Podcast appearances and mentions of Baker Street

ReferencesNeuroscience, 2023-11-21, Volume533, Pages 22-35Autophagy. 2021 Dec;17(12):3992-4009Cell Death Discovery 2024.  volume 10, Article number: 200 Autophagy. 2022 Apr;18(4):726-744Guerra, DJGPhD. 2025. Unpublished LecturesRafferty, J. 1977.Baker Street.https://music.youtube.com/watch?v=Fo6aKnRnBxM&si=lYDwqknKv1Du18CrSimon, P. 1963 Bleeker St. from Wed Morning 3AM; lp. Simon and Garfunkelhttps://music.youtube.com/watch?v=xcXoGTACMHA&si=Wr55-ahAtcayIAPGPrine, J. 1971. Hello in Therehttps://music.youtube.com/watch?v=RfwGkplB_sY&si=l-PjfRcedC67wFg-John, E.1972. Mona Lisas and Madhattershttps://music.youtube.com/watch?v=feMawHOpamI&si=c_1Cbf5YJIx8cJMj

Step back into the golden age of radio mystery with this week's double feature of intrigue and suspense! First, in "The Adventures of Sherlock Holmes' as the great detective and Dr. Watson unravel the chilling case of "The Death of Mrs. Abernetty", originally broadcast on November 30th, 1946. A curious death, a tangle of motives, and Holmes' razor-sharp deductions promise a classic detective's tale. Then, we lighten up with wit and sophistication in Dashiel Hammett's iconic detective duo, Nick and Nora Charles. In "Nora's Night Out", the glamourous sleuthing couple find that even a night on the town can turn into a case of mystery and danger. Whether it's the foggy streets of Baker Street or the cocktail lounges of old-time Manhattan, tonight's adventures prove that crime never rests -- and neither do our detectives. Tune in to Tuesday Night Detectives, where every clue counts and every story crackles with vintage suspense, here on Vintage Classic Radio.

'El Club de los Viudos Negros', de Asimov. CENA DE SEPTIEMBRE 🍷🍰 📍 Ristorante Casa Milano – Milano, Italia 🧭 Coordenadas: 45°28'19.8"N 9°12'06.4"E Solo la verdad y nada más que la verdad: En este caso "Sólo la verdad y nada más que la verdad", un hombre que nunca miente es acusado del robo de una caja fuerte y lo niega. 😜 Isaac Asimov los creó como un homenaje al placer de conversar, al arte de observar y a la deliciosa costumbre de no quedarse con la primera respuesta. Acomódate. El vino está servido. La cena va a comenzar. Y tú… Tú también estás invitado. Un círculo discreto de seis caballeros que se reúnen una vez al mes, siempre en el mismo restaurante, siempre en la misma mesa, y siempre con una única regla: cada cena debe tener un invitado, y ese invitado debe estar dispuesto a hablar y a ser interrogado. 🕷🕷🕷🕷🕷🕷🕸 Los Viudos Negros son un club de seis hombres que se reúnen una vez al mes en un reservado del restaurante Milano de Nueva York. Cada noche uno de ellos preside el encuentro y tiene el derecho de llevar un invitado, al que interrogan. Al principio sólo se reunían para comer y conversar pero últimamente uno de ellos plantea algún tipo de problema o delito. Los miembros del club buscan respuestas complejas a los enigmas planteados y luego Henry, el camarero, descubre la simple verdad. El club está formado por:🍷🍷🍷🍷🍷🍷 Geoffrey Avalon, Jeff. Alto y delgado, espesas cejas negras, bigote recortado y barbita gris. Fue oficial durante la II Guerra Mundial y trabaja como abogado en derecho patentario. Mario Gonzalo, pintor y gran artista. Thomas Trumbull. Rostro moreno y arrugado, permanentemente descontento. Experto en códigos, alto consejero del gobierno. Emmanuel Rubin, Manny. Bajito, mide 1,55, barba rala, lentes gruesos. Fue predicador adventista con 15 años y conoce bien la Biblia. Está casado y es escritor de novelas policíacas. James Drake. Bigote. Vive en New Jersey. Especialista en química orgánica con amplios conocimientos en literatura. Roger Halsted, calvo. Profesor de matemáticas en una escuela secundaria. Escribe la Ilíada en quintillas y todos los meses les recita una estrofa. Es miembro de los Irregulares de Baker Street. Henry Jackson, el camarero. Unos 60 años, sin arrugas. Es humilde y honrado. Entre ellos se llaman doctores y si uno es doctor de carrera le denominan doctor doctor. Para ayudarse en sus investigaciones cuentan con diccionarios, biblias y las obras de Shakespeare en su biblioteca. Comenzamos... ¿alguna pregunta? Y recuerda que puedes seguirnos en Telegram, YouTube, Instagram y X, y si este podcast te acompaña, te inspira o te gusta lo que hago, puedes hacerte fan y apoyar la nave. Tu energía mantiene viva esta aventura sonora.🚀 Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voz y sonido Olga Paraíso, Música epidemic sound con licencia premium autorizada para este podcast. BIO Olga Paraíso: https://instabio.cc/Hleidas 🖤 PLAYLIST EL CLUB DE LOS VIUDOS NEGROS EN Ivoox https://go.ivoox.com/bk/11290149 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The lads go on one of those Hidden London tours of the London Underground, specifically Baker Street Station... They also chat about what their perfect Graff crew would be and Ghostface Killahs son wrote a diss track of his father

