Podcasts about Average White Band

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

A singer, songwriter and multi-instrumentalist, Eliot Lewis has toured the world over as a member of the Daryl Hall & John Oates band, as well as a former member of The Average White Band. Eliot has also been the only musician to appear on every episode of Daryl Hall's popular, "Live From Daryl's House” show all while keeping his own solo career going at a seemingly impossible pace. Over the course of his career he has worked with the music business' elite including, Billy Gibbons (ZZ Top), Joe Walsh, Sammy Hagar, Todd Rundgren,Train, Cheap Trick, Grace Potter,  Squeeze, Rob Thomas,  Jason Mraz, Darius Rucker, Gavin DeGraw and many, many others. Having mastered four instruments over the course of his career; guitar, keyboard, bass and drums, Eliot's shows will find him moving from one instrument to another. Equally at home in front of 100 or 15,000, Eliot has performed on the worlds most legendary stages, including Madison Square Garden, Japan's Budokan, Red Rocks, The Hollywood Bowl, Carnegie Hall as well as Late Night with Jimmy Fallon, Conan O'Brien, The Today Show, Jimmy Kimmel Live and many others. Eliot has carved out his own distinctive musical brand and sonic landscape and has written, performed and produced ten solo releases. There are many who shaped Eliot's music and writing. As a guitar player, definitely Jeff Beck who I've been listening to all my life, as well as Billy Gibbons who I had the great fortune of working with recently, and Peter Frampton who I actually jammed with when I was 14 yrs old. I had the amazing experience of meeting and seeing many influential artists when I was a kid mainly at Madison Square Garden in New York City. To Purchase tickets to the Limited Seating WESTPORT, CT show click on linkhttps://www.ticketleap.events/tickets/wwweliotlewiscom/eliot-lewis-live-in-westport-ct-444213059 For more on Eliot's tour log onto the website link belowhttps://eliotlewis.com/shows

5 numre af nyere dato fra de gamle kæmper: Tower Of Power, George Duke og Average White Band. De kan denondelynemig stadig funke på den store klinge!

This week on the Rockonteurs podcast Guy and Gary welcome guitarist, bassist, singer and producer Hamish Stuart to the podcast. Hamish is also an original member of the Average White Band. Hamish talks about his musical influences, his incredible (and much sampled) work with the AWB and his long career and friendship with Ringo Starr. Instagram @averagewhiteband @rockonteurs @guyprattofficial @garyjkemp @gimmesugarproductions Listen to the podcast and watch some of our latest episodes on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursTikTok: https://www.tiktok.com/@therockonteursProduced for WMG UK by Ben Jones at Gimme Sugar Productionswww.gimmesugar.co.uk Hosted on Acast. See acast.com/privacy for more information.

This week on the Rockonteurs podcast Guy and Gary welcome guitarist, bassist, singer and producer Hamish Stuart to the podcast. Hamish is also an original member of the Average White Band. Hamish talks about his musical influences, his incredible (and much sampled) work with the AWB and his long career and friendship with Ringo Starr. Instagram @averagewhiteband @rockonteurs @guyprattofficial @garyjkemp @gimmesugarproductions Listen to the podcast and watch some of our latest episodes on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursTikTok: https://www.tiktok.com/@therockonteursProduced for WMG UK by Ben Jones at Gimme Sugar Productionswww.gimmesugar.co.uk Hosted on Acast. See acast.com/privacy for more information.

HERE WE GO MY SHOW FOR 22-MAY-2025 WITH A MIXED BAG OF OLD CLASSICS INCLUDING ( JENNY BURTON, STEPHANIE MILLS, EARTH WIND & FIRE, CHANGE, THE AVERAGE WHITE BAND, THE JACKSONS  ) AND MANY MORE ALSO SOME TOP NEW TRACKS FROM ( TY CAUSEY, GEORGIE B & THE GROOVE ASSOCIATION, THE CHESNUT BROTHERS  ) WE ALSO HAVE THE CONNOISSEURS CORNER ( THIS WEEK WE HAVE KIRK WHALUM AND KIM WATERS) AND WE HAVE THE BACK TO BACK CLASSICS BY A CLASSIC ARTIST (THIS WEEK WE HAVE  AZYMUTH ) THEN WE HAVE THREE TRACKS DUG OUT FROM THE GARAGE FROM ( JIMMY HELMS, THE STYLISTICS, GLADYS KNIGHT & THE PIPS )  AND MUCH MUCH MORE SIT BACK WITH A GLASS OF SOMETHING AND ENJOY OR DOWNLOAD FOR LATER

Welcome to On THE ONE . . . and Done! This is the new show that celebrates the greatest funk songs ever created. Please be sure to like, comment and share the show, and set your alert notifications so as to never miss a video. Thank you very much for your interest and support!   Featured in OTOAD Episode 9: “School Boy Crush” (1975) by Average White Band. Your tour guide for this affair is Scott “DR GX” Goldfine – lifelong funkateer, disc jockey, music journalist, author of Everything Is on THE ONE: The First Guide of Funk, and producer of TRUTH IN RHYTHM and Where'd You Get Your Funk From? Special thanks to P T F I for providing the theme music. Please drop down in the comments what other songs you would like featured on this program. Support the artists and musicians featured in this episode by purchasing their recordings and attending their performances (if applicable). https://www.amazon.com/b?_encoding=UTF8&tag=funknstuff-20&linkCode=ur2&linkId=7c3da202bf596f575ff2c2313ee3e209&camp=1789&creative=9325&node=163856011 TRUTH IN RHYTHM Show: https://funknstuff.net/watch-truth-in-rhythm-music-interview-show/tir-episodes-directory/ Where'd You Get Your Funk From?: https://funknstuff.net/wygyff-overview/ Website: Funknstuff.net Email: ScottG@funknstuff.net Merch: https://www.teepublic.com/stores/funknstuff Everything Is on the One: The First Guide of Funk Book:  https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400 Patreon:  https://www.patreon.com/c/TRUTHINRHYTHM  Donations: Help Support FUNKNSTUFF! Paypal: funknstuff.net@gmail.com Venmo: @Scott-Goldfine This is a review, analysis and appreciation video used to educate, evaluate, lend insights and stimulate comment on the songs and artists.  COPYRIGHT DISCLAIMER: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS. LEGAL NOTICE: All original video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281).

