Podcasts about Ballad

Zoomed last week, second episode in the session bad notes disclaimer! The Notes: Happy Birthday, Will! It's Will's birthday, here come the submarines! Bear dick corner! Canonically, that's Paddington in the Revenant! Will is shocked to learn Paddington has done time! The only panacea to the prison industrial complex is Paddington! Felony pop-up book theft is no joke! The Soviet socialist undertones of Journey's Don't Stop Believin'! That midnight train isn't going anywhere, it's going to a Siberian labor camp! The Ballad of Ronald Reagan's head! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter & Instagram: @doubledeucepod Bluesky: @doubledeucepod.bsky.social Facebook: www.facebook.com/DoubleDeucePod/ Patreon: patreon.com/DoubleDeucePod Also, please subscribe/rate/review/share us! We're on Apple, Android, Libsyn, Stitcher, Google, Spotify, Amazon, Radio.com, RadioPublic, pretty much anywhere they got podcasts, you can find the Deuce! Podcast logo art by Jason Keezer! Find his art online at Keezograms! Intro & Outro featuring Rob Schulte! Check out his many podcasts! Brought to you in part by sponsorship from Courtney Shipley, Official Superfans Stefan Rider and Amber Fraley, and listeners like you! Join a tier on our Patreon! Advertise with us! If you want that good, all-natural focus and energy, our DOUBLEDEUCE20 code still works at www.magicmind.com/doubledeuce for 20% off all purchases and subscriptions. Check out the Lawrence Times's 785 Collective at https://lawrencekstimes.com/785collective/ for a list of local LFK podcasts including this one!  

Welcome to the Ballad of the Seven Dice. The party shares the information they have gathered and gear up for Floor 2! What's the worst that can happen down there? Check out our YouTube Want to join in on the conversation? Join Our Discord Show Notes Sin and Sinners, Experiment 4, Astral Projection, Creepy Doll, Dark Secret - Dark Fantasy Studio Filip Melvan - Fable Under The Table - 05 Tavern At The End Of Road Cellar - Monument Studios Cursed Forest, Quiet Tavern, Medieval City Indoors, Urban Park at Night, Daytime Forest, Fantasy Medieval City, - Michaël Ghelfi 

It's back once again, the return of the Pittsburgh Power Ballad Challenge on WDVE! Listen to our three finalists perform for our panel of judges featuring Reb Beach, Scott Blasey, and Mark Madden to decide who has the best ballad for the Burgh!See omnystudio.com/listener for privacy information.

Amazon Music SpotifyMore about artist BioBack in the mid-'80s, James Sifuentes began writing and recording some pretty goodpop rock. He and Bill, his brother and bandmate, dreamed of getting the songs re-recorded professionally, but life, other interests and careers intervened.Then came more life: age 50, cancer, Hodgkins's lymphoma. He beat that. Ten yearslater, July 2023, turmoil at the hospital where he had been an executive for 19 yearsresulted in his firing. A few months after that, January 2024, he suffered a heart attackwhile interviewing for his current regional manager position with the Chicago ParkDistrict.He didn't know about the heart attack until he went to urgent care after the interview.At this point, he tells himself that if he's going to put out his music, he ought to do it, andby March, he persuades himself to get it done.Then, January 2025, disaster for the second January in a row. He is diagnosed withstage 4 pancreatic cancer, but now he is seriously committed to putting out his music.And the result, a year later, is “Summertime,” the single, a jazzy pop-rock anthem to theseason, and Summertime, a 12-track album of some pretty good pop rock transformedinto seriously good pop rock.It's all under the name Sifuentes. It features Jim, his brother Bill on guitar, and MattRiggen, a multi-talented colleague from the park district, on drums, brass and piano.“Overall, it's pop rock, but there's some stuff that fits in different genres.”The single features the rocking guitar and beat you would expect from someoneinfluenced by the Beatles, especially John Lennon and Paul McCartney, funkadelic,(Parliament) and R&;B.And it also has some swinging brass work too.“The '60s, I was only a little kid,” said Sifuentes. “My dad actually bought Beatlesalbums, and we were just listening to them and, yeah, they became it.”Growing up, living and working in Chicago, “Summertime,” to him, means the end of theice, snow and cold of winter and the “beauty, the energy when people get to go out,wear shorts, barbecue, head to the beach and enjoy a different feeling.”“It's just trying to capture that feeling and make people feel good when they listen to thesong.”He has been writing, composing, playing and recording music ever since he and hisbrother were teens. At one time, he wanted to do that full time.“We just didn't pull the trigger, my brother and I. We wanted to get into the studio torecord these songs. We wanted to hear what they would have sounded likeprofessionally.”After the heart attack last year, “I said, ‘I'm gonna get these songs done.' In March oflast year, I said I'm gonna put out an album, so I set the goal.”But doubts set in: already 60, health not good, and though the music he had written andrecorded was good, he hadn't been playing much, or singing.Somewhere in here, his daughter Amanda says to him about “Summertime,” which hewrote in his 40s, “I love that song, Dad. You should finish it.”“And I said, ‘You know what? I'm going to do this album. I will release it aroundsummertime, so, I want that to be the title.”He began work, getting back into musical shape, working over his songs, and byNovember, he was back in the studio.Then January, and this time it's pancreatic cancer. But, “I'm always one to finish a goal.”Now it's June, and the album is out.“And I celebrated yesterday,” he said. “My staff here at the park district, we held alistening, they called it a listening event, and they played the album. My brother, Mattand I did some of the songs, five of them, just acoustic versions, but it was really nice.”And that's the story, he said. The love of music, the talent, the gift, has always beenthere, waiting to be unveiled.That's what he calls it, an unveiling.“People know I play guitar, kind of, but didn't know this other part of me, that I couldsing, or I can record, and I compose songs. It's an unveiling of another part of Jim thatpeople might not know.”He wrote most of the songs when he was 18-25. “The Memory” is about where he grewup, “walking around the park, going to school.” “Searching for Another Day” he wrotewhen he was 18.“Life,” coming more than 30 years later, after the first bout with cancer, “kind ofcomplements that song, saying, like, ‘After your search, this is where you're at.'”“Will You Be Mine” is R&B, “kind of a stepper.” “Loving You Dear,” “a catchy little clubsong.” The last song, “Yes, It's Me,” started out as a love song to a woman namedOrquídea, orchid in English. It features a Latin flavor and Sifuentes on guitar.“But it became in many ways more about me, showing everyone that it's me singing,recording, unveiling parts of me that were hidden, and still living fully.”He wrote other songs for people like him and his brother, people who grew up duringthe same period and listened to The Beatles, Elton John, The Who and others.“I'm hoping as they've grown and listened to music, it fits right into their lives.”One song, “Rumors,” a fast-moving rocker, is in its original recording of the Sifuentesbrothers from the late '80s, early '90s.“I just threw it in because I wanted to get 12 songs done, and it fits the mood of thealbum perfectly.”“Life,” a soft, lovely ballad, has special meaning.“It's the question every kid gets: What do you want to be in life? I just wanted to befamous and write songs, but you got to live your life for real.”The last lines are:Now that I'm older, I've come to beAll the gifts life has given meStill life comes asking one more thingIs this really what it means to be“I have this gift, and I wanted to share it, what I think my brother and I wanted to doback when. When you get that opportunity, like now, go ahead and make that happen.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Mara (She/Her/E/Em): Storyteller; Zodiac System (She/They): Dapple (She/Her) - Lupus Black Fury Galliard; William/Shani (Any/All): Eileen Baird (She/Her) - Homid Shadow Lord Ragabash; Holly(She/Her): Juniper (She/Her) - Metis Stargazer Philodox; Jeremy (They/Them): Alexis Theron Lambros (He/Him) - Black Fury Kinfolk; Sen (She/He), Wulfric Volkov (he/him) - Silver Fang Ahroun; -----Thanks to all of our supporters at patreon.com/fsfilms for making this possible!Especially our $25+ Donors:Drevian AlexanderL ★ Support this podcast on Patreon ★