Damos inicio a un ciclo dedicado a Sherlock Holmes. Poco a poco iremos descubriendo al obra de Sir Arthur Conan Doyle. En cada programa traemos una de las novelas o relatos del detective londinense y la comparamos con sus versiones a imagen real. En esta ocasión, y tratándose del primer programa, conoceremos primero al autor y sobre todo, aquello que le influenció para crear el personaje. Luego indagaremos en el propio Sherlock, destacando sus características y desmintiendo aquello que no pertenece al canon literario. Y en el bloque principal, desgranaremos la primera aparición del personaje en aquella novela llamada Un estudio en escarlata. Para su comparativa con las adaptaciones de imagen real, hemos elegido el capítulo de la serie de 1968 con Peter Cushing, y Un estudio en rosa, el primer episodio de la serie moderna con Benedict Cumberbatch. Se vienen al 221B de Baker Street, Guillermo y Luis, a los cuales pone té con pastas, Salva Vargas. Este programa cuenta con la producción ejecutiva de nuestr@s mecenas, l@s grandes, l@s únicos Kamy, Lobo Columbus, Enfermera en Mordor, Javier Ramírez, La Casa del Acantilado, Shinyoru, José Percius, Lestat, Kal-el__80, Cohaggen, Elena Gómez, Javi, Olgafies, JohnJoe96, Buguui, David Torren Durán, José Ángel Sanz , Fernando Moína Puerta y Miguel Ángel López Peregrino. ¿Quieres ayudarnos a seguir mejorando y creciendo? Pues tienes varias opciones para ello. Dándole Me gusta o Like a este programa. Por supuesto estando suscrito para no perderte ninguno de los próximos episodios, y ya para rematar la faena, compartiendo el podcast con tus amigos en redes sociales y hablando a todo el que te cruce en la calle de nosotros…. Y todo esto encima, GRATIS!!! Y si ya nos quieres mucho, mucho, mucho y te sobra la pasta…. Puedes hacerlo económicamente de varias formas: Apoyo en iVoox: En el botón APOYAR de nuestro canal de iVoox y desde 1,49€ al mes: https://acortar.link/emR6gd Invitándonos a una birra en Ko-Fi: por solo 2€ nos puedes apoyar en: https://ko-fi.com/criterioceropodcast Patreon: por sólo 3€ al mes en: https://patreon.com/CriterioCeroPodcast PayPal: mediante una donación a criterioceropodcast@gmail.com También nos podéis ayudar económicamente de forma indirecta si tenéis pensado suscribiros a las modalidades Premium o Plus de iVoox al hacerlo desde estos enlaces: Premium Anual: https://acortar.link/qhUhCz Premium Mensual: https://acortar.link/gbQ4mp iVoox Plus Mensual: https://acortar.link/y7SDmV Con cada rupia que nos llegue sufragamos los costes del programa al mes, invertiremos en mejorar los equipos y por supuesto, nos daremos algún que otro capricho . Las recompensas por apoyarnos se explican en nuestro blog: https://criterioceropodcast.blogspot.com/2023/08/quieres-ayudar-criterio-cero-mejorar.html También puedes hacerte con algo de merchandising de Criterio Cero. Camisetas, Sudaderas, tazas o mochilas en el siguiente enlace: https://www.latostadora.com/shop/criteriocero/?shop_trk Y Criterio Cero no acaba ya en el audio, ahora también nos tenéis en vídeo: En Twitch hacemos directos de Criterio En Serie: https://www.twitch.tv/criteriocero En YouTube: https://www.youtube.com/@criteriocero Y también puedes seguirnos en nuestras diferentes redes sociales: En Telegram en nuestro grupo: https://t.me/criteriocerogrupo En Facebook en nuestro grupo: https://www.facebook.com/groups/630098904718786 Y en la página: https://www.facebook.com/criterioceropodcast ✖️ En X (el difunto Twitter) como @criteriocero En Instagram como criterioceropodcast En TikTok como criteriocero ✉️ Para ponerte en contacto con nosotros al correo criterioceropodcast@gmail.com De paso aprovechamos para recomendaros podcasts que no debéis perderos: Hudson´s Podcast, Puede ser una charla más, Luces en el horizonte, La Catedral Atroz, La guarida del Sith, Crónicas de Nantucket, Más que cine de los 80, Fílmico, Tiempos de Videoclub, Sector Gaming , El Dátil de ET, La Casa del Acantilado, Kiosko Chispas, Just Live it, Filmotecast, La Tetera, Fuera de continuidad, Campamento Krypton, La órbita de Endor, Archivo007

En este episodio os traigo la reseña de Los niños de la casa del lago de Gregg Dunnet. Es un thriller psicológico muy adictivo con sutiles toques sobrenaturales.Es el primer libro que leo del autor y me ha encantado.No os perdáis la reseña ¿Conocéis al autor y su obra?Os leo en comentarios. Espero que os guste el episodio. Allí os espero para contaros todo sobre estás novelas de misterio.Si es así, os animo a que os suscribas a mi podcast, y así crecer un poquito más. Gracias por vuestro apoyo.Recordaros que os paséis por mi blog https://loslibrosdebakerstreet.com y me visitéis en mi Instagram: @loslibrosdebakerstreet y Twitter: @loslibrosdebakerst para estar al día de todo mi contenido. Os dejo también mi árbol de enlaces donde encontraréis todo lo relacionado con Los libros de Baker Street: https://linktr.ee/loslibrosdebakerstreetY si queréis invitadme a un café y dar vuestro apoyo a este proyecto, visitad mi Ko-fi: https://ko-fi.com/loslibrosdebakerstreet1888

“amused myself by visiting Lhassa...looked in at Mecca” [FINA]  The Great Hiatus, as the interval between "The Final Problem" and "The Empty House" is known, has inspired a great deal of speculation and interpretation, thanks to Sherlock Holmes's brief and tantalizing account of his time away.   Edgar Smith took it on in his famous essay (as referenced in Episode 334), but Don Pollock took aim at the fawning acceptance in his own analysis in a 1975 issue of The Baker Street Journal. It's just a Trifle.   If you have a question for us, please email us at trifles@ihearofsherlock.com. If you use your inquiry on the show, we'll send you a thank you gift.   Don't forget to listen to "Trifling Trifles" — short-form content that doesn't warrant a full episode. This is a benefit exclusively for our paying subscribers. Check it out (Patreon | Substack).   Leave Trifles a five-star rating on Apple Podcasts and Spotify; listen to this episode here or wherever you get podcasts   Links The Baker Street Journal Trifles Episode 334 - The Great Hiatus All of our social links: https://linktr.ee/ihearofsherlock Email us at trifles @ ihearofsherlock.com    Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra Publisher Info.: Washington, DC: United States Marine Band. Copyright: Creative Commons Attribution 3.0      

Well, hello there Detectives! TA;DL (Too Annoying, Didn't Listen) Fawx & Stallion is joining the myriad other podcasts on your feed and starting a Patreon! There, you'll be able to get access to Ad-Free Episodes, Blooper Reels, Commentary Tracks, a Brand New Mystery Movie review show, and exclusive updates from your (second) favorite detectives on Baker Street all all for a low monthly donation that will entirely go to funding Season 3 and beyond! Disclaimer! We recognize there are SO many more worthy causes you can give your spare dollars to right now, so seriously no worries if another subscription is not in the cards. Episodes will always be available on our mainfeed and updates will always be posted on our socials and website. This is just a little something extra. For more information head on over to patreon.com/224bbaker! You can also find us on our website 224bbaker.com and on all of our socials! https://www.patreon.com/224bbaker Learn more about your ad choices. Visit megaphone.fm/adchoices

All week I have been covering the strike by members of the RMT union working for London Underground, which has paralysed the capital. While some Tube trains have been running on each day, they represent only a tiny fraction of the network.I took one of the rare trains running from Baker Street to Harrow-on-the-Hill, sharing the journey with a pigeon and a handful of humans.This podcast is free, as is Independent Travel's weekly newsletter. Sign up here to get it delivered to your inbox. Hosted on Acast. See acast.com/privacy for more information.

In this episode we discuss the Baker Street safety deposit box robbery, very long drawers, Ham radio, fried chicken and a random diamond.

In this episode we chat about the fifth Malabar House novel, City of Destruction, on its paperback release, and discuss a true life crime - The Baker Street Robbery - allegedly based on the Sherlock Holmes short story 'The Red-Headed League'

Known mainly for the song, plus the place to change trains, Baker Street Station is a piece of history as one of the first ever Underground Stations! There is so much more, so join us as we tell you about this station....