Hey guys, Debbie Nigro here — and if you're anything like me, you're holding on to hope, love, and music to lift your spirits… in spite of it all. That phrase — “in spite of it all” — felt like the perfect segue into one of the most meaningful and emotional conversations I've had in a long time on The Debbie Nigro Show. I had the honor of welcoming the incredible Wayne Warnicke, a legendary music producer who was diagnosed with ALS in 2022, and his powerhouse of a wife, the talented and soulful Vaneese Thomas. Together, they are the heartbeat behind Musicians United for ALS, a one-night-only benefit concert packed with iconic talent — all coming together to raise funds for ALS research and patient support.   Meet Wayne & Vaneese: They Brought Such Great Energy to the Show. Theirs Is a Love Story in Music and Resilience Wayne's story is one of deep passion and remarkable perseverance. From starting as a drummer at age 9 to producing legends like Bob James, Luther Vandross, and David Sanborn, Wayne's music journey has been nothing short of epic. He fell in love with the studio life as a teenager walking into Minot Sound in White Plains — and never looked back. And then there's Vaneese. A force of nature. A blues powerhouse. A woman who met Wayne in the studio and never left his side. Now, she's not only singing the blues, but she's also living with love and lifting Wayne every step of the way. “She does everything,” Wayne said, with humor in his voice and gratitude in his heart. “I'm a lot of work,” he chuckled. And yet, his spirit is unstoppable.   Mark your calendars: April 15th at the Concert Hall at SUNY Purchase. This ADA-compliant venue will welcome a phenomenal lineup of artists, many of whom have deep personal ties to Wayne: Patti Smythe of Scandal Paul Shaffer of Late Show with David Letterman fame Average White Band (hello, 70s groove!) Lisa Fisher, Grammy-winning vocal goddess James "D-Train" Williams Bob James (another Grammy legend!) Ed Palermo Big Band Bernie Williams, yes, THAT Bernie from the Yankees Rising local star Elsa, guitar virtuoso Gil Parris, and more! And hosting the evening? None other than Vinnie Pastore of The Sopranos — you know it's going to be a blast. The musical direction is in the expert hands of Rob Mathes, a Kennedy Center Honors-level arranger and a dear friend of the couple. Plus, yes — there will be cocktails and hors d'oeuvres starting at 5:30pm, all included in your ticket!   Why This Matters ALS, also known as Lou Gehrig's Disease, is cruel, mysterious, and currently incurable. Wayne's journey with ALS began when he couldn't quite stand up straight… then swimming got harder… and eventually, the diagnosis came. But rather than retreat, Wayne has rallied. He's using his voice — and his incredible connections — to shine a light and raise funds. As he put it, “If life hands you lemons, make lemonade.” This event is about music, yes. But it's also about love, awareness, accessibility, and hope. The funds raised will go directly toward research and patient support, and the energy in the room will be unforgettable.   Get Your Tickets or Donate Now! Visit Musicians United for ALS to buy your tickets or make a donation. (Yes, it's tax-deductible!) Show Wayne, Vaneese, and the entire ALS community that they are not alone.   Final Thoughts  You know, some people just have that light. Wayne and Vaneese are those people. Their love, their strength, their humor, and their commitment to turning a difficult diagnosis into a night of celebration… it's just extraordinary. I promise you'll be inspired listening to them both in this podcast of our live conversation on The Debbie Nigro Show. 

Juliet and Terence with: a quiz for hooligans; Peter Kay and heckling; insuring old rockers; love for Average White Band; and farewell to Rick Buckler. {possession of a pyrotechnic}

HERE WE GO MY SHOW FOR 20-FEB-2025 WITH A MIXED BAG OF OLD CLASSICS INCLUDING ( THE JONES GIRLS, GWEN MCCRAE, MISTIC MERLIN, CRYSTAL GRASS, THE AVERAGE WHITE BAND, TEDDY PENDERGRASS   ) AND MANY MORE ALSO SOME TOP NEW TRACKS FROM ( DOWN TO EARTH, NORMA JEAN WRIGHT, KIM TIBBS, JESSIE LANE POWELL) WE ALSO HAVE THE CONNOISSEURS CORNER ( THIS WEEK WE HAVE URBAN JAZZ COALITION AND MARION MEADOWS) AND WE HAVE THE BACK TO BACK CLASSICS BY A CLASSIC ARTIST (THIS WEEK WE HAVE TWO TRACKS FROM EVELYN CHAMPAGNE KING ) THEN WE HAVE THREE TRACKS DUG OUT FROM THE GARAGE FROM ( THE STYLISTICS, SOLOMAN BURKE, BEN E KING )  AND MUCH MUCH MORE SIT BACK WITH A GLASS OF SOMETHING AND ENJOY OR DOWNLOAD FOR LATER

BMS Funky Stuff Vol.2   Today's episode mostly captures that deep down dirty funk & rhythm from basement parties of the past to the golden era of Soul Train.Featuring Kool & The Gang, James Brown, The Fatback Band, Rufus, L.T.D., The Average White Band, and many more!DJ Rhythm Dee hosts a recurring segment known as the Black Magic Sounds. The show will feature the smooth grooves of Neo-Soul, Funk, R&B, Jazz, as well as Disco, Soulful House, Slow Jams, Reggae, and anything that moves you. It's all about feeling the music and hearing some tracks that were forgotten or entirely new to you.Remember when music was Music! PLAYLIST1. FUNKY STUFF/ KOOL & THE GANG2. SHACK UP/BANBARA3. HAPPY PEOPLE/TEMPTATIONS4. 7-6-5-4-3-2-1 BLOW YOUR WHISTLE/ GARY TOMS EMPIRE5. OUTTA SPACE/BILLY PRESTON6. FIGHT THE POWER/ISLEY BROTHERS7. YUM YUM (GIMME SOME)/FATBACK BAND8. CUT THE CAKE/AVERAGE WHITE BAND9. SUPERBAD/JAMES BROWN10. TIGHTEN UP/ARCHIE BELL & THE DRELLS11. FUNKY NASSAU/THE BEGINNING OF THE END12. WE PARTY HEARTY/L.T.D.13. I DON'T LOVE YOU ANYMORE /TEDDY PENDERGRASS14. DANCE WIT ME/RUFUS15. DROP THE BOMB/TROUBLE FUNK16. UP FOR THE DOWN STROKE/PARLIAMENT17. JUNGLE FEVER/CHAKACHAS