ESPECIAL ARTISTAS ESPAÑOLES

    Mara (She/Her/E/Em): Storyteller;     Zodiac System (She/They): Dapple (She/Her) - Lupus Black Fury Galliard;     William/Shani (Any/All): Eileen Baird (She/Her) - Homid Shadow Lord Ragabash;     Holly(She/Her): Juniper (She/Her) - Metis Stargazer Philodox;     Jeremy (They/Them): Alexis Theron Lambros (He/Him) - Black Fury Kinfolk;     Sen (She/He), Wulfric Volkov (he/him) - Silver Fang Ahroun; -----Thanks to all of our supporters at patreon.com/fsfilms for making this possible!Especially our $25+ Donors:    Drevian Alexander    L ★ Support this podcast on Patreon ★

In this episode of The Book Fix, Yajaira and Cheli trade their books for popcorn to review the film adaptation of The Ballad of Songbirds and Snakes. They unpack everything from Snow's villain origin (and questionable hair choices) to the chaotic music numbers, awkward romance, and surprisingly stacked cast. Did the movie make us care more about Coriolanus? Was Lucy Gray giving main character energy or just vibes and vocals? And why did it feel like three different movies in one? Tune in as the girls break down what worked, what dragged, and whether this prequel actually earned its place in the Hunger Games universe—or just sang too many songs. Support the showOur Linktree: https://linktr.ee/thebookfix?utm_source=linktree_admin_sharebecome our Patron ♡ https://www.patreon.com/BookFixbuy us a book ♡ https://www.buymeacoffee.com/thebookfixBusiness Inquiries: thebookfixpodcast@gmail.comfollow us on Tiktok! ♡ https://www.tiktok.com/@thebookfix

My Summer Lair host Sammy Younan talks to Walter Day (a video game referee) and Billy Mitchell (a video game champion) about Arcades and Love Songs: The Ballad of Walter Day. My Summer Lair Chapter #321: How Many Songs Has Your Heartbreaks Inspired? Recorded: Tuesday, February 18, 2025 at 10:00 am (EST) For more show notes visit MySummerLair.com. Bonus Fun? Sign up for my newsletter because the F in FOMO doesn't stand for Fun. Stress free pop culture (TV shows! Books! Movies! Music! So Many Recommendations!!) tastefully harvested for your divine delight. Once a week a carefully curated edition of My Pal Sammy goes directly to your inbox. Magic or Science? You decide.

There's often an unspoken (and deeply misogynistic) rule on country music radio: never play two female artists back to back. In this episode of Switched On Pop's country week, we aim to do just that. Looking at two artists on opposite ends of the country music spectrum – traditionalist Lainey Wilson, and genre-bending Jessie Murph – Nate and Charlie try to understand the state of female country through their respective songs "4x4xU" and "Blue Strips." Songs discussed: Lainey Wilson – 4x4xU Jessie Murph – Blue Strips Lainey Wilson – Country's Cool Again Lainey Wilson – Heart Like A Truck HARDY, Lainey Wilson – wait in the truck Jessie Murph – Gotta Hold Jessie Murph – Gucci Mane Jessie Murph, Sexyy Red – Blue Strips (Remix) Zach Top – I Never Lie Carrie Underwood – Before He Cheats Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of The Book Fix, Yajaira and Cheli return to Panem to review The Ballad of Songbirds and Snakes by Suzanne Collins—and they're not holding back. They dive into the origin story of a young Coriolanus Snow and debate whether the prequel adds anything meaningful to the Hunger Games universe. Was the love story believable? Did Lucy Gray deserve better? And what was up with all that singing?? Tune in as they unpack the slow burn (literally) of Snow's villain arc, the book's commentary on control and spectacle, and whether this prequel hit the right notes—or just dragged its feet through the mud. Support the showOur Linktree: https://linktr.ee/thebookfix?utm_source=linktree_admin_sharebecome our Patron ♡ https://www.patreon.com/BookFixbuy us a book ♡ https://www.buymeacoffee.com/thebookfixBusiness Inquiries: thebookfixpodcast@gmail.comfollow us on Tiktok! ♡ https://www.tiktok.com/@thebookfix