Esta es la segunda entrega de 'El Club de los Viudos Negros', de Asimov. CENA DE AGOSTO 🍷🍰 📍 Ristorante Casa Milano – Milano, Italia 🧭 Coordenadas: 45°28'19.8"N 9°12'06.4"E F como en falsificador: En "El falsificador" descubren cómo un alumno mediocre pudo aprobar un examen de modo brillante. Isaac Asimov los creó como un homenaje al placer de conversar, al arte de observar y a la deliciosa costumbre de no quedarse con la primera respuesta. Acomódate. El vino está servido. La cena va a comenzar. Y tú… Tú también estás invitado. Un círculo discreto de seis caballeros que se reúnen una vez al mes, siempre en el mismo restaurante, siempre en la misma mesa, y siempre con una única regla: cada cena debe tener un invitado, y ese invitado debe estar dispuesto a hablar y a ser interrogado. ...................................................🕷🕷🕷🕷🕷🕷🕸 Los Viudos Negros son un club de seis hombres que se reúnen una vez al mes en un reservado del restaurante Milano de Nueva York. Cada noche uno de ellos preside el encuentro y tiene el derecho de llevar un invitado, al que interrogan. Al principio sólo se reunían para comer y conversar pero últimamente uno de ellos plantea algún tipo de problema o delito. Los miembros del club buscan respuestas complejas a los enigmas planteados y luego Henry, el camarero, descubre la simple verdad. El club está formado por:🍷🍷🍷🍷🍷🍷 Geoffrey Avalon, Jeff. Alto y delgado, espesas cejas negras, bigote recortado y barbita gris. Fue oficial durante la II Guerra Mundial y trabaja como abogado en derecho patentario. Mario Gonzalo, pintor y gran artista. Thomas Trumbull. Rostro moreno y arrugado, permanentemente descontento. Experto en códigos, alto consejero del gobierno. Emmanuel Rubin, Manny. Bajito, mide 1,55, barba rala, lentes gruesos. Fue predicador adventista con 15 años y conoce bien la Biblia. Está casado y es escritor de novelas policíacas. James Drake. Bigote. Vive en New Jersey. Especialista en química orgánica con amplios conocimientos en literatura. Roger Halsted, calvo. Profesor de matemáticas en una escuela secundaria. Escribe la Ilíada en quintillas y todos los meses les recita una estrofa. Es miembro de los Irregulares de Baker Street. Henry Jackson, el camarero. Unos 60 años, sin arrugas. Es humilde y honrado. Entre ellos se llaman doctores y si uno es doctor de carrera le denominan doctor doctor. Para ayudarse en sus investigaciones cuentan con diccionarios, biblias y las obras de Shakespeare en su biblioteca. Comenzamos... ¿alguna pregunta? Y recuerda que puedes seguirnos en Telegram, YouTube, Instagram y X, y si este podcast te acompaña, te inspira o te gusta lo que hago, puedes hacerte fan y apoyar la nave. Tu energía mantiene viva esta aventura sonora.🚀 Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Música epidemic sound con licencia premium autorizada para este podcast. BIO Olga Paraíso: https://instabio.cc/Hleidas 🖤 PLAYLIST EL CLUB DE LOS VIUDOS NEGROS EN Ivoox https://go.ivoox.com/bk/11290149 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

La rentrée literaria ya está aquí y este mes de Septiembre viene cargado de novedades. Os he hecho una selección de 26 nuevos libros que llegan en Septiembre y de los que os hablo en este episodio. Además os destaco dos novedades que se publican a finales de Agosto y que me han parecido dignos de mención.Ya sabéis que aquí encontraréis misterio, thriller, cozy Mystery y novela negra.Os dejo las portadas en el post de Instagram y en el blog loslibrosdebakerstreet.comEspero que os guste el episodio y mi selección.Si es así, os animo a que os suscribas a mi podcast, y así crecer un poquito más. Gracias por vuestro apoyo.Recordaros que os paséis por mi blog https://loslibrosdebakerstreet.com y me visitéis en mi Instagram: @loslibrosdebakerstreet y Twitter: @loslibrosdebakerst para estar al día de todo mi contenido. Os dejo también mi árbol de enlaces donde encontraréis todo lo relacionado con Los libros de Baker Street: https://linktr.ee/loslibrosdebakerstreetY si queréis invitadme a un café y dar vuestro apoyo a este proyecto, visitad mi Ko-fi: https://ko-fi.com/loslibrosdebakerstreet1888

Après avoir mis la main sur le fameux Ryder, les deux amis retournent avec ce dernier à Baker Street afin de l'interroger… Écoutez la cinquième partie de la nouvelle « L'Escarboucle bleue » d'Arthur Conan Doyle, lu par Alexis Gourret

Language: PolishSir Arthur Conan Doyle (1859 - 1930)Tajemnica Baskerville'ów (ang. The Hound of the Baskervilles - Pies Baskerville'ów) - powieść detektywistyczna sir Artura Conan Doyle'a, wydana w czasopiśmie The Strand Magazine w latach 1901-1902 (wydanie polskie 1902). Jedna z najsłynniejszych pozycji, należących do cyklu opowieści o detektywie Sherlocku Holmesie. Jej akcja rozgrywa się na ponurych wrzosowiskach hrabstwa Devon.Powieść zaczyna się przyjazdem dr Mortimera do Londynu na Baker Street. Lekarz opowiada Sherlockowi Holmesowi i Watsonowi historię o psie. W tajemniczych okolicznościach giną kolejni spadkobiercy majątku Baskerville'ów. Miejscowa ludność przypisuje owe zagadkowe zgony działaniu klątwy, prześladującej od ponad dwustu lat rodzinę Baskerville'ów. Holmes wysyła Watsona wraz z przybyłym zza oceanu, ostatnim spadkobiercą, sir Henrym, do posiadłości Baskerville'ów. Tam przez długi czas Watson odkrywa kolejne elementy zagadki i dzieli się z Holmesem zdobytą wiedzą.(Wstęp z Wikipedii)Genre(s): Detective FictionLanguage: Polish

When we talk about taking care of our mental health, we don't often talk about the people who take care of us. What are the unique mental health challenges for first responders and how might their treatment and approach be different? Our guest is Dr. Brendan Guarino, clinical psychologist at Baker Street Behavioral Health, specializing in treatment for athletes and first responders.

“you could just fill that gap on that second shelf” [EMPT]    If you discovered Sherlock Holmes when you were young, you might still recall the joy of your first reading. The world of Baker Street is fun, so much so that some adults still extend the Great Detective's career with their own stories.  Many adults also enjoy LEGO as a nostalgic, relaxing, and creative outlet. That's why we were eager to talk to LEGO Group Design Master Antica Bracanov and Graphic Designer Crisy Dyment about their creation of the LEGO Sherlock Holmes Book Nook.  Joining us from LEGO's offices in Billund, Denmark, Antica and Crisy take us through the concept, the process, and the community of designers, engineers, and model-makers who brought it to life. You'll hear how the key moments and objects Sherlock Holmes fans will recognize were selected, and how they were adapted to fit LEGO's style and humor. You'll find there are some self-described “Sherlock Holmes nerds” on the LEGO team, too. Speaking of Sherlockian nerds (guilty), we share upcoming events for the first half of September in our "The Learned Societies" segment. Then, you will not want to miss this episode's Canonical Couplet quiz, which this time is . This episode's prize is a LEGO Sherlock Holmes Book Nook! Send your answer to comment @ ihearofsherlock.com by August 14, 2025 at 11:59 a.m. EST. If your correct answer is selected at random, you'll win!   Don't forget to become a  of the show on the platform of your choice ( | ).        Leave I Hear of Sherlock Everywhere a five-star rating on  and ; listen to us .     Sponsors  has a number of new Sherlock Holmes books out by various authors. You'll want to check out the breadth of their offerings by  to learn more.   Would you care to advertise with us? You can find . Let's chat!     Links (LEGO) (Barnes & Noble) Other episodes mentioned: The Learned Societies:  Find all of our relevant links and social accounts at .     And would you consider leaving us a rating and or a review on Apple Podcasts, Spotify, or Goodpods? It would help other Sherlockians to find us.   Your thoughts on the show? Leave a comment below, send us an email (comment AT ihearofsherlock DOT com), call us at 5-1895-221B-5. That's (518) 952-2125.    