Among Average White Band's hits are "Pick Up the Pieces," the 1974 song that highlights the group's funk and soul sound. The band's final performance is this Friday in St. Louis and ahead of that show, saxophonist Fred Vigdor reflects on his 28-year tenure with the group and its influence on hip-hop culture.

Among Average White Band's hits are "Pick Up the Pieces," the 1974 song that highlights the group's funk and soul sound. The band's final performance is this Friday in St. Louis and ahead of that show, saxophonist Fred Vigdor reflects on his 28-year tenure with the group and its influence on hip-hop culture.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Edición especial que dedicamos a música compuesta por David Foster: es la segunda y el primer monográfico es el número 1690 de este podcast. Escuchamos temas creados por Davis Foster e interpretados por Airplay, Earth, Wind & Fire, The Emotions, Herbie Hancock, Boz Scaggs, Lou Rawls, Deniece Williams, Bill Withers, Carole Bayer Sager, Average White Band, The Brothers Johnson y The Manhattan Transfer.

Send us a textWatch the video version HERE.Del describes living through Milton and the aftermath. Dave reads an excerpt from a note from his friend, Pete, who also sheltered in place. A lot of people are now reassessing what is important and what isn't. Many find comfort in the day-to-day routines.Dave reads an excerpt from the essay Using Ritual to Find Meaning by Kevin Lawrence, who blogs under the pseudonym Ragged Clown. Read the entire essay as Dave didn't do it justice and tell us what you think. If you want to see a whole lot more of his writing, go to his Ragged Clown blog. You won't be disappointed.Stump the Buck is back as Dave gives Del a toughie that he found on a short video clip somewhere out there. Send in your answer. First fifty correct answers win a TFT [totally fungible token] of Del's stovetop art. We'll give the correct answer in our next episode.This week's bonus track is Pick Up the Pieces by Average White Band. Why? Because Dave saw the Scottish funk band live in Sarasota last night and they were spectacular. They've been doing this for over fifty years and this is their last tour, with ten cities to go. And they donated all their tee-shirt sales to Hurricance Milton victims.  Give us your thoughts: BUCKSTWOOLD@GMAIL.COM Find us on FacebookLeave a Voice message - click HEREWHAT ARE YOU GOING TO DO WITH THE REST OF YOUR LIFE?

A celebration of Funk music - Some great songs from the Funk genre including Stevie Wonder, The Commodores, Isaac Hayes, Marvin Gaye, War, Average White Band and many others. Broadcast on OAR 105.4FM Dunedin www.oar.org.nz

Eliot Lewis was with Hall&Oates for almost 20 years...and we had to ask him if he had seen the break up coming....also we chat about his experience working on the show LIVE FROM DARYL'S HOUSE and his current solo tour! Eliot is a singer, songwriter and multi-instrumentalist, and has toured the world over as a member of the Daryl Hall & John Oates band, as well as a former member of The Average White Band. Eliot has also been the only musician to appear on every episode of Daryl Hall's popular, "Live From Daryl's House” show all while keeping his own solo career going at a seemingly impossible pace. Over the course of his career he has worked with the music business' elite including, Billy Gibbons (ZZ Top), Joe Walsh, Sammy Hagar, Todd Rundgren, Train, Cheap Trick, Grace Potter,  Squeeze, Rob Thomas,  Jason Mraz, Darius Rucker, Gavin DeGraw and many, many others. Having mastered four instruments over the course of his career; guitar, keyboard, bass and drums, Eliot's shows will find him moving from one instrument to another. Equally at home in front of 100 or 15,000, Eliot has performed on the worlds most legendary stages, including Madison Square Garden, Japan's Budokan, Red Rocks, The Hollywood Bowl, Carnegie Hall as well as Late Night with Jimmy Fallon, Conan O'Brien, The Today Show, Jimmy Kimmel Live and many others.Here is Eliot's website for more info on shows!https://eliotlewis.com/shows https://eliotlewis.com/ Here's a couple of Eliot's songs "What We Make It" and "Anything is Possible" on YouTube!  https://www.youtube.com/watch?v=555KY3VZHg4https://www.youtube.com/watch?v=TahRXZHuYy8

Dancefloor Memories with Patrick Hawkins, over 60 Minutes of Disco, Soul and Funk Podcast. Classic tracks, Dancefloor fillers from, Tom Browne, The Average White Band, Isaac Hayes, Rose Royce, and new tracks from, Rob Hardt ft Mr Maph and David A Tobin, Joyce Spencer, Cathy Segal Garcia, Dee Dee Simon. This week TWO tunes of the week come from Norma Jean Wright (Alex Di Cio Mix) and Kenny Thomas, more classic tracks from Central Line, The Isley Brothers and Jt Taylor. Just settle down with a long drink and chill or boogie around your kitchen to tracks others would never dream of playing! Spread the word, give me a like and follow my Podcasts. Much Love Pat

In the latest recap episode, Len and Beave talk MLB and its start-up post All-Star Break. Len wears his Kyle Hendricks jersey to the Cubs game and gets heckled by a complete stranger. They also talk about the Angel Reese effect on Chennedy Carter, Chicago's terrific win over the Las Vegas Aces, and what the Olympic break will mean for the team. Len reviews Audioslave's second album, the movie "Nacho Libre", and the hits of Average White Band! Tune in now for the most definitive content on Average White Band!