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

Things sure are bleak out there, huh? Thankfully, Jake and Brooke are here to lighten it up by talking about furries, conspiracy theories, and cartoons. That's right, distinguished listeners, today we are going to be talking about the life and times of the one and only Jack Chick. Get ready to laugh at awful things.Buy merch! ihatejamesdobson.printful.me or ihatejamesdobson.comReferences:Alberto Rivera. (2025, March 23). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Alberto_Rivera_(activist)&oldid=1281921120Chick Publications (n.d.) About Jack Chick. https://www.chick.com/authors/jack-chickChick Publications. (n.d.) Tracts. https://www.chick.com/products/category?type=tracts#&&Category=All&SortBy=A-Z&PageNumber=1&Language=English&ShowCount=12&Status=StockDaniels, D. (2016, Oct 16). You Don't Know Jack [Playlist]. Youtube. (https://www.youtube.com/watch?v=totLO3sV6-Y&list=PLhmAbEGx-AnTTNoJgObb_sbvekP6tscLlJack Chick. (2025, May 15). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Jack_Chick&oldid=1290569957John Todd (conspiracy theorist). (2025, May 1). In Wikipedia. https://en.wikipedia.org/w/index.php?title=John_Todd_(conspiracy_theorist)&oldid=1288193460 Hosted on Acast. See acast.com/privacy for more information.

Our encounter with Jesus this week involves the well know story of Zaccheaus the chief tax collector. Not only do we examine his encounter with Jesus that shocked those around them, but we also look at Zack's transformation and what that might mean for our lives. We also discuss how the parable of the Lost Sheep where the Shepherd leaves the 99 to go find the one that was lost relates to Jesus seeking out Zaccheaus and how the everyday Christ follower and the American church might fit into the story. From Luke 19:1-10Thank you for listening to our podcast and we would love for you to subscribe to our page and share with others. Join us for our weekly worship online at www.firstbaptistblowingrock.com or our Youtube page. Contact us at office@firstbaptistblowingrock.com or by phone @ 828-295-7715

Welcome to the Ballad of the Seven Dice. The offline crew is getting together for a true party tradition. Yelling at the reckless member who almost died doing something rad! Well I thought it was recklessly rad.  Michaela - @Metaphysicaal Fatuma - Noor @Fatumaaaa_ Tenzin - Mauve @tenzindays Drea - Fable @DreaSilvertooth Jak - Guy @jak_true Check out our YouTube Want to join in on the conversation? Join Our Discord Show Notes Conspiracy Unravel, Closing In, A Bad Outcome - Monument Studio Neon God, Experiment 4, Snowfield, Time, In This Time,  - Dark Fantasy Studio Italian City Streets, Urban Night   - Michaël Ghelfi

Send us a textHunger Games Summer isn't over yet, nerds!

Trump came down that golden escalator ten years ago this week, and thus began America's descent to the depths of madness. The gang looks back on his political journey, from launching into the GOP race from Trump Tower to whatever you'd describe where we are now. Plus, Reform UK won loads of council seats – and now it actually has to take charge of things. So, how's that going? (We promise we say more than just bad.) Then in the Extra Bit for supporters – can we ever be as happy as Finland? And what does that even mean? • Listen to The Bunker including Andrew's interview with Peter Ricketts.  ESCAPE ROUTES  •  Matt went to see The Ballad of Wallis Island at the cinema • Zoe went to Primavera in Barcelona – and she says to watch Chappell Roan's set online if you can!  • Raf went to see Showstopper! • Dorian suggests Decoder Ring   www.patreon.com/ohgodwhatnow    Presented by Dorian Lynskey with Rafael Behr, Zoe Grunewald and Matt Green. Producer: Chris Jones. Audio. Production by Robin Leeburn. Music by Cornershop Group Editor: Andrew Harrison. Managing Editor: Jacob Jarvis. OH GOD, WHAT NOW? is a Podmasters production.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Spaceballs 2Weekend Box OfficeSummer Movie WagerWhat Damian's Been Watching: The Phoenician Scheme, Bring Her Back, Ballerina, A Hidden Life, Small Things Like These, The Ballad Of Wallis Island Carey Mulligan on the Off Menu podcastWhat Dericks Been Watching: Sunrise on the Reaping (Book), The Last of Us Season 2, Friday the 13thLetterboxd Assignments: Damian - I Like Movies, Derick - The Right StuffNew Letterboxd Assignments: Damian - The Heroic Trio, Derick - The Odyssey For next time: June 20th - 28 Years Later, Elio, Ironheart June 27th - F1, M3gan 2.0Check out Derick' socials hereCheck out Damian's social's here

In this jam-packed edition, we cover sunglasses, poetry, a dining experience and pretzels. As always, please send your recommendations to our instagram @makingthecutpodcast.Zoe de Pass - https://www.zoedepass.com/Bernard Marr - https://www.youtube.com/channel/UCWstLaT61QUc-TvfxOjNpFwThe Lives of Others - https://www.imdb.com/title/tt0405094/Words Can Fly - https://www.waterstones.com/book/words-can-fly/donna-ashworth/eirinn-mcguinness/2928377329174Mevo Three-Pack - https://mevo.com/products/mevo-start-3-packHow to Basically - https://howtobasically.co.uk/Pretzel Thins - https://www.ocado.com/products/m-s-sesame-pretzel-thins-510071011?srsltid=AfmBOoq4jsF2zdtjN3HVcRh9ckn0FrjLHnIIg0tUfBnxAPiEE0GsVBoHBeaverbrook Balloons - https://www.ascot.com/royal-enclosure-beaverbook-balloonsWord on the Water - https://www.wordonthewater.co.uk/Dept Q - https://www.imdb.com/title/tt27995114/The Ballad of Wallis Island - https://www.imdb.com/title/tt27674982/I Started a Joke - https://www.youtube.com/watch?v=XwsoYrKKqSc&ab_channel=PaulWeller Hosted on Acast. See acast.com/privacy for more information.