Pendant que Sherlock continue d'impressionner Watson par ses capacités d'analyse, Peterson débarque en tout essoufflé au 221b Baker Street avec une révélation pour le moins surprenante… Écoutez la deuxième partie de la nouvelle « L'Escarboucle bleue » d'Arthur Conan Doyle, lu par Alexis Gourret

En este episodio os hago un resumen con mi opinión de las 34 lecturas realizadas durante estos tres meses, que han sido muy variadas y donde he conocido nuevos autores, he leído autores favoritos y también he tenido alguna que otra decepción.Muchas reseñas y recomendaciones en un episodio muy top.En Instagram y en el blog tenéis las portadas de los libros que os menciono.Espero que os guste el episodio.Si es así, os animo a que os suscribas a mi podcast, y así crecer un poquito más. Gracias por vuestro apoyo.Recordaros que os paséis por mi blog https://loslibrosdebakerstreet.com y me visitéis en mi Instagram: @loslibrosdebakerstreet y Twitter: @loslibrosdebakerst para estar al día de todo mi contenido. Os dejo también mi árbol de enlaces donde encontraréis todo lo relacionado con Los libros de Baker Street: https://linktr.ee/loslibrosdebakerstreetY si queréis invitadme a un café y dar vuestro apoyo a este proyecto, visitad mi Ko-fi: https://ko-fi.com/loslibrosdebakerstreet1888Un saludo

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Vita e libri di Arthur Conan Doyle, scrittore inglese creatore del famoso Sherlock Holmes e considerato tra i fondatori del genere giallo e fantastico.

Esta es la primera entrega de 'El Club de los Viudos Negros', de Asimov. CENA DE JULIO 📍 Ristorante Casa Milano – Milano, Italia 🧭 Coordenadas: 45°28'19.8"N 9°12'06.4"E 'La risita adquisitiva' Un hombre sabe que le han robado… pero no sabe qué. Isaac Asimov los creó como un homenaje al placer de conversar, al arte de observar y a la deliciosa costumbre de no quedarse con la primera respuesta. Acomódate. El vino está servido. La cena va a comenzar. Y tú… Tú también estás invitado. Un círculo discreto de seis caballeros que se reúnen una vez al mes, siempre en el mismo restaurante, siempre en la misma mesa, y siempre con una única regla: cada cena debe tener un invitado, y ese invitado debe estar dispuesto a hablar y a ser interrogado. ...................................................🕷🕷🕷🕷🕷🕷🕸 Los Viudos Negros son un club de seis hombres que se reúnen una vez al mes en un reservado del restaurante Milano de Nueva York. Cada noche uno de ellos preside el encuentro y tiene el derecho de llevar un invitado, al que interrogan. Al principio sólo se reunían para comer y conversar pero últimamente uno de ellos plantea algún tipo de problema o delito. Los miembros del club buscan respuestas complejas a los enigmas planteados y luego Henry, el camarero, descubre la simple verdad. El club está formado por:🍷🍷🍷🍷🍷🍷 Geoffrey Avalon, Jeff. Alto y delgado, espesas cejas negras, bigote recortado y barbita gris. Fue oficial durante la II Guerra Mundial y trabaja como abogado en derecho patentario. Mario Gonzalo, pintor y gran artista. Thomas Trumbull. Rostro moreno y arrugado, permanentemente descontento. Experto en códigos, alto consejero del gobierno. Emmanuel Rubin, Manny. Bajito, mide 1,55, barba rala, lentes gruesos. Fue predicador adventista con 15 años y conoce bien la Biblia. Está casado y es escritor de novelas policíacas. James Drake. Bigote. Vive en New Jersey. Especialista en química orgánica con amplios conocimientos en literatura. Roger Halsted, calvo. Profesor de matemáticas en una escuela secundaria. Escribe la Iliada en quintillas y todos los meses les recita una estrofa. Es miembro de los Irregulares de Baker Street. Henry Jackson, el camarero. Unos 60 años, sin arrugas. Es humilde y honrado. Entre ellos se llaman doctores y si uno es doctor de carrera le denominan doctor doctor. Para ayudarse en sus investigaciones cuentan con diccionarios, biblias y las obras de Shakespeare en su biblioteca. Comenzamos... ¿alguna pregunta? Y recuerda que puedes seguirnos en Telegram, Youtube, Instagram y X, y si este podcast te acompaña, te inspira o te gusta lo que hago, puedes hacerte fan y apoyar la nave. Tu energía mantiene viva esta aventura sonora.🚀 Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Música epidemic sound con licencia premium autorizada para este podcast. BIO Olga Paraíso: https://instabio.cc/Hleidas 🖤 PLAYLIST DIRECTA: https://go.ivoox.com/bk/11290149 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Minutos Literários é o quadro que traz uma indicação de leitura de um(a) petiano(a). No episódio de hoje, a recomendação da petiana Vitória é a obra "O Xangô de Baker Street", escrita por Jô Soares.Acompanhe o PET Letras nas redes sociais:Instagram: @petletras.ufrgsWebsite: ⁠https://www.ufrgs.br/pet-letras/

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Baker Street by Gerry Rafferty (1978)Song 1: The Great Pretender by The Platters (1955)Song 2: Two Days in February by The Goo Goo Dolls (1990)Song 3: Made Up Mind by Tedeschi Trucks Band (2013)Song 4: Rainbow Connection by Kermit the Frog (1979)Song 5: Today by Smashing Pumpkins (1993)Song 6: Trash by New York Dolls (1973)Song 7: Isjaki by Sigur Ros (2013)Song 8: Yorktown (The World Turned Upside Down) by Hamilton Cast (2015)Song 9: Suzanne by Leonard Cohen (1967)Song 10: The Charge by New Model Army (1989)

Opener: Skara Brae, and again I'm talking about vacation-linked boardgames   Closer: The Dornücopia we've got planned for EsCon in a couple weeks.    I'm always happy to talk about the Spiel des Jahres. The winners, the nominees, the recommended titles, the jury process, and the award's immense, positive impact on our hobby. That goes for the Kennerspiel and Kinderspiel, too...though I'm woefully ignorant about the children's category. This time it's just me talking about the games, severall of which I've played, but some I've missed. I don't think my predictions for what will win are particularly interesting or insightful--I just like talking about the games and sharing what I think of them. For the SdJ, this year the nominees are Bomb Busters, Flip 7, and Krakel Orakel. (Plus the recommended titles are Agent Avenue, Castle Combo, Cities, Foxy, Perfect Words, and The Animals of Baker Street.)    Then for the Kennerspiel (a category that's only gotten more interesting to me as it has drifted into my preferred game "weight") the nominees are Endeavor: Deep Sea, Faraway, and Looot. (The additional recommended titles are The Gang, Kauri, Medical Mysteries: NYC Emergency Room, and Zenith.)    -Mark