It's become a summer ritual for many Coloradans. More than four decades of music, emanating through the crisp mountain air. The 41st Annual Winter Park Jazz Festival returns this weekend, featuring artists Anthony Hamilton, Stokely, Average White Band and Lalah Hathaway, to name a few. Becky Taylor is the longtime emcee and arguably the face of the fest. Tracy and Stephanie Williams, sisters who live in Aurora, have been faithful attendees for years.

Send us a Text Message.A nice compilation of arguably the purest blue eyed funk/soul band ever created! The Average White Band!

Mane, look! You are all the best supporters around. You make our job easy. If anything, you just remind us to simply "get busy." With that said, let us do just that--- get busy. In this episode, we do our best to stretch it out with new jams, the first being a wonderful funk groove from bass man/singer/songwriter Dwayne "Mononeon" Thomas, a wonderful midtempo groove from Toronto's own, a great band called The Free Label, a dope dance floor number from Tampa's own Amaria McGee, and a lovely slow jam from the duo of Anderson Paak and Knowledge aka Nx Worries. Of course, you know we have the classics, Fatback Band comes through, along with Average White Band, The Meters, Marvin Gaye, After 7, Patti Labelle, and the list goes. Excuse our lateness, we've been busy in the background the last week or so, yet we're glad you're here rocking with us. If you have a request, by all means, drop us a line at greatsoulradio@gmail.com. Thanks as always for tuning in, and remember--- Tell a friend, to tell a friend, to tell a friend, all about The Throwback Lounge W/Yours Truly, Ty Cool. It's not just a show---- IT'S AN EXPERIENCE!! 1 LOVE ;) LEAD-IN CUT: LOVE IS THE KEY- MAZE FEAT. FRANKIE BEVERLYOPENING CUT: TOO TIGHT- CON FUNK SHUN1. JELLY ROLL- MONONEON2. GUESTLIST - MINK SLIDE3. 2ND TIME AROUND - TUXEDO4. LOVE COME DOWN- EVELYN CHAMPAGNE KING5. BACKSTROKIN' - FATBACK BAND6. CHANGE YOUR MIND- THE FREE LABEL7. HYPOTHETICALS- LAKE STREET DRIVE8. IF YOU EVER NEED TO CRY- BRAINSTORM9. ATLANTIC AVENUE- AVERAGE WHITE BAND10. BE MY LADY- THE METERS11. BEGGIN' - AMARIA12. LUXURY: COCOCURE- MAXWELL13. BELIEVE IN LOVE (PHAT PHILLY REMIX) - TEDDY PENDERGRASS14. TREAT U RITE - ANGELA WINBUSH15. CAN'T STOP - AFTER 7 (12" BIG FUN MIX)16. BE THANKFUL FOR WHAT YOU GOT (FIRE & DESIRE MIX)- SOUL MESSENGERS17. STEPPIN' OUT MY LOVE- SOULFUSIONSEVEN18. IT'S GONNA BE ALRIGHT (NIGEL LOWIS REMIX)- MAYSA & PHIL PERRY W/KIM WATERS & CHRIS DAVIS19. LET ME BE THE ONE - MARC STAGGERS & NIGEL LOWIS20. HONEY- BRANDON BROWN COLLECTIVE & KIKI KYTECHAMPAGNE HOUR21. FROM HERE- Nx WORRIES FEAT. OCTOBER LONDON & SNOOP DOGG22. MY LAST CHANCE- MARVIN GAYE23. I LOVE YOU SECRETLY- THE MIRACLES24. LET ME SHOW YOU (HOW MUCH I REALLY LOVE YOU)- THE O'JAYS25. SAY YOU (WOULD LOVE ME TOO)- THE WHISPERS26. PROMISE YOU LOVE- CON FUNK SHUN27. EARN IT- CORNELL "C.C." CARTER28. YO AND ME- TRISH ANDREWS29. YOU TAKE MY BREATH AWAY- MIRACLE THOMAS30. BEAUTIFUL- TWEET31. LOVE, NEED & WANT YOU- PATTI LABELLE32. SIDE BY SIDE- I.N.D. 33. WHEN YOU NEED ME- WILL DOWNING FEAT. CHANTE MOORE34. I'LL DO WHATEVER- IMPROMP235. STAY AWHILE- LO KEY36. IN MY ROOM- READY FOR THE WORLD37. TOUCH YOU- AL B. SURE38. RIGHT & A WRONG WAY- KEITH SWEAT39. SATISFIED WITH LOVE- HERBIE HANCOCKCLOSING CUT: I GOT THE LOVE- STARPOINT 

This week, Pete hits hard with new music coming from The Stance Brothers, Joe Tatton Trio, Thee Marloes & one from Bobby Oroza. There are classic funky, soulful vibes from Gwen McCrae, Charles Earland, The Jazz Apostles and Lonnie Liston Smith. With the Euros kicking off tonight, we have Germany vs Scotland repped by The Poets Of Rhythm and the Average White Band. There are also birthday celebrations for Linda Clifford and for Junior Walker.For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Fridays from 10 AM - 12 PM EST / 3 - 5 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Dear Funky Groove fans! I am so excited to introduce you to my latest mix: “DJTOTO goes Funky Groove Vol. 11”!