In this episode of Scenecraft, we are joined by friend of the show, Ren, as we break down the "Trip to Subway®" scene from Friendship (2025) – directed by Andrew DeYoung. At the end of the episode, actor Billy Bryk — who plays "Tony" AKA "T-Boy" in the film —  joins us for his "Pro Take"! Drop us a line at contact@scenecraftpodcast.com, or follow us on Instagram, Threads, TikTok, and Bluesky @scenecraftpodcast for the latest news on the show. — Show Notes — Quick Takes ~ 00:01:15 Popstar: Never Stop Never Stopping (2016), Bring Her Back (2025), The Ballad of Wallis Island (2025), Mission: Impossible – The Final Reckoning (2025) Friendship (General Review) ~ 00:18:20 Scene Selection ("Trip to Subway®") ~ 00:31:09 Pro Take (Billy Bryk as "Tony" AKA "T-Boy" in Friendship) ~ 01:06:24 Thanks for listening!

THE PHOENICIAN SCHEME marks Wes Anderson's thirteenth feature film (if you count the collection of 4 shorts based on Roald Dahl stories he did for Netflix in 2024 as one film). Benicio Del Toro stars as wealthy businessman Zsa-zsa Korda who decides to appoint his only daughter, a nun, as sole heir to his estate. As Korda embarks on a dubious new enterprise (the scheme of the title) he & his daughter become the target of rival tycoons, foreign terrorists, & determined assassins. We've got a review plus some movie news and a recommendation of a film you might want to seek out. Recommendation from our hosts in this episode - The Ballad of Wallis Island Footcandle Film Society

Send us a textJoin Cheryl Lee - That Radio Chick on STILL ROCKIN' IT for news, reviews, music and interviews with some of our favourite Australian musicianMelbourne Ska Orchestra electrifies with their cinematic new single "Walla of Jericho" and prepares for a mammoth global tour supporting their upcoming album "The Ballad of Monte Loco." Trombonist and tour manager Wally Maloney takes us behind the scenes of this explosive ARIA award-winning collective that has become one of Australia's most beloved musical exports.Emerging from Melbourne's vibrant ska scene in 2003, this "super group" united the city's best ska musicians into what was initially planned as a one-off celebration. What began as an annual event gradually evolved into the powerhouse ensemble we know today. Maloney shares fascinating stories about juggling 26+ musicians across international tours and the Orchestra's remarkable journey from local favorite to global sensation.The conversation delves into their groundbreaking "One Year of Ska" project that earned them the 2019 ARIA for Best World Music Album - an incredible feat where they released one track every week for an entire year. Using what Maloney describes as a "Motown Model," they created 52 diverse tracks spanning classic ska covers, TV/movie themes, and original compositions. Their new music takes an exciting turn, blending spaghetti western cinematic elements with their signature ska sound, while "Walls of Jericho" tackles timeless themes of conflict with an undercurrent of hope.As Melbourne Ska Orchestra prepares to tour Australia, Japan, and Canada, they promise the same infectious energy and fluid stage presence that has made their live shows legendary. What have MSO been up to lately?  Let's find out!Get out when you can, support local music and I'll see you down the front!!Visit: ThatRadioChick.com.au

Send us a textThis week, we're taking a quick break—but Hunger Games Summer rolls on!

IN CINEMAS Shaun and Holly see Ballerina : From the World of John Wick Sharon sees How To Train Your Dragon Shaun sees Tornado Tosin sees The Ballad of Wallis Island AT HOME Tosin Sees Bob Trevino Likes It Holly sees The Front Room on Netflix Sharon sees Clarkson's Fram Series 4 on Prime Video Shaun sees Beach of the War Gods on Prime video Is Netflix killing cinemas? Each week we weigh up what we've seen in cinemas with what we've watched online at home and figure out which provided the best time. At least, we did before COVID jumped in and declared Netflix, Amazon Prime, Disney + and friends the winner. Listen and subscribe on Apple Podcasts https://podcasts.apple.com/gb/podcast/netflix-vs-cinema/id1448277363 Listen and subscribe on Youtube Music https://www.youtube.com/playlist?list=PL8xPMfsDQIDjM70v1Tah6BiKV4E3UQbaK Listen on Spotify https://open.spotify.com/show/6beXVeSImcgHLsPB22BgE3?si=wdoNI6E0SNqNfoqg4qnw4Q Support Netflix vs Cinema by contributing to their tip jar: https://tips.pinecast.com/jar/netflixvscinema Find out more at http://netflixvscinema.com This podcast is powered by Pinecast.