This week on Kill James Bond: A wrong righted. As much as we wanted it to be the case, the Transporter series featured ZERO HEISTS. So today, November and Devon meet in a shady basement to give Jason Statham his Due.  Based in broad strokes on a true-ish story, The Bank Job is the story of the 1971 Baker Street Robbery, where several- presumably jammy- bastards tunnelled into the safety deposit boxes of the Baker Street branch of Lloyds' Bank. ----- Remember to check out our reasonably-priced Patreon for our bonus episodes! Check out our curated collections for a route into our huge backlog of hundreds of hours of gold-standard podcasting! ----- FREE PALESTINE Hey, Devon here. In our home, we talk a lot about how insane everything feels, and agonise constantly over what can be done to best help the Palestinians trapped in Gaza facing the full brunt of genocidal violence. My partner Rebecca has put together a list of four fundraisers you can contribute to- all of them are at work on the ground doing what they can. -Palestinian Communist Youth Union, which is doing a food and water effort, and is part of the official communist party of Palestine https://www.gofundme.com/f/to-preserve-whats-left-of-humanity-global-solidarity -Water is Life, a water distribution project in North Gaza affiliated with an Indigenous American organization and the Freedom Flotilla https://www.waterislifegaza.org/ -Vegetable Distribution Fund, which secured and delivers fresh veg, affiliated with Freedom Flotilla also https://www.instagram.com/linking/fundraiser?fundraiser_id=1102739514947848 -Thamra, which distributes herb and veg seedlings, repairs and maintains water infrastructure, and distributes food made with replanted veg patches https://www.gofundme.com/f/support-thamra-cultivating-resilience-in-gaza ----- WEB DESIGN ALERT Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/ Kill James Bond is hosted by November Kelly, Abigail Thorn, and Devon. You can find us at https://killjamesbond.com , as well as on our Bluesky and X.com the every app accounts

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

durée : 01:00:35 - Toute une vie - par : Matthieu Garrigou-Lagrange - Harold Pinter, Liv Ulmann, Nicola Pagett dans "C'était hier", Los Angeles 1985 © Baker street par Matthieu Garrigou Lagrange et Ghislaine David La lecture des pièces de Pinter est une expérience sensorielle. Elle nous fait ressentir ce fluide malsain qui lie entre eux les êtres, et qui est fait de pouvoir : Celui qu'on subit, celui qu'on fait peser sur l'autre. En mettant simplement en présence des personnages sans histoire propre, Pinter déploie, avec la puissance que n'aura jamais la démonstration théorique, une pensée philosophique. Le totalitarisme est pour lui partout, y compris et surtout dans nos sociétés dites démocratiques, et c'est ce qu'il a asséné une fois encore lors de la réception de son prix Nobel de littérature, en 2005. Pinter lui même n'était pas dénué d'ambigüité. Ne jouait-il pas de son pouvoir, lui aussi ? N'était-il pas colérique ? Prêt à faire le coup de poing ? Dans ce numéro d'Une vie, Une Oeuvre qui lui est consacré, nous tâcherons d'en apprendre plus l'homme tout autant que sur sa pensée. Nous donnerons aussi à entendre l'écriture « pinteresque » et apprendrons à écouter ses silences. **Avec ** Jean Rochefort, acteur Claude Régy, metteur en scène Brigitte Gauthier, universitaire, auteur de "Mettre en scène Pinter" éd. L'Entretemps 2010 Roberto Ando, cinéaste Laure de Gramont, amie de Pinter Stuart Seide, metteur en scène Michel Ciment, critique de cinéma pour France Culture et Positif auteur de "Kazan, Losey : entretiens avec Michel Ciment " éd. Stock 2009 **A lire: ** "Vous partez déjà ? Ma vie avec Harold Pinter" d'Antonia Fraser éd. Baker Street, Prix 2010 du Meilleur Livre Etranger Hyatt catégorie Essai La biographie d' Harold Pinter par Michael Billington (en anglais) A consulter: les sites conseillés par les documentalistes de Radio France http://www.theatre-contemporain.net/biographies/Harold-Pinter/Site spécialisé français où l'on retrouve l'actualité d'Harold Pinter, une biographie et une bibliographie http://www.haroldpinter.org/home/index.shtml Site officiel d'Harold Pinter (en anglais) très détaillé évidemment : filmographie, biographie, prises de positions politiques, mises en scène, productions TV, bibliographie, activités autres : son sport favori le cricket…des images… http://fr.wikipedia.org/wiki/Harold_Pinter Une page dédiée à l'auteur http://www.mediapart.fr/club/blog/jamesinparis/271208/goodbye-harold-pinter-ou-le-courage-de-le-dire Blog de Jamesinparis sur le site Mediapart. Hommage à H. Pinter lors de sa mort en décembre 2008.

This week, J.B. and Eddie dust off one of Disney's hidden gems: The Great Mouse Detective. They celebrate Vincent Price's unhinged performance as Professor Ratigan, marvel at the animation of the Big Ben finale, and reflect on why Basil of Baker Street deserves more love. Along the way, they unpack the film's weird tonal balance, bat-based jump scares, and the offbeat charm that helped set the stage for the Disney Renaissance.

“I went into the back yard” [BLUE]    The third week of the month means we look at a piece of Sherlockian scholarship — particularly one that may not be as widely read or generally available to most Sherlock Holmes fans. This month, we're looking at Bernard Davies' "The Back Yards of Baker Street," which appeared in James Edward Holroyd's Seventeen Steps to 221B. Step with us through the alleyways of 1895 to see if we can make a proper identification. It's just a Trifle.    Don't forget to listen to "Trifling Trifles" — short-form content that doesn't warrant a full episode. This is a benefit exclusively for our paying subscribers. Check it out (Patreon | Substack).   Leave Trifles a five-star rating on Apple Podcasts and Spotify; listen to this episode here or wherever you get podcasts   Links Seventeen Steps to 221B by James Edward Holroyd (Abebooks) All of our social links: https://linktr.ee/ihearofsherlock Email us at trifles @ ihearofsherlock.com    Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra Publisher Info.: Washington, DC: United States Marine Band. Copyright: Creative Commons Attribution 3.0      

The Radio Detectives - BBC 98-06-03 (103) Sexton Blake, The Other Baker Street Detective