Send us a Text Message.Ever wondered what really happens behind the bar at your favorite local hangout? Join us for a side-splitting episode at the Madhouse Bar and Grill, where we recount the hilarious return of a patron named Sway after his infamous altercation. We'll take you through the daily grind of bartenders like Hector, whose mood swings have become a running joke amongst the staff. This episode is packed with laugh-out-loud stories and an unfiltered look at what it's like to be on the other side of the bar.Our conversation then shifts to the incredible makeover of a local basketball court that turned into a grand community celebration. What started as a simple art project evolved into a symbol of unity and pride, complete with "Lorraine Proud" decals. We'll also reminisce about the good old days of booking legendary musical acts like the Marshall Tucker Band and the Average White Band, while musing on the ever-changing landscape of country music and the possibility of high-end country bars in different regions.Get ready for a whirlwind of topics as we tackle everything from LGBTQ+ cultural symbols and Hollywood acting talent to Shaquille O'Neal's latest antics and the eerie predictions of "The Simpsons." We wrap up with a heartfelt discussion on the decline of industrial cities like Lorraine and Youngstown, capturing both their former glory and present-day challenges. Whether you're here for the laughs or the deep dives, this episode has something for everyone.Support the Show.We want everyone to enjoy the show and really appreciate your feed back

How about a little funky soul to put you in the right spot.Well, what are you waiting for?This episode features grooves from Pleasure, Creative Source, Slave, October London, Average White Band, and many more!DJ Rhythm Dee hosts a recurring segment known as the Black Magic Sounds. The show will feature the smooth grooves of Neo-Soul, and Jazz, as well as Funk, R&B, Disco, Soulful House, Slow Jams, and anything that moves you. It's all about feeling the music and hearing some tracks that were forgotten or entirely new to you.Remember when music was Music!1. Let Me Be The One/Pleasure2. You Pulled a Switch/Switch3. This Happy Feeling/G.Q.4. Do You Like It/B.T. Express5. Dance Band/Donald Byrd6. The Party Song/ Slave7. Got The Love/Average White Band8. The Mind's Eye/Remy Shand9. That's All I Wanted From You/Jalen Ngonda10. Lover's Interlude/October London11. I'm In Love (And I Love The Feeling)/Rose Royce12. While I'm Alone /Maze f/Frankie Beverly13. Who Is He And What Is He To You/Creative Source14. Hi-Jack/ Herbie Mann15. Let's Clean Up The Ghetto 12" Version/The Philadelphia International All-Stars16. Brick City/Brick17. Magic/Mass Production

HERE WE GO MY SHOW ON SOUL LEGENDS RADIO 21-MAY-2024 , TWO HOURS OF QUALITY TUNES FOR YOUR LISTENING DELIGHT INCLUDING THE PASADENAS, AVERAGE WHITE BAND, SHARON REDD, PEOPLES CHOICE, HEAVEN & EARTH, SYBIL THOMAS AND MANY MORE PLUS TWO NEW TRACKS FROM VICTOR HAYNES NEW ALBUM .ENJOY OR DOWNLOAD FOR LATER WITH A GLASS OF SOMETHING XX 

Dancefloor Memories with Patrick Hawkins, over 60 Minutes of Disco, Soul and Funk Podcast. Classic tracks, Dancefloor fillers from, The Stylistics, Philly Cream, Players Association, Randy Crawford, Timmy Thomas, new tracks from, Vince Broomfield, Terri Green (Rob Hardt Remix) Kingsman Dazz Band and Two tracks from the new album from David Morales (Sunday Mass Vol 1), and more classic tracks from The Average White Band, Kool and the Gang and Donald Byrd. Just settle down with a long drink and chill or boogie around your kitchen to tracks others would never dream of playing! Spread the word, give me a like and follow my Podcasts. Much Love Pat

hello people, immerse yourself in the world of funk with DJTOTO's latest compilation that takes you on a journey through classic grooves and modern beats. Funky Groove Vol 9 is a carefully curated selection that combines the best of both worlds. Tracklist: Third World – Now That We Found Love (FF Edit): A timeless classic, reimagined with a fresh funk flair that will get the dance floor shaking. Alexis Victoria Hall, Jamie Van Goulden, Nick Hussey – Wanna Be (Yam Who? & Jaegerossa Extended Mix): A dynamic collaboration that brings new energy to the funk scene with its extended mix. Ministry Of Funk, Dj Hat - Desire (Deep Groove Mix): A deep groove that captures the essence of funk and reinterprets it with a modern twist. Average White Band – Let's Go Round Again (FF Edit): The classic sound of the Average White Band, reworked to keep the spirit of funk alive. Luther Vandross – Are you using me? (Original Mix): A soulful number by Luther Vandross that touches the listeners' hearts with its original mix. With “DJTOTO goes Funky Groove Vol 9” you don't just get music, you get an experience that moves you with every beat and enchants you with every melody. Get ready because when DJTOTO spins the turntables, it's time to feel the soul of funk!

In this episode Adam Deitch and Borahm Lee (together as Break Science) talk about their live setup, favorite gear and software, experiences on the road and performing with Pretty Lights, tips for artists and musicians pursuing a music career, and more.  Adam Deitch is a 4-time Grammy-Nominated drummer, songwriter, and producer. His long tenures with historic acts like Average White Band, John Scofield, Wyclef Jean, and Pretty Lights have taken him around the world as a touring drummer. Adam continues to play with his Grammy-nominated band Lettuce and EDM/live hybrid group Break Science. Deitch is also known as a featured clinician at esteemed drum events like PASIC and Modern Drummer Festival, and has a subscription-based drum education website, www.DeitchAcademy.com, with in-depth lessons from beginner to advanced lessons. Borahm Lee is a versatile producer and keyboardist known for Break Science and the Pretty Lights Live Band, having toured with big names like Kanye West, Lauryn Hill, and Matisyahu. He's a pivotal figure in electro soul, pushing boundaries in jazz through various live outfits. Lee's debut solo album, "Echoic Memory," showcases a raw and introspective side of his artistry, blending hip-hop, jazz, soul, and electronica.  FOLLOW ADAM: www.deitchbeatsdontquit.com www.instagram.com/deitchadam www.deitchacademy.com FOLLOW BORAHM: www.instagram.com/borahm.leewww.breaksciencemusic.com SPONSORED BY BABY AUDIO Baby Audio creates incredible instruments and effects plugins. They released a big update to the cult classic BA-1 synth that includes an all-new, separate effects strip plugin based on its 80s-inspired effects section. Current owners get a free upgrade, or grab a limited-time 51% off their website right now. Go to:  ⁠⁠⁠⁠⁠https://link.babyaud.io/AMP⁠⁠⁠ Get an additional 15% off with code: AMP15