Hey team!Oscar and Carl take a break from watching a movie to figure out the primary audience. But never fear, we've committed to watching a bunch of movies at the Sydney Film Festival and now want to share our thoughts and feelings with you, the lovely listener. Oscar and Carl go through all the films they watched at the festival, give some thoughts on each one, and a little review.Please see below the timestamps for each movie (and the link to the IMDb page) feel free to skip if you don't want anything spoilt, or just want to listen to us discuss a porridge documentary (9:11 - 12:49)Thanks as always for listening, and go out there and watch some films!1:06 - Mastermind (Carl = ★★★✮☆ , Oscar = ★★★✮☆)4:02 - PredatorsOscar = ★★★★☆6:44 - Blue MoonCarl = ★★★✮☆9:11 - Golden Spurtle(Carl = ★★★✮☆ , Oscar = ★★★★☆)12:50 - A New Leaf Oscar = ★★★★✮15:25 - The Ballad of Wallis IslandCarl = ★★★✮☆18:20 - Twinless (Carl =  ★★★★✮ , Oscar =  ★★★★✮) 20:52 - Life of ChuckCarl = ★★★★☆24:05 - Orwell 2 + 2 = 5 Oscar = ★★✮☆☆27:08 - Love That RemainsCarl = ★★★✮☆29:32- Slanted Carl - Shoutout!31:00 - Sentimental Values(Carl =  ★★★★☆ , Oscar =  ★★★★☆)Find us through:Email: askwwwtpodcast@gmail.com YouTube: https://www.youtube.com/@whowouldwatchthis Instagram: https://www.instagram.com/whowouldwatchthis/ TikTok: @podcastwhowouldwatchthis More links: https://linktr.ee/whowouldwatchthis

Send us a message, so we know what you're thinking!A “Deep Cut” is something that is recognisable or familiar to passionate fans but not usually to others.  As a special treat this week, we've delved into our collections to give you some deep cuts from our favourites – things like Queen, Bowie, Joe Cocker, Nick Cave and TISM. We think you'll love them,   In Rock News, Jeff delves into songs that turn 60 on 2025, looks at Sunday Lunch with Toyah and Robert Fripp, and looks at Yachtley Crew, a strange phenomenon from California.  Our Album You Must Hear Before You Die this week is Raw Power (1973) by Iggy and the Stooges. The lo-fi production on this highly influential album is the source of much tension between Bowie and Iggy, much of it not fair. We liked it!  Enjoy.  Playlist  Songs that turn 60 this year  Sunday Lunch with Robert and Toyah  Yachtley Crew Peter Cook as The BishopREM on Letterman References:  Raw Power, Iggy Pop, The Stooges, John Cale, Columbia Records, Sex Pistols, Johnny Marr & The Smiths, Kurt Cobain, Nirvana, MainMan, Tony DeFries, Sonny Boy Williamson, Ron Asheton, Scott Asheton, “Gimme Danger”, “Search and Destroy”, Iggy on Countdown, radio-friendly, Bowie, “The Man Who Sold the World”, Unplugged, Roxy Music, “For Your Pleasure”, Roxy live in Sydney – 2001 & 2011, The Police, “Bring on the Night”, Regatta de Blanc, white reggae, T.S. Eliot, “The Love Song of J. Alfred Prufrock”, Joe Cocker, “Many Rivers to Cross”, Sheffield Steel, Queen, “Fairy Fellers Master Stroke”, Richard Dadd, State Criminal Lunatic Asylum of Bethlem Royal Hospital – Bedlam, Nick Cave, “Papa Won't Leave You, Henry”, Henry's Dream, John Cale, “Close Watch (I Keep a)”, Helen of Troy, Music for a New Society, Fragments of a Rainy Season, REM, "So. Central Rain (Sorry)", Reckoning, Lou Reed, “Street Hassle”, Warren Zevon, “Hit Somebody!  (The Hockey Song)”, My Ride's Here, Carl Hiassen, “Bad Monkey”, Vince Vaughan, David Letterman, Enjoy Every Sandwich, Jimmy Webb, “Galveston”, Kate Bush, Aerial, "Pi”, Pete Townshend, “The Sea Refuses No River”, All the Best Cowboys Have Chinese Eyes, TISM, Great Trucking Songs of the Renaissance, "The Ballad of John Bonham's Coke Roadie"  

Welcome to a chaotic discussion that started with The Ballad of Songbirds and Snakes, swerved into Sunrise on The Reaping, and landed somewhere in The Hunger Games trilogy.    Join the discussion in our FB group! https://www.facebook.com/groups/286288765619887 Follow us on Instagram @Downworlderdishpodcast  E-mail us: downworlderdish@gmail.com Intro Music - The Gatekeepers by Shane Ivers Music from https://filmmusic.io Outro Music - "Ice Flow" by Kevin MacLeod (https://incompetech.com)  License: CC BY (http://creativecommons.org/licenses/by/4.0/)  

In this episode, we're discussing bad dads in pop culture. From animated disasters to prestige TV nightmares, we're ranking and ranting through the overbearing control freaks, the mysteriously absent father figures, the ones who really tried but just didn't have the range, and the toxic legends that make your own awkward family barbecue look like a ‘90s sitcom finale.Relevant links: Our full show notes are at knoxandjamie.com/611We've restocked and added even more goodness to knoxandjamie.shop. Get shopping today and snag our Twister Deep Dive episode for free!Dad Goals: Tony Micelli | Dr. Jason SeaverOverbearing: King Triton | MarlinAbsentee: Reese Bobby | MufasaVillain: Darth Vader | AdamIdiot: Ozzy Osbourne | Wayne SzalinskiToxic Legend: Shakespeare dads | Bryan MillsExceptional: Daniel Hillard | Joel | Cassian Andor Red Light Mentions: Passenger Princess Jamie | Ember Coffee Mugs (NOT AN AD)Green lights:Jamie: movie - The Ballad of Wallis IslandKnox: book - Wild Dark Shore by Charlotte McConaghy (see also: Knox's Father's Day Gift Guide & Reading Guide) Hosted on Acast. See acast.com/privacy for more information.