Hello and welcome to Episode 61. Today, we return to Baker Street – or should that be Montague Street? – for another memoir of Sherlock Holmes, ‘The Adventure of the Musgrave Ritual' (1893). Read the story here: https://www.arthur-conan-doyle.com/index.php/The_Adventure_of_the_Musgrave_Ritual The episode will be uploaded to our YouTube channel soon, where you can listen with closed captions. In the meantime, you can subscribe to our YouTube channel here: https://www.youtube.com/@doingsofdoyle And follow us on BlueSky (https://bsky.app/profile/doingsofdoyle.com). We don't do Twitter no more. Synopsis Whilst tidying his papers in the Baker Street flat, Sherlock Holmes unearths some relics of one of his earliest cases. His client, an old university associate called Reginald Musgrave, hires the nascent detective to investigate the recent disappearances of Hurlstone's butler and one of the housemaids. It is quite clear, however, that this is no elopement, and central to the mystery is the old family catechism known as the Musgrave Ritual… Next time on Doings of Doyle... We hope to be joined by journalist and author Andrew Finkel to discuss his novel The Adventure of the Second Wife… Support the podcast Please help us reach new listeners by leaving a rating or view on the podcast platform of your choice. And if you want to sponsor the podcast, please check out our Patreon page: https://www.patreon.com/doingsofdoyle Acknowledgements Thanks to our sponsor, Belanger Books (www.belangerbooks.com), and our supporters on Patreon and Paypal. Image credits: Thanks to Alexis Barquin at The Arthur Conan Doyle Encyclopaedia for permission to reproduce these images. Please support the encyclopaedia at www.arthur-conan-doyle.com. Music credit: Sneaky Snitch Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.

In 1985, Gary Leach sat down with Jeremy Brett for an impromptu interview on the Baker Street set.  What followed was an insightful conversation on wide-ranging topics including the actor's background and training, performance style, thoughts on playing the Great Detective, and his hopes and dreams for the future.  A sincere thanks to Gary for sharing this previously unreleased treasure with us and our listeners. Gary was also the original designer of the Secret of Sherlock Holmes tee-shirts which were only available at the Wyndham's Theater from 1988 to 1989 - but in collaboration with our podcast, these shirts have received a new run and are currently available exclusively at our website, while supplies last. Secret Of Sherlock Holmes Tee-Shirt:  www.etsy.com/listing/1870427276 Please remember to like and subscribe!  Submit feedback to contact@sherlockpodcast.com Patreon: https://www.patreon.com/sherlockpodcast Twitter: https://twitter.com/sherlockpod FB: https://www.facebook.com/SherlockPod Web: http://sherlockpodcast.com/ Sherlockian Relics: https://sherlockian-relics-collection.myshopify.com/ Merch: http://www.etsy.com/shop/LukeHolwerda

The Sign of Four by Arthur Conan Doyle chapter 12 The Strange Story of Jonathan Small, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.patreon.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Watson heads back to Baker Street and shows Jones and Holmes the empty Treasure Chest. Small barks a laugh, and says that he emptied the gems into the river when he realised that they were going to catch him, and says that the only people with a right to the treasure and the men that make up "the Sign of the Four."Holmes then presses Small to start his story. He was born into a poor farmer family in Worcestershire. He joined the British army after getting into some trouble with a girl, and was sent to India. After leaving training, his leg was bitten off by a crocodile, and was forced to leave the forces. After recovering, his superior got him a job on a plantation looking over the workers. His boss was kind, but soon a revolt started in India, and the workers turned against the masters and Small was forced to flee to Agra. In Agra he joined a volunteer corps set up in an old fort. He served here as a guard, and had two Punjabi men under his command. One night, the two ambushed him, and told him to be either with or against them. When he agreed, they told him about the treasure, and told him that a man was coming that night to Agra. When the man arrived, they attacked the man with the chest, and hid both the body and the treasure after making a tally of the jewels inside. Sadly for the men, the body was soon found, and they were all arrested and sent to work camps, and after a while were sent to the Andaman Islands. Here, Small was given a bit more freedom, and became close to the doctor. He over heard the doctor and the army guards playing cards, and heard two of them slowly lose more and more money, Morstan, and Sholto.Small then told the two about the treasure, and said that if they could go and get the treasure and help the members of the Sign of the Four escape, then they could have their fair share of the treasure too. Sholto goes to collect the Treasure, and then doesn't return... Small knows that he has stolen the Agra Treasure, and vows to get his revenge. He soon came into contact with one of the Natives, and helped heal him back to health after being wounded. He soon told the man, Tonga, of the Treasure, and asked to help him escape in his canoe. The two escape, and after a long while, make their way to London. Small finds out about Sholto, and goes to investigate; Sholto passes away when he see's Small's face in the window. Small then employs a man inside the house to give him information about the Treasure. One day he hears that it was found, and he takes Tonga with him to take it back. They get the treasure, Sholto is taken out, and then Holmes' chase began.SEO stuff that I really don't want to have to do...Join me for another immersive narration of this classic detective story from Sir Arthur Conan Doyle

Send us a textThere are hundreds of Blue Plaques on buildings around London commemorating the famous people who lived there at some time in the building's history .  But only one building has three plaques for three different people who lived in the building at the same time.  Chiltern Court on Baker Street was home to novelists HG Wells and Arnold Bennett and composer Eric Coates in the early 1930s.  In this new audio drama by Brian Hipkin we imagine a pivotal meeting between the three in December 1930 and a modern day investigation into events from the 30s.  In A Blue Plaque Mystery by Brian Hipkin you heard  Ewan Bailey as Arnold BennettJon Glover as HG Wells Zephryn Taitte as Eric Coates Charlie Richards as The Concierge Grace Savage as CassieRia Knowles as Sunday Tom McEnery as Voice on the recording Maya Cohen Gregory as Phyllis CoatesAnd Samira Ahmed as herself  A Blue Plaque Mystery was directed by Chris Gregory It was produced by Brian Hipkin and Chris Gregory and recorded at Orpheus Studio in London by Richard “Orpheus” Campbell Production sound-design and editing were by Chris Gregory The studio assistants were Holly Hughes and Maya Cohen Gregory The music tracks in this production are Saint James Infirmary Blues by Cab CallowayBy a Sleepy Lagoon by Eric Coates  You can find out more about Brian Hipkin and his work by following him on Instagram at https://www.instagram.com/brianhipkin/ To find out more about Alternative Stories, listen to our other dramas and contact us you can find all our links here https://linktr.ee/AlternativeStoriesSupport the show