Hello Basementeers...Ok here we are again with a new round of shows we have been worked on the last few months while we went underground...yes we have made a few shows over the last 4 months, we just need to get the post editing finalized...then...we post... thank you all for waiting so patiently !!!.Ok we have a show that's unique in it's own way. The songs picked out for this show are longer songs, nothing under 6:08 in length of time.  Yes long songs.We have songs by: Frank Zappa / Bob Seger / Yes / Golden Earing and Genesis.So if you just want to sink into a song that lasts a good long time, here is a show you will enjoy.Intro: Dr. Fine-Bob Seger1. Show Your Love-The Image  6:202. Are You Receiving Me-The Golden Earing  9:323. South Side Of The Sky-Yes  8:044. Return Of The Giant Hogweed-Genesis  8:095. Hooked On Love-Grand Funk Railroad  7:116. Nostradamus-Al Stewert   9:467. River Deep, Mountain High-Bob Seger  7:268. Spoonful-Cream  16:449. 50/50-Frank Zappa  6:0810. T.L.C.-Average White Band  8:0911. The Hat-Quicksilver Messenger Service  10:0312. When The Music's Over-The Doors  11:00   

This week's guest is Brian Dunne. Brian is the current drummer for Hall & Oates as well as the house drummer for Live From Daryl's House. Everything Brian plays sounds like a pre-produced groove and it's no wonder that he's held the throne behind so many incredible musicians…including but certainly not limited to Joe Walsh, Ben Folds, Allen Stone, Average White Band, Cee Lo Green, Sting, Michael Brecker, Chaka Khan, Hesekiah Walker and many more. His pocket is insane and all of the information in today's episode is coming from someone who KNOWS about studio drumming. I hope you enjoy the 5 records that helped shape Brian Dunne into the drummer he is today. Cheers! BRIAN'S BIG FAT FIVE  Album - What We Do Artist - John Scofield Release Year - 1993 Key Track(s) - Camp Out Drummer - Bill Stewart - Album - Upfront Artist - David Sanborn Release Year - 1992 Key Track(s) - Snakes Drummer - Steve Jordan - Album - Plantation Lullabies Artist - Meshell Ndegeocello Release Year - 1993 Key Track(s) - I'm Diggin' You - Like an Old Soul Record Drummer - Programmed David Gamson - Album - The Best of Earth Wind and Fire Artist - Earth Wind and Fire Release Year - 1978 Key Track(s) - Fantasy Drummer Maurice White, Fred White, Ralph Johnson - Album - Stomping at the Savoy Artist - Rufus and Chaka Khan Release Year - 1983 Key Track(s) - Tell Me Something Good Drummer - JR Robinson - HONORABLE MENTION: Album - Closer To The Light Artist - Leni Stern Release Year - 1990 Key Track(s) - Sandbox Drummer - Zack Danziger / Dennis Chambers For more information on Big Fat Snare Drum, check out www.bigfatsnaredrum.com and follow us on Instagram, Facebook, Twitter, and TikTok.

This week we look at the history, culture, and politics of Scotland.  There are lessons for all of us in seeing how Scotland has changed, been blessed and declined.   We look at Scottish influence on the world; from psalms to paganism; Braveheart; the history of Scotland;  John Knox; Education; Abortion; Sir James MacMillan; The Chief Apologises; Woke Scotland; Nicola Sturgeon; Edinburgh Rape Crisis Centre; Pregnant Men; Conversion Therapy; Authoritarian Scotland; The New Highland Clearances; Eilish McColgan and Andy Murray; the decline of the Church; and hope for the future.With music from the Peat Bog Faeries, Slim Dusty, St Peters Free Church, the Battlefield Band; Sir James MacMillan; the Average White Band; Deacon Blue; RunRig; Nazareth; and Steph Macleod. 

HERE WE GO TWO HOURS OF QUALITY TUNES FOR YOUR LISTENING DELIGHT INCLUDING STEVIE WONDER, POCKETS, AVERAGE WHITE BAND, COLLINS AND COLLINS, NATALIE COLE, THE OJAYS AND MANY MORE ALSO A COUPLE OF NEW TRACKS FROM RUSSELL THOMPKINS JR, SHAILA PROSPERE, DAVE MASCALL, SOULRENDER , HOPE YOU ENJOY OR DOWNLOAD FOR LATER WITH A GLASS OF SOMETHING XX

 Eliot Lewis checks into the backyard of New York City with his new album called Anything Is Possible, featuring  Love Is Alive and What We Make It! A singer, songwriter and multi-instrumentalist, Eliot Lewis has toured the world over as a member of the Daryl Hall & John Oates band, as well as a former member of The Average White Band. Eliot has also been the only musician to appear on every episode of Daryl Hall's popular, "Live From Daryl's House” show all while keeping his own solo career going at a seemingly impossible pace. Over the course of his career he has worked with the music business' elite including, Billy Gibbons (ZZ Top), Joe Walsh, Sammy Hagar, Todd Rundgren,Train, Cheap Trick, Grace Potter,  Squeeze, Rob Thomas,  Jason Mraz, Darius Rucker, Gavin DeGraw and many, many others. Having mastered four instruments over the course of his career; guitar, keyboard, bass and drums, Eliot's shows will find him moving from one instrument to another. Equally at home in front of 100 or 15,000, Eliot has performed on the worlds most legendary stages, including Madison Square Garden, Japan's Budokan, Red Rocks, The Hollywood Bowl, Carnegie Hall as well as Late Night with Jimmy Fallon, Conan O'Brien, The Today Show, Jimmy Kimmel Live and many others. Eliot has carved out his own distinctive musical brand and sonic landscape and has written, performed and produced ten solo releases. There are many who shaped Eliot's music and writing. As a guitar player, definitely Jeff Beck who I've been listening to all my life, as well as Billy Gibbons who I had the great fortune of working with recently, and Peter Frampton who I actually jammed with when I was 14 yrs old. I had the amazing experience of meeting and seeing many influential artists when I was a kid mainly at Madison Square Garden in New York City. For more on Eliot log ontohttps://eliotlewis.com