Ben tells the story of Marion Zioncheck, inventor of the Zioncheck Zipper* and the only sitting member of congress to escape from an insane asylum.   This is the second part of our live show featuring guests Major Garrett (CBS News), Margaret Talev (Syracuse University/Axios) & Doug Heye (too many to list). Check out the first part in episode #338 Murder & Mayhem in the Capital City.   Special thanks to Rivers Langley of The Goods from The Woods for recommending the Zioncheck story to Ben. If you enjoy this trivia round, make sure to check out Perfect Timing, the comedy game show that Ben hosts monthly at The Lab at Zanies Nashville! You can follow us on instagram at @PTgameshow The conversation was recorded on May 29, 2025 at The Hamilton Live in Washington, DC. Thanks to Matt Burton and the crew at The Hamilton for hosting us and to everyone who came out to the show!   This episode was edited by Ben Sawyer.   * 2oz rye 3/4oz honey syrup 6-8 mint leaves Muddle mint, stir, serve in a double old fashioned glass with crushed ice and a mint sprig for garnish  

The Davids are back and this week Mr Edwards is reviewing The Ballad of Wallis Island. He then reviews the randomly chosen movie Let Him Go. By the way, there's some frozen cheesecake chat as well. If you would like to receive this podcast earlier, get longer episodes, listen to the full interview with Julian as well as exclusive episodes and get the chance to ask David Edwards movie questions LIVE every Saturday Morning - then head over to patreon.com/davidearl Thanks for listening! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Season 18 starts tomorrow.LYRICS:Well, we didn't know everyone who got editedMikey was part CANNONBALLAnd when he killed Mike on the way to his homeNo one noticed ‘cuz mike was just goneThen back at base Edgar needed a strategyTo tell the edits apartSo he and Ryan were using the Stinky Device, everyone was alarmedAnd meanwhile a Michael we don't knowIs lining up the pieces in a rowHe's setting everything up just soHe'll get to the finish line, steady and slowChance is part CANNONBALL, no one's surprisedAnd Ty-Troy lends Stinky a handThey lead him down to the containment wingWhere they subsequently banish himThey go their separate ways looking for Mike and nowStinky's face-to-face with TexA brawl breaks out, his leg is a gonerHe doesn't know what's coming nextAnd meanwhile a Michael we don't knowIs lining up the pieces in a rowHe's catching up on his favorite showWhile he drives to the distance, steady and slowMeanwhile, Christmas Island's not quite so festiveA yacht has been spotted at seaAnd when they storm the place, they see a familiar faceFelix is dead as can beStinky wakes up and he has been abandonedA Leg is sewn into his stumpHe knows that Nobody's lurking inside himBut Bluster arrives and picks him upAnd meanwhile a Michael we don't knowIs lining up the pieces in a rowHe disconnects Nobody so thatThe plan can go forward, steady and slowStinky and Michael fly down the highwayCharlissa and Ryan pop inStinky's surprised, but when they arriveThey say they are looking for himThis is a piece of Michael's grand schemeThe edited folks make their wayDown to the containment wing where heDisconnects Nobody, sends him on his wayWith disconnectivity in towNobody's plan begins to growHe heads back to the start, ready to goTo cut off his arm, steady and slowBack at the beginning, Nobody is playingWOE.BEGONE once againThe phone call goes off without much of a hitchMichael provides arms for his planBut Nobody's quickly thrown off of the pathWhen Roger shows up with the pigHe isn't innocent, what does he knowHe's involving himself in this thingSo when Stinky finally comes toInside the body he once knewNobody's got one challenge left to goHe's been playing the game, steady and slowWhile Stinky was out, Roger claimed his own prizeAnd taken the device from himHe wants revenge for his father from Ty,Who Roger thinks got his dad killedThey take off to Matt's house, a pitstop at O.V.E.R.Stinky steals back what is hisHe learns a life lesson inside the dinerAnd now he is ready for thisSo when they arrive at Matt's houseStinky's ready to go outBut when he makes his sacrifices knownAnne takes him away, steady and slowIs Stinky stuck in the future?Will Anne help Base rebuild?There's no guarantee but I think we'll knowAt the end of the season, steady and slow. Hosted on Acast. See acast.com/privacy for more information.

In this special archival episode, I speak with actor and musician Anthony Forrest, best known to Star Wars fans for playing the sandtrooper who famously waved Obi-Wan and Luke past an Imperial checkpoint with the words: “These aren't the droids we're looking for.” Originally recorded over a decade ago, this conversation explores Forrest's original casting as “Fixer” in the cut Tosche Station scenes, his time filming in Tunisia, and how George Lucas unexpectedly tapped him to suit up as a trooper. Anthony also reflects on working alongside Alec Guinness, the skepticism among the British crew, and the surreal experience of flying home with champagne and Star Wars stickers courtesy of Sir Alec himself. Beyond Star Wars, we also discuss Anthony's career in music, his time busking in the London Underground, and his low-budget feature The Ballad of Bob's Garage.  Listen in for rarely heard stories from behind the mask. Mentioned in this episode:Deleted scenes from A New HopeFilming in Tunisia and LondonBusking and recording in the London UndergroundAlec Guinness and the 2007 Academy screeningThe Ballad of Bob's Garage projectGoFundMe for our Martha's Vineyard shoot — any support is greatly appreciated!All my links