Join us for Hammer's Hands of the Ripper, a 1971 British horror film released as the second half of a double feature with Twins of Evil. Directed by Peter Sasdy, produced by Aida Young, and written by L.W. Davidson from a story by Edward Spencer Shew. Making good use of the large Baker Street set at Pinewood Studios—left over from The Private Life of Sherlock Holmes—the production was denied permission to film its final scenes at St. Paul's Cathedral, so a replica was constructed instead. If the Pritchards' home and staircase look familiar, it's because Hammer's ever-resourceful set designers reused elements from The Curse of Frankenstein years earlier (see episode 2 of our podcast for more on that classic). Director Peter Sasdy, who cited Hands of the Ripper as his favourite film, also directed the original Adrian Mole TV series (both The Secret Diary and The Growing Pains), three episodes of Hammer House of Horror, and two other Hammer features: Countess Dracula and Taste the Blood of Dracula (the latter coming to the podcast later this year, hopefully). Most monumentally, he directed the legendary BBC sci-fi thriller The Stone Tape (definitely check General Witchfinders number 5—our third most popular episode to date!). Eric Porter stars as Doctor Pritchard. Renowned for his work in film, television, and theatre, he famously played Professor Moriarty opposite Jeremy Brett's Sherlock Holmes and Soames Forsyte in The Forsyte Saga. Angharad Rees plays Anna, the daughter of the Ripper. She appeared in Boon (take a drink), starred as Demelza in 28 episodes of Poldark, and, the year after Hands of the Ripper, featured in Under Milk Wood alongside Richard Burton, Peter O'Toole, and Elizabeth Taylor. She was made a Fellow of the Royal Welsh College of Music & Drama, had a pub named after her in Pontypridd (sadly now a card shop), and founded a Knightsbridge jewellery company, Angharad. Pieces she designed were featured in Elizabeth: The Golden Age. Wikipedia also notes she was once in a relationship with Alan Bates, which we mention only to plug episode 35, where we talked about The Shout.Lynda "Nurse Gladys Emmanuel" Baron appears as Long Liz—a curious name choice considering Long Liz was an actual canonical Ripper victim. Here, she's depicted alive and well (at least initially), years after Saucy Jack's supposed demise. Baron appeared as a recurring character in both Coronation Street and EastEnders, and played three different characters in Doctor Who across three Doctors.Dora Bryan turns up as Mrs Golding, one of two clairvoyants in the film. You may know her from 50 episodes of Last of the Summer Wine, Boon (drink), or as Helen in A Taste of Honey (written by Jon's mum's mate Shelagh Delaney). She (Dora, not Shelagh) also appeared in both a Carry On and a St Trinian's.Lastly, Norman Bird pops up as the Police Inspector. If he looks familiar, it's because he had over 200 TV and 60 film roles. He was in Spywatch (as Mr Jenkins), Boon (drink), Woof!, Whack-O!, and Help! (with Stephen Mangan). He also did a stint in Jim Davidson's Up the Elephant and Round the Castle—only mentioned because Ross was convinced it was alongside Marina Sirtis, but IMDb says she was in just one episode?Anyway, back to Norman Bird. He appeared in The Adventure Game, Whistle Down the Wind, Steptoe and Son, Fawlty Towers, Please Sir!, and The Medusa Touch (on our long list since day one). He was Mr Braithwaite, the farmer, in Worzel Gummidge and voiced Bilbo in the 1978 Ralph Bakshi Lord of the Rings. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

John Harris is an old pal from our days in the music press. You might remember him from Sounds, the NME and Select (which he edited) and he's been one of the mainstays of the Guardian ever since, writing mostly about pop culture and politics. When his son James was diagnosed with autism and, looking for ways to connect with him and help his development, John began playing him various types of music. The results were life-changing for the family and recorded in his moving and revelatory book ‘Maybe I'm Amazed - A Story Of Love And Connection In 10 Songs'. With autism, John points out, “you can see the trees but seeing the wood is harder”. This fascinating conversation involves … … have we misread the eccentricities of John Coltrane or Van Morrison, Prince, David Byrne and Gary Numan? … how many musicians are outsiders in an industry requiring them to be the opposite of what they feel capable of. … how people with autism hear songs differently each time and “music is an endlessly replenishable source of wonder”. … why so many lead guitarists are loners. .. how James has perfect pitch and hears everything – birdsong, lawn-mowers, police sirens – as notes. And how music taught him to sight-read. … vivid, unforgettable, emotional recollections of the moment you first heard records – in John's case Sir Duke, Baker Street, Strange Town. … “blokes in black denim jackets drinking Becks”: the allure of working for the West End rock press. … “all records are novelty records when you're young”. … how 50-year-olds marvel at Spotify and 20-year-olds at vinyl. … the artistic rise and fall of Britpop. Order John's highly recommended book ‘Maybe I'm Amazed' here: https://www.amazon.co.uk/Maybe-Im-Amazed-Story-Connection-ebook/dp/B0D6B7H5NYFind 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.

John Harris is an old pal from our days in the music press. You might remember him from Sounds, the NME and Select (which he edited) and he's been one of the mainstays of the Guardian ever since, writing mostly about pop culture and politics. When his son James was diagnosed with autism and, looking for ways to connect with him and help his development, John began playing him various types of music. The results were life-changing for the family and recorded in his moving and revelatory book ‘Maybe I'm Amazed - A Story Of Love And Connection In 10 Songs'. With autism, John points out, “you can see the trees but seeing the wood is harder”. This fascinating conversation involves … … have we misread the eccentricities of John Coltrane or Van Morrison, Prince, David Byrne and Gary Numan? … how many musicians are outsiders in an industry requiring them to be the opposite of what they feel capable of. … how people with autism hear songs differently each time and “music is an endlessly replenishable source of wonder”. … why so many lead guitarists are loners. .. how James has perfect pitch and hears everything – birdsong, lawn-mowers, police sirens – as notes. And how music taught him to sight-read. … vivid, unforgettable, emotional recollections of the moment you first heard records – in John's case Sir Duke, Baker Street, Strange Town. … “blokes in black denim jackets drinking Becks”: the allure of working for the West End rock press. … “all records are novelty records when you're young”. … how 50-year-olds marvel at Spotify and 20-year-olds at vinyl. … the artistic rise and fall of Britpop. Order John's highly recommended book ‘Maybe I'm Amazed' here: https://www.amazon.co.uk/Maybe-Im-Amazed-Story-Connection-ebook/dp/B0D6B7H5NYFind 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.

John Harris is an old pal from our days in the music press. You might remember him from Sounds, the NME and Select (which he edited) and he's been one of the mainstays of the Guardian ever since, writing mostly about pop culture and politics. When his son James was diagnosed with autism and, looking for ways to connect with him and help his development, John began playing him various types of music. The results were life-changing for the family and recorded in his moving and revelatory book ‘Maybe I'm Amazed - A Story Of Love And Connection In 10 Songs'. With autism, John points out, “you can see the trees but seeing the wood is harder”. This fascinating conversation involves … … have we misread the eccentricities of John Coltrane or Van Morrison, Prince, David Byrne and Gary Numan? … how many musicians are outsiders in an industry requiring them to be the opposite of what they feel capable of. … how people with autism hear songs differently each time and “music is an endlessly replenishable source of wonder”. … why so many lead guitarists are loners. .. how James has perfect pitch and hears everything – birdsong, lawn-mowers, police sirens – as notes. And how music taught him to sight-read. … vivid, unforgettable, emotional recollections of the moment you first heard records – in John's case Sir Duke, Baker Street, Strange Town. … “blokes in black denim jackets drinking Becks”: the allure of working for the West End rock press. … “all records are novelty records when you're young”. … how 50-year-olds marvel at Spotify and 20-year-olds at vinyl. … the artistic rise and fall of Britpop. Order John's highly recommended book ‘Maybe I'm Amazed' here: https://www.amazon.co.uk/Maybe-Im-Amazed-Story-Connection-ebook/dp/B0D6B7H5NYFind 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.

In this week's episode of everyone's favourite 'stuff to do' podcast, Adam's off to the Sherlock Holmes Museum at 221b Baker Street in London, plus we're on the hunt for starlings. Join Fun Kids Podcasts+: https://funkidslive.com/plusSee omnystudio.com/listener for privacy information.