Pete Abbott is an American drummer, percussionist, songwriter, producer, born in Los Angeles, CA, raised in Denver, CO, began playing drums at age 10. After High School, Abbott attended University of Miami's “Studio Music and Jazz” program. Pete has performed with The Average White Band, Blood, Sweat and Tears, Larry Carlton, Keb Mo, Bette Midler, Ashley Monroe and many others. Pete has called Nashville home for the last 15 years.    Some Things That Came Up:  -4:15 The Press Roll  -7:30 Finishing Degree at The University of Miami  -14:00 University of Miami stylistic small groups  -14:30 The challenges of ECM music. Jon Christensen and his ride cymbals -16:30 Long phrases. Jack DeJohnette -19:30 The seriousness of clave -22:00 Jim Keltner on Ry Cooder's “Bop Till' You Drop” -25:00 Pete's Shuffle  -34:00 Hearing Issues  -38:15 Swedish drummer Per Lindval -40:00 Learning a new language  -44:00 Average White Band and Blood, Sweat and Tears  -49:00 AWB was the BEST musical experience -52:40 20% playing and 80% hang  -53:15 Segue 61 educational institute  -56:40 Let the brain picking begin  -1:02:20 Church Training  -1:11:00 Favorite drummers: James Gadson, Steve Gadd, Greg Morrow, Jim Gordon. -1:18:40 Pilots License!    Follow:  FB: https://www.facebook.com/pete.abbott.14/ The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

This week, Pete digs into his archives to bring you some great tracks from Barry White, The Isley Brothers, Aretha Franklin and The Average White Band. There are also tracks from Speedometer, The New Mastersounds and Skeewiff. 2 bands from Petes' own label feature, Jamie & The Numbers and The Honeyshotz, whilst this week's birthday celebrations are for Sam Dees, Grover Washington and for Aaron Brown of The Pasadenas. Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Topics include:Kiss says goodbye, hello to KISS avatarsSir Anthony's Xmas songNic Cage says he's done with moviesMBU: Shane MacGowan, Mica ErtegunSLAPS: Busta Rhymes, Trevor Horn ft. Tori Amos, BeyonceTan.gent on Spotify, BandcampFollow The Rumble TrioFollow NOBS BRASS BandDoes It Slap Playlist The Hustle Season on Patreon Our Linktree:::::ADVERTISE ON THE HUSTLE SEASON PODCAST:::::Have a business/event you want to get out to listeners?Are you an out of town band coming to Richmond and want to promote your gig ?? Buy a spot on the Hustle Season Podcast, starts at $25. So easy!!

This week Kelly-Anne drops new releases from Quantic, Asha Puthli & Kraak & Smaak, Moplen, Melvo Baptiste & Dames Brown. The show also features classics from Average White Band, Tom Tom Club, Grace Jones & Prince. Tune into new broadcasts of The Beat Goes On, LIVE, Friday from 2 - 4 PM EST 7 - 9 PM GMT.For more info visit: https://thefaceradio.com/the-beat-goes-on//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

"Who's Your Band?" Podcast Episode 133! Comedians Jeffrey Paul and Sean Morton with special guest, singer, songwriter, multi-instrumentalist Eliot Lewis (Hall & Oates, Average White Band)!On this week's episode of "Who's Your Band," we talk to singer, songwriter, multi-instrumentalist Eliot Lewis! We go deep into his career, how he started, playing with The Average White Band, what it's like playing with Hall and Oates, and so much more!

Greetings oh feathered beauties! I am back with more hidden bounty from my ancient song archives. More rare demos, sonic experiments and even a brand new track will hopefully charm your “OwlHead” ears. It was wonderful to work back in the day with the fine singer/songwriter/guitarist Hamish Stuart of the iconic band, “The Average White Band”. I'll start off the show by playing you a track we wrote together that became a single for his band, “Easy Pieces”; A cool psychedelic soul number that I now think was somewhat influenced by the “Prince” aesthetic. Of course, Hamish went on to work with Paul McCartney and is now presently with Ringo Starr … so it was lovely to discover and spin this little gem from our past. For the songwriters out there, I'll play two demos I was working on with Robbie Williams - two rough home demos of the same idea, which illustrates quite well how I develop a concept. I think you'll find it very interesting how my demos were presented and constructed for Robbie … to inspire and encourage him to engage and develop an idea with me. And here's a treasure for all Jack Hues (Wang Chung) fans: I'll play the cassette demo of a song we were writing together for his (so far) unreleased renowned solo album “The Anatomy Lesson”. It's a very, very COOL track … and, although we are loosely jamming and it's just rough and ready, the potential of this song is self evident. Because the re-ignition of the “Pagey Quiz” lit up the internet and caused traffic to stop during last month's episode, I will be asking you three more incredibly hard brain curdling “Pagey” questions. These are conundrums from which I believe even the most wise OwlHead will cower away - fearing that investigating these questions could cause neural problems. Beware - approach with extreme caution. I'll spin a terrific London-recorded demo - a song I wrote and performed with Brian Fairweather that Kim Carnes eventually heard and recorded on her album, “Cafe Racers”. It became “Fairweather/Page's” first top ten adult/contemporary hit in America … and listening to it today, I'm very proud of the Doobie Brothers/Pointer Sisters swing and irresistible groove we achieved on this particular demo. I always like to include a new song I've just written if I can on these shows, and I'm happy this month to present a song called, “How”. I hope you like it and that it speaks to you. Bloody hell, this is the penultimate episode 49, we are nearly at the final 50th show; who would have thought, “I'd ever get my feet this far”.