Live Episode 500, the Penultimate Live Show, from the upstairs at Sinkers Lounge & Blade and Timber in Lawrence, Kansas! With a cavalcade of guests: Jason Keezer, Chelsea, Jacqueline Grunau, Librarian Lauren, Loren Saunders (we got double Laorens!), Shawn Franklin, Brian Moss, David, and Jeanne Averill! The Notes: Happy Pride! Jaq is working the bar! Jason Keezer's 30-year Christmas break! Will's secret files! Therapy + Shampoo! The tiger is for business, the marmot is for pleasure! Inside-out umbrella (not a sex thing)! Lawrence: More Than Prisons! Sassy Sasquatch Revelations! I Grew Up Sasquatch Bait! The leading sasquatch PTSD therapist! Rand al'Thor, human bartender! Will's nipple catastrophe! The Ballad of When Will & Jaq Saw a Lady! How Dolores Umbridge Got Her Groove Back! Another victim of Sarah Mathews's teeth! There's always something sticky at work! There are places Nelson just shouldn't go! Piss detective! I wasn't aware that sasquatches are real piss freaks! Our man in KC! Loren has lived inside both brothers! Acrobatic feats of wonder! No catcalling, please! Shawn's favorite episode is #327: My Dad is an Oyster Ho! Will's mom loves it when Shawn screams! Another librarian, another victim of Sarah Mathews! How-To Festival! He's in outreach, not reach-arounds! Taking Will to the opera, Nelson is a baseball buddy! Mrs. Nibbles' Nuggets! The duality of man! We contain multitudes! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter & Instagram: @doubledeucepod Bluesky: @doubledeucepod.bsky.social Facebook: www.facebook.com/DoubleDeucePod/ Patreon: patreon.com/DoubleDeucePod Also, please subscribe/rate/review/share us! We're on Apple, Android, Libsyn, Stitcher, Google, Spotify, Amazon, Radio.com, RadioPublic, pretty much anywhere they got podcasts, you can find the Deuce! Podcast logo art by Jason Keezer! Find his art online at Keezograms! Intro & Outro featuring Rob Schulte! Check out his many podcasts! Brought to you in part by sponsorship from Courtney Shipley, Official Superfans Stefan Rider and Amber Fraley, and listeners like you! Join a tier on our Patreon! Advertise with us! If you want that good, all-natural focus and energy, our DOUBLEDEUCE20 code still works at www.magicmind.com/doubledeuce for 20% off all purchases and subscriptions. Check out the Lawrence Times's 785 Collective at https://lawrencekstimes.com/785collective/ for a list of local LFK podcasts including this one!  

Martelle, Mike, and Randy crack open the show with a premixed Hercules Rum & Rye Old Fashioned. Martelle drops a surprise by playing the legendary Ballad of Leeroy Jenkins (watch here), setting the tone for another classic Buckhorn episode. The crew revisits Quest's End Whiskey: Paladin and shares their thoughts now that the bottle's had some time to breathe. Mike recaps his chaotic journey to Philly, and—as always—there's plenty of banter, booze, and BS. Recorded on 05/25/25. _______________________________________________________________________________________________________ Use promo code BUCKHORN at checkout for $25 off any order amount and free shipping on orders over $149. Visit Two Bitch Bourbon to grab your bottle today! Two Bitch Bourbon Instagram: @twobitchbourbon Facebook: TwoBitchBourbon YouTube:  https://www.youtube.com/@buckhornpodcast Podbean / Apple Podcast / Google Podcast:  https://podfollow.com/BuckhornPodcast Spotify:  https://open.spotify.com/show/2uhj7Vzq8u3SPvB01VqAh7   #whiskey #whisky #bourbon #whiskeygram #cocktails #whiskygram #bourbonwhiskey #whiskylover #whiskeylover #whiskyporn #vodkasucks #drinks #beer #bourbongram #alcohol #whiskeyporn #cheers #bourbonporn #instawhiskey #instawhisky #podcast #liquor #politics #BBQ #comedy #talkshow #dogs #fortheloveofdogs #tbb #twobitchbourbon

The Ballad of Wallis Island hits a few discordant notes. But stick around for the whole song, and you’ll find some lovely themes. Read the Plugged In Review If you've listened to any of our podcasts, please give us your feedback.

The Ballad of Swords and Snakes. Jay, Ron, and Lindsey welcome back Andy “The Action Movie Guy” and Carmelita Valdez-McKoy to review Conan the Barbarian (1982).Follow CarmelitaFollow Andy

On this week's Reel Talk: Jonathan and Honey are thrilled that Nathan Fielder's The Rehearsal is back for Season 2, Jonathan has watched Jesse Armstrong's directorial debut, Mountainhead, and Honey has been to the cinema to see an independent British film, The Ballad of Wallis Island.Remember, if you want to get involved, you can email us at reeltalk@global.com and follow us on Instagram at @reeltalkrossListen and subscribe to Reel Talk on Global Player or wherever you get your podcasts.

Matthew Chadourne, stand-up comedian, executive producer and creative director of the Oxford Comedy Festival, and co-host of the Saint Misbehavin' podcast joins host Ally Pitts to discuss this understated Oscar and Bafta-winning classic by Ukrainian-born World War II veteran Grigori Chukhrai. Links mentioned/alluded to in the episode: https://oxfordcomedyfestival.co.uk/our-acts   https://oxfordcomedyfestival.co.uk/shows  https://qedcomedylab.co.uk/saintmisbehavinpod  https://www.criterion.com/films/343-ballad-of-a-soldier https://www.criterion.com/current/posts/201-ballad-of-a-soldier  https://www.criterion.com/shop/browse/list?sort=spine_number&country=Soviet%20Union  https://letterboxd.com/ally_pitts/list/ten-great-non-hollywood-world-war-ii-movies/detail/ Contact us/socials: All the links for a Russian & Soviet Movie Podcast and Ally Pitts you're ever likely to want or need: linktr.ee/russiansovietmoviepodcast linktr.ee/ally_pitts  We changed the name of the show a little while back, but the social handles/contacts are a bit of a mishmash. Email: russophilesunite@gmail.com Letterboxd: letterboxd.com/Ally_Pitts/ Instagram: instagram.com/russiansovietmoviepodcast/  instagram.com/ally_pitts_movies_etc/  Listen to Ally's other podcast appearances on Podchaser

Regisseur und Drehbuchautor Edward Berger sagt, seine Filme müssten, erstens, mit ihm selbst zu tun haben, und, zweitens, auch mit unserer Zeit. Nun erschien 2022, dem Beginn des russischen Angriffskriegs, “Im Westens nichts Neues”. Und während “Konklave” dieses Jahr noch in den Kinos gezeigt wurde, wartete die Weltbevölkerung auf die Wahl des neuen Papstes. Der hat “Konklave” übrigens auch gesehen. Mit Wolfgang spricht Edward Berger über diese beiden Riesenerfolge, aber auch seine filmischen Anfänge im deutschen Fernsehen. Wie es war, aus der Spirale der kleinen Kompromisse in eine Position zu kommen, in der er fast keine mehr machen muss. Und darüber, was eben diese beiden letzten Filme, aber auch sein kommender, “The Ballad of a Small Player”, mit ihm selbst zu tun haben. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

