, punk, and fusion. A seasoned pro with world tour experience, Glen has developed a reputation for being a quick study, known to learn an entire set of material in a day or record a CDs worth of songs on short notice. Glen subbed a week for Tommy Lee in Mötley Crüe on a few hours notice pulling double duty on the Crue/Alice tour. 
Recent live events have found Glen playing in the house band backing such heavyweights as Steven Tyler, Rob Halford, Weird Al, Pat Simmons & Michael McDonald of The Doobie Brothers, Sammy Hagar, Richie Sambora, Joe Lynn Turner, Night Ranger, Jonny Lang, Nils Lofgren, Sarah Mclachlan, Nuno Bettencourt, Dexter and Noodles of The Offspring, Robby Krieger of The Doors, Ke$ha, Orianthi, Johnny Depp, Mike Myers and many more. 

Other touring/recording credits for Glen include Chris Impellitteri, Jennifer Batten (Michael Jackson's guitarist), Tony Macalpine , Gary Hoey, Warner Bros recording act Beautiful Creatures (Ozzfest tour), Cypress Hill and many others. Glen has conducted and appeared at CLINICS AND DRUM FESTIVALS in many countries. He has established himself as a respected player and teacher in LA and was hired as an instructor at MUSICIANS INSTITUTE as well as contributing to DRUM! Magazine. In 2016 Glen was voted #1 Hard Rock Drummer in Drum Magazine's DRUMMIES readers poll. The past couple of years have seen nominations in hard rock / metal categories in readers polls for Modern Drummer, DRUM! Magazine and Rhythm UK Magazine. He spends much of his time in Los Angeles doing sessions for some of the music industry's top producers. His performances are dynamic and visual and his track record as a session player is impressive In this episode, Glen talks about: Touring Drumming for Alice Cooper Staying healthy Creating trust on and off stage Modernizing older songs What he learned from early recordings with Tony McAlpine The origin story of the band, The Hollywood Vampires Subbing for Tommy Lee on Mötley Crüe's farewell tour ⁠Here's our Patreon⁠ ⁠Here's our Youtube⁠ ⁠Here's our Homepage

Sam Bam KoltunHe started playing local clubs at age 12 and has since established himself as a rising guitar star with Faster Pussycat, Godsmack, Dorothy, Budderside and Crossbone Skully (featuring Alice Cooper guitarist Tommy Henriksen). Sam Bam Koltun joins us to discuss the new Faster Pussycat single, “Motorbike,” his move from St. Louis to L.A. at age 18, how he juggles multiple bands, his love of INXS and how guitar hero Nuno Bettencourt connected him with Godsmack.Created and Produced by Jared Tuten

We're talking mad science and 25 years (and counting) of horror hosting on this episode of the Fan2Fan Podcast! Dr. Gangrene (Larry Underwood) joins Bernie and Pete to celebrate over two decades of horror hosting in Nashville and beyond. The Physician of Fright has been thrilling horror and sci-fi fans with his ghoulish charm and love for all things creepy. We dive into Dr. Gangrene's origins as a horror host and his influences including Gilligan's Island, Alice Cooper, and the Cryptkeeper. We also discuss the DIY spirit behind his long-running program. From classic Universal monsters to indie horror gems, it's a fang-tastic conversation that celebrates the legacy of horror hosting and the fans who keep it alive. For more info about the Fan2Fan Podcast, visit https://fan2fan.libsyn.com

Send us a message! On this episode, we dig into the Alice Cooper album, Special Forces! This is the follow up album to last week's Flush the Fashion, the second of what we call the four Alice Cooper blackout albums. Some real surprises this week for me!  Support the show

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Alice Cooper is a good golfer. What concerts would you like to go to this summer? The Steelers have by far the highest paid defense in the NFL at $178 million.

Join us for a brand edition of Decibel Geek Times! In this episode, we remember rock legends and celebrate milestone albums across the decades. We honor the lives and music of Rick Derringer, Sly Stone, Brian Wilson, Dee Dee Ramone, Robbin Crosby, Brett Tuggle, and Vinnie Paul. Celebrating 15-year anniversaries from Ozzy Osbourne, Alice Cooper, Queens of the Stone Age, Bon Jovi, Poison, and the Nativity in Black II tribute album featuring artists like Ozzy Osbourne, Primus, Megadeth, Slayer, Monster Magnet, Godsmack, System of a Down, and Pantera. 30-year anniversaries come from Black Sabbath, W.A.S.P., and Ugly Kid Joe. 35 years ago, Bad Company released Holy Water. Turning 40 this year are albums from Megadeth and RATT. 45-year anniversaries include Accept. 50 years ago saw releases from Jefferson Starship and Uriah Heep. 55 years ago, Deep Purple and Grand Funk Railroad delivered hard rock milestones. New music out now includes releases from Inglorious, The Doobie Brothers, Volbeat, Battlesnake, and the Magic Power: All-Star Tribute to Triumph featuring Joey Belladonna, Nancy Wilson, Dee Snider, Jack Blades, Sebastian Bach, Jeff Keith, Slash and more. Upcoming releases include the deluxe box set of Load by Metallica and a new album from King Gizzard & the Lizard Wizard. We hope you enjoy Decibel Geek Times and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us for a brand edition of Decibel Geek Times! In this episode, we remember rock legends and celebrate milestone albums across the decades. We honor the lives and music of Rick Derringer, Sly Stone, Brian Wilson, Dee Dee Ramone, Robbin Crosby, Brett Tuggle, and Vinnie Paul. Celebrating 15-year anniversaries from Ozzy Osbourne, Alice Cooper, Queens of the Stone Age, Bon Jovi, Poison, and the Nativity in Black II tribute album featuring artists like Ozzy Osbourne, Primus, Megadeth, Slayer, Monster Magnet, Godsmack, System of a Down, and Pantera. 30-year anniversaries come from Black Sabbath, W.A.S.P., and Ugly Kid Joe. 35 years ago, Bad Company released Holy Water. Turning 40 this year are albums from Megadeth and RATT. 45-year anniversaries include Accept. 50 years ago saw releases from Jefferson Starship and Uriah Heep. 55 years ago, Deep Purple and Grand Funk Railroad delivered hard rock milestones. New music out now includes releases from Inglorious, The Doobie Brothers, Volbeat, Battlesnake, and the Magic Power: All-Star Tribute to Triumph featuring Joey Belladonna, Nancy Wilson, Dee Snider, Jack Blades, Sebastian Bach, Jeff Keith, Slash and more. Upcoming releases include the deluxe box set of Load by Metallica and a new album from King Gizzard & the Lizard Wizard. We hope you enjoy Decibel Geek Times and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