Time Travelin' Top 40 E134 Brandon Vogt chats with Hamish Stuart founding member of the Average White Band on his time touring with Paul McCartney and Ringo Starr and his Number One Hit "Pick Up the Pieces"See omnystudio.com/listener for privacy information.

Date: October 11, 2023Name of podcast: Backstage Pass RadioEpisode title and number:  S5: E8 - Dave Roe (Johnny Cash, Dwight Yoakum, John Mellencamp, Jerry Reed, Chet Atkins) - The Legacy Lives OnBIO:Born David Roe Rorick, bassist/vocalist/songwriter Dave Roe grew up in Hawaii and started playing bass in funk and R&B bands in the late '60s and '70s. After moving to Nashville in the early '80s, he joined Jerry Reed's band.  Over the next several years Dave toured the world with several country artists including Mel Tillis, Vern Gosdin, Charlie Louvin, Dottie West, Chet Atkins, Vince Gill, and others.In the early '90s,  Johnny Cash hired Dave to play in his band the Tennessee Three.  Dave has said ‘That started my love affair with the upright bass, and slap bass in particular, that lingers till this day.'  Dave worked with Cash for eleven years, and toward the end, he played bass on most of the American Recordings sessions produced by Rick Rubin.After Cash passed away,  Dave toured and recorded for five years with Dwight Yoakam. He got off the road after that, since his recording session work had picked up substantially. Coinciding with this, he was a member of the Don Kelley Band for 13 years, considered one of America's best honky-tonk bands.With over 500 album credits, including numerous platinum, gold, and Grammy-winning records, over the years Dave has worked with such diverse artists as John Mellencamp, Sturgill Simpson, Chrissie Hynde, Taj Majal, Loretta Lynn,  Merle Haggard, Kris Kristofferson, Ian Hunter, Brian Setzer, Dan Auerbach, CeeLo Green, Kurt Vile, Yola, John Anderson, Carrie Underwood, Marcus King, Malcolm Holcombe, Brandy Clark, Joe Ely, Gretchen Peters, Ray LaMontagne, Jake Bugg, Richard Lloyd, Don Schlitz, Faith Hill, Duane Eddy, Kathy Mattea, Rodney Crowell and others.These days, Dave continues to work sessions and play live regionally with a few artists.  He has his own band, the SloBeats, formed with guitar great from Marty Stuart's band Kenny Vaughan, and drummer Pete Abbott from the Average White Band. Dave also regularly books sessions in his own studio, Seven Deadly Sins, located right outside Nashville in Goodlettsville, TN. He is a life member of AFM Local 257 in Nashville, TN.Sponsor Link:WWW.ECOTRIC.COMWWW.SIGNAD.COMWWW.RUNWAYAUDIO.COMBackstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist(s) Web Pagewww.daveroe.comCall to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer. Thank you for being a part of Backstage Pass RadioYour Host,Randy Hulsey 

Hello everyone and welcome to Drum Channel. Billy Amendola here at DC East studios with my guest Rocky Bryant.  Rocky is one of those players who has performed and or recorded with numerous amount of superstars but remains in the background, not one to rest on his laurels, his goal is to do his job and he does it well; in any genre. He's both a hired gun on the road as well as a recording artist, including his solo record. “The View From Here.” (featuring an excellent remake of the George Harrison track “I Want To Tell You.”)  Over his long career, Bryant has recorded and or performed with Paula Abdul, he's been a band member of the Family Stand, and Bradford Marsalis' Buckshot LeFonque, he recorded with Dianne Reeves (recording her grammy award winning album), Peter Frampton, Cyndi Lauper, Daryl Hall and since 2016 a member touring and recording with Average White Band, among others.  And if that wasn't enough, he returned to the Broadway scene in 2019, to be on stage for “Tina, The Tina Turner Musical.” Let's welcome Rocky to our Drum Channel family!  Thanks everyone, and I'll see you next time on Drum Channel! Enjoy! 

Drummer for Tom Petty and the Heartbreakers, the Average White Band and more!See omnystudio.com/listener for privacy information.

Originally created for my monthly EAGLERadio.PRO set, this is an easy breeze end-of-summer mix with some remakes of some delicious classic house and vocal house.  With vocals by Marty Thomas, Jones Blue, Average White Band, Gladezz, Kelly Clarkson, Donna Blakley, Taz Vegas, Tom Grennan, Pink, and Robert Miles I think this will bring back some memories and help you create new memories with family and friends at your year-end parties or just lounging around the pool or sunning at the beach.PLAYLIST: Summer Breeze - Warren Rigg ft. Marty Thomas & The Honeyboys (Warren Rigg Vocal Mix - Extended Edit) All You Need Is Love - Nicky Romero, Jonas Blue & Nico Santos (Main Mix - DJRB Extended Edit) Let's Go Round Again - Average White Band (DJ Meme Bootleg Remixed) When You Need Somebody -  Gladezz (The Serial Diva Full On Vocal Mix) Favorite Kind of High - Kelly Clarkson (David Guetta Remix) Do It Properly - Ralphi Rosario feat. Donna Blakley (DJ Spen  Reelsoul Chi Town Mix) Am I Dreaming - Taz Vegas (Dirty Disco Mainroom Remix) Lionheart - Joel Corry & Tom Grennan (Extended Mix - Edit Edit) All The Time - Tommy Marcus & Matt Consola present Daddies Home! (Club Mix) Nothing Compare 2 U - Pink (Dirty Disco Mainroom Mix) Children - Robert Miles (OB Adal Raw Remix)Recorded live at DJRB/BetBoyz Studio NYC

This week Kelly-Anne drops new releases from Gabriels, Amy Douglas, Colleen Cosmo Murphy, Dave Lee, Yuksek, Joseph Malik ands Silk. The show also features 3-In-A-Row from Luther Vandross as well as classics from Gwen McCrae, Benita, Average White Band and Cerrone. Tune into new broadcasts of The Beat Goes On, LIVE, Friday from 2 - 4 PM EST 7 - 9 PM GMT.For more info visit: https://thefaceradio.com/the-beat-goes-on//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.