The Sign of Four by Arthur Conan Doyle chapter 3 In Quest of a Solution, narrated by Isaac Birchall Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D https://ko-fi.com/theessentialreads https://www.patreon.com/theessentialreads https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join SUMMARY: Holmes comes back to 221b Baker Street in good spirits. He tells Watson that he has figured out that the pearls have something to do with Major Sholto, who, he discovered died the same week that Miss Morstan started receiving them. He figures that Sholto's heir knows something, and wants to compensate for it. When Miss Morstan arrives, the trio get into the cab, Holmes making sure to take his revolver with him. In the cab, miss Morstan provides Holmes with some additional papers full of allusions to her father and Major Sholto's time together. On one of the papers is a strange symbol, a small red cross, the words "the sign of the four," and the names Jonathan Small, Mahomet Singh, Abdullah Khan, Dost Akbar. When they arrive at the theatre, they are approached by a man who asks for Miss Morstan, and he asks her to confirm that Holmes and Watson are not police. He then takes them to another cab, and on mounting, takes them on a winding, twisting journey across London. When they finally arrive at their destination, they are greeted by a man at the door, and a young child-like voice from within.

In the heat of summer, a new case finds its way to Baker Street, as Holmes and Watson are called upon to investigate the appearance of a cardboard box and its mysterious contents: two human ears. They make their way to Croydon, where they meet Miss Susan Cushing, the recipient of the box, and question her about its contents. She knows nothing about the package, but Holmes is quickly able to deduce his way towards the truth. Join him and Watson as they embark on a new adventure, and let it accompany you as you sink into another night of rest and relaxation. ----- Welcome to the Sherlock Holmes Bedtime Stories podcast. Each episode is a section of a classic Sherlock Holmes story, read in soothing tones and set to calming music to help you fall asleep. ----- Help us keep this podcast free! Support the podcast: http://bedtimestoriespodcast.net/support -----

As Holmes and Watson face a maddening silence in their search for the Aurora, tension mounts in Baker Street. With no word from the river, and the trail growing cold, Holmes begins to unravel—restless, obsessed, and increasingly desperate. But when all seems lost, a mysterious old sailor arrives with an outrageous claim… and a secret that will leave you stunned.Prepare for disguises, deception, and a turning point that reignites the chase. The net is tightening—but who will be caught in it? Tune in to this thrilling chapter as Holmes springs a surprise that even Watson doesn't see coming.

The Sign of the Four by Arthur Conan Doyle chapter 1 The Science of Deduction, narrated by Isaac Birchall Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D https://ko-fi.com/theessentialreads https://www.patreon.com/theessentialreads https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join SUMMARY: Sherlock Holmes is sitting in his chair at Baker Street, injecting narcotics into his arm. Dr Watson, his flat mate and friend, calls Holmes out on his recreational narcotic usage, and feels that he should stop abusing them for the sake of his health and mind. Holmes replies to this outburst by claiming that his mind rebels at stagnation, and that because he doesn't have a case to solve, he yields to this form of Mental Exaltation. He then says that he made his detective job for himself because he takes great pleasure in solving problems.The two men quickly discuss the Jefferson Hope Case which Watson wrote about, "A Study in Scarlet." Holmes says that Watson added too much romanticism, and believes that Watson should have only left in the parts pertaining to Holmes' detective abilities. Holmes then mentions that he has also written several pieces about his detective abilities on the distinction between ashes of various tobaccos, and the like.Watson then asks Holmes to explain the difference between observation and deduction. Holmes obliges, and says that Watson went to the post office to send a telegram, and then explains how he came to these conclusions. With a goal to challenge his flat mate, Watson gets Holmes to identify his watch, and describe its former owner. After looking at the watch, Holmes concludes that the watch belonged to Watson's brother, that the man had times of poverty and prosperity, and was also a drunk. After a brief outburst from Watson, Holmes goes to explain how he arrives at the answer he gave. Following this, their Land Lady Mrs. Hudson, comes in and announces that a Miss Mary Morstan wants to see Holmes... A New Case

SNOW WAY OUT - my companion and I were confined to Baker Street after severe snowfall locked the City down. On our way back from an impromptu pub excursion it was a cry of 'murder' that prompted the opening of a case very close to home... Part 1 of 2 This episode contains swearing and depictions of mutilation. Listener discretion is advised. For merchandise and transcripts go to: www.sherlockandco.co.uk For ad-free, early access to adventures in full go to www.patreon.com/sherlockandco Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok and instagram.  To get in touch via email: docjwatsonmd@gmail.com This podcast is property of Goalhanger Podcasts. Copyright 2024. SHERLOCK AND CO. Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Jasmine Kerr as Eugenia Ronder Al Murray as Mark Merrilow Michael Lyle as Sgt Edmunds Additional Voices: Darcey Ferguson Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes Audio Produced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

“the compliments of the season” [BLUE]  There is only one Sherlock Holmes story that takes place at Christmas: "The Blue Carbuncle," which took place on "the second morning after Christmas."  In his Gas-Lamp for the 1959 Baker Street Journal Christmas Annual, editor Edgar W. Smith, BSI ("The Hound of the Baskervilles") entertained the idea of what was happening at Baker Street on Christmas Day. And that seemed like a Trifle. Do you have a topic you'd like to recommend? Email us at trifles@ihearofsherlock.com and if we use your idea on the air, we'll send you a thank-you gift.   All of our supporters are eligible for our monthly drawings for Baker Street Journals and certain tiers receive thank you gifts. Join our community on Patreon or Substack today.   And in Season 9 (debuting in 2025) we'll be adding "Trifling Trifles" as an additional channel of content only for our paying subscribers. Don't miss it!     Leave Trifles a five-star rating on Apple Podcasts and Spotify; listen to us wherever you listen to podcasts.   Links / Notes All of our social links: https://linktr.ee/ihearofsherlock Email us at trifles @ ihearofsherlock.com   Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra  Publisher Info.: Washington, DC: United States Marine Band  Copyright: Creative Commons Attribution 3.0  

Paddling the three-man conversational kayak across the rock and roll rapids this week involved … … Olive Mess, Candied Yams, Gorilla Biscuits …? Challenging indie act or seasonal vegan recipe? … the amount YMCA earned through Donald Trump and why the man who wrote it is complaining. … Tom Hanks' valuable words of wisdom. … Neil Tennant's favourite bridge in a pop song (and it's not We Can Work It Out or I Will). … musicians and the modern world of the “one-night stand” circuit. … Baker Street, Money, Careless Whisper, Giant Steps, Jungleland … and the sax solo that outranks them all. … the genius of Henry Mancini and the powerful DNA of film music. … the lost world of small ads – eg this pasted by Roxy Music: “The perfect guitarist for avant rock group: original, creative, adaptable, melodic, fast, slow, elegant, witty, scary, stable, tricky. Quality musicians only.” … Beatles '64 - “randomly assembled and directionless”, a listener declares!  Here's Plas Johnson playing the Pink Panther theme with Henry Mancini: https://youtu.be/jBupII3LH_Q?si=brjVwsPlmcnii1MdFind 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.