The Professor Frenzy Show Episode 362 Blood Type #1 (EC Comics) from Oni Press  |  Writer(s):Corinna Bechko   | Artist(s):Andrea Sorrentino  |  $4.99 Conan The Barbarian Vol 5 #21  from Titan Comics  |  Writer(s):Jim Zub  | Artist(s):Fernando Dagnino  |  $3.99 Hello Darkness #11  from BOOM! Studios  |  Writer(s):RL Stine  |  Artist(s):Francesco Francavilla  |  $5.99 Something Is Killing The Children #42  from BOOM! Studios  |  Writer(s):James TynionIV  |  Artist(s):Werther Dell Edera  |  $4.99 MAD magazine #44 (W/A The usual gang of idiots) $5.99 - salute to Superman Toxie Team Up #1  from Ahoy Comics  |  Writer(s):Mark Russell  |  Artist(s):Richard Pace | $3.99 I Hate Fairyland Vol 2 #41  from Image  |  Writer(s):Skottie Young  |  Artist(s):Derek LaufmanJean Francois BeaulieuNate Piekos  |  $3.99 Free Planet #2 from Image Comics (W) Aubrey Sitterson (A) Jed Dougherty $3.99  The Future is ****** #2 (60 issue limited series) from Rekcah Comics (W) Fred Van Lente  (A) Ennio Bufi  $4.04  - F'd?  Redacted?  Censored?   Transformers Vol 5 #21  from Image  |  Writer(s):Daniel Warren Johnson  | Artist(s):Jorge Corona Mike Spicer  |  $3.99 This Week's Best Comic Books Blood and Thunder #2 from Image Comics (W) Benito Cereno (A/CA) E.J. Su, Michele Msassyk Assarasakorn  $3.99  G.I. Joe #8 from Image Comics (W) Joshua Williamson (A) Andrea Milana, Lee Loughridge $3.99  Vatican City #3  from Dark Horse  |  Writer(s):Mark Millar  |  Artist(s):Per Berg  |  $5.99 Bug Wars #5  from Image  |  Writer(s):Jason Aaron  |  Artist(s):Mahmud Asrar  |  $4.99 Exquisite Corpses #2  from Image  |  Writer(s):Michael Walsh James Tynion IV  | Artist(s):Marianna Ignazzi Michael Walsh  |  $4.99 I Was A Fashion School Serial Killer #3  from Image  |  Writer(s):Doug Wagner  | Artist(s):Daniel Hillyard  |  $3.99 Phantom Road #13 from Image  |  Writer(s):Jeff Lemire  |  Artist(s):Gabriel Hernandez Walta Jordie Bellaire  |  $3.99 Benjamin #1  from Oni Press  |  Writer(s):Ben H. Winters  |  Artist(s):Leomacs  |  $5.99 Epitaphs From The Abyss #12  (EC Comics) from Oni Press  |  Writer(s):Chris Condon  |  Artist(s):Tyler Crook  |  $4.99 Last Witch Blood And Betrayal #1  from BOOM! Studios  |  Writer(s):Conor McCreery  |  Artist(s):VV Glass  |  $5.99 Money Shot Big Bang #2  from Vault Comics  |  Writer(s):Tim Selley  |  Artist(s):Garth Graham  |  $4.99 Nostalgia Marvel Premiere #50 (featuring Alice Cooper); cover dated Oct.'79, cover priced 40 cents  This week's that guy that was in that show is  Val Biosoglio Twilight Zone: The Thirty Fathom Grave, Season 4 Episode 2 Featured music Stock; most cues from "The Invaders", Original air date January 10, 1963

Buck Johnson is a Singer, Songwriter and Multi-Instrumentalist who tours with Ringo Starr's All-Starr Band, Aerosmith, The Joe Perry Project and The Hollywood Vampires (Johnny Depp, Alice Cooper, Joe Perry). He's also toured with the Doobie Brothers. As a songwriter he co-wrote Carlos Santana's hit song “Just Feel Better” and he had a bunch of country hits with the band Whiskey Falls.My featured song is my reimagined version of The Beatles' “I Wanna Be Your Man” which I renamed “I Wanna Be Your Girl” because my band, Project Grand Slam, had a female singer. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH BUCK:www.buckjohnson.com________________________ROBERT'S RECENT SINGLES:“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Nita Strauss is a Los Angeles born guitarist who has toured around the globe, playing with musical artists like Demi Lovato and Alice Cooper, while releasing two solo albums Controlled Chaos (2018) and The Call of the Void (2023). She was also the first female to have a signature guitar through Ibanez guitars, the Ibanez JIVA. We spoke with Nita about her creative process, both in her instrumental work and collaboration with vocalists, asked about the inspiration for the song The Wolf You Feed feat. Alissa White-Gluz and how the meaning of the song has resonated since its release. Nita Strauss Website @hurricanenita@thewolfconnectionpod