This shhh may all be over soon!Episode notes:Ex-UFC star Anthony Johnson's death details revealedDrake loses $2 million betting on Israel Adesanya in UFC 281 title fightJay Leno has undergone surgery for 'significant burns,' physician says Federal inmate obtained a gun at Arizona prison, attempted to shoot visitor in the headBlack AdamBill Burr: Liver at Red RocksSam Morril - Same Time TomorrowWrong-way California driver released after allegedly plowing into 25 law-enforcement recruitsDriver in Christmas parade attack sentenced to life for 'vicious, senseless' crimeEx-Virginia trooper dies in shootout after killing family of teen he had catfished, police say6 victims shot and killed in a Virginia Walmart include a 16-year-old boy, authorities sayAt least five people killed in shooting at gay nightclub in Colorado Springs

Will and Luke hash out their differences w/r/t appreciating Aaron Sorkin as they tackle Season 2 Episode 3 of THE NEWSROOM ("Willie Pete"), which offers a surprisingly cogent critique of "the boys on the bus" as well as a lot more of Sorkin's peculiar gender politics. PLUS: We check in on our favourite Who's Line is it Anyway cast member. PATREON-EXCLUSIVE EPISODE - https://www.patreon.com/posts/628-ballad-of-13-130688755

Welcome to another Now & Ben! This little nugget of bonus interview goodness features Carey Mulligan and Tim Key—stars of the new wholesome folk musical The Ballad of Wallis Island—in cinemas now. Ben sits down with them to talk about this British gem of a film that's got Richard Curtis cooing. Plus behind the scenes goss on everything from corpsing on camera to sliding into dms. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Bob St.Pierre is joined by Quail Forever Journal Editor Ryan Sparks for a conversation about bird dogs with musician, hunter, and Pheasants Forever member Reese Glover. After the unexpected death of St.Pierre's German shorthaired pointer, “Esky,” he wrote the blog, “The Story of a Bird Dog Going Out on Top.” Upon reading that blog, Glover sent St.Pierre his song, “Ballad of the Bird Dog,” which tells the story of a bird dog's final hunt at eleven years old. This episode brings laughter, tears, and a lifetime of memories. Episode Highlights: • Glover discusses his songwriting process and how it involves daily walks behind his own German shorthaired pointer, Bridger. • Sparks recounts the story of Tippet, his English pointer who also died suddenly of a heart attack earlier this year. Within that conversation, Sparks explains the beautiful reasoning behind Tippet's name and how the pup connected him to birds and Quail Forever. • For more information about Reese Glover's music and live performance opportunities, follow him on Instagram @reesealexanderglover

Send us a textAfter several movies with increasingly loose plot structures, the Coens say "f*** it, we're just doing an anthology".  And it kind of rules.

Our latest guests on Soundtracking are Tom Basden and Tim Key, writers and co-stars of The Ballad Of Wallis Island. Also starring Carey Mulligan, it tells the story of ex-lovers and former bandmates, who reunite for a private gig at the island home of an eccentric millionaire.

This episode was originally released on 12/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 86, we spotlight what was on the air over the US' major radio networks during December of 1945. Highlights: • The First Peacetime Holiday Season in Five Years Begins • Radio's Three Main Production Hubs • Macabees • Frank Nelson, Lurene Tuttle, and Mandel Kramer • I Can't Stand Jack Benny • Soap Operas and Kid's Shows • NBC Dominates Sunday and Tuesday Nights • Falling Mid-Week Ratings Open the Door for CBS • Victory Bonds and Bing's Strike • Christmas Draws Closer • Fibber, Molly, Red and Christmas Day • Dinah Shore and Groucho return Christmas Gifts • I Still Can't Stand Jack Benny • New Year's Eve • What Comes Next The WallBreakers: thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: patreon.com/TheWallBreakers The reading material used in today's episode was: • On The Air: The Encyclopedia of Old-Time Radio - by John Dunning • Christmas 1945: The Greatest Celebration in American History - by Matthew Litt • Network Radio Ratings, 1932-1953 - by Jim Ramsburg • The Museum of Broadcast Communications Encyclopedia of Radio - by Christopher H. Sterling And several articles from: • The New York Times • Broadcasting Magazine • Radio Daily The Interviews Chuck Schaden was with: Mel Blanc Himan Brown Phil Harris Danny Kaye Barbara Luddy Mercedes McCambridge Shirley Mitchell Frank Nelson Olan Soule Larry Stevens Lurene Tuttle Don Wilson All of Chuck's Interviews can be found at SpeakingofRadio.com Dick Bertel and Ed Corcoran were with: Jackson Beck Edgar Bergen Mel Blanc Staats Cotsworth Howard Duff Jim Jordan Mandel Kramer Jan Miner All of their interviews for WTIC's The Golden Age of Radio can be found at GoldenAge-WTIC.org SPERDVAC was with Harry Bartel Jack Johnstone For more information please go to SPERDVAC.com • Jo Stafford was with Matthew Feinstein for Jo Stafford's “Ballad of the Blues” • Fran Carlon was with Westinghouse for their 1970 50th Anniversary Production • Bing Crosby was interviewed for Same Time, Same Station in 1972. Selected music featured in today's episode was • Kay Starr's The Man With The Bag • Nancy Wilson's What Are You Doing New Year's Eve? • Bing Crosby's White Christmas and I'll Be Home For Christmas The clip of CBS' Cimarron Tavern came courtesy of Jerry Haendiges. Visit his site at OTRsite.com. I've been visiting since 2002. Thank you Jerry. I'd also like to thank Walden Hughes and John and Larry Gassman. Listen to their shows on the Yesterday USA radio network.

Three-time Oscar nominee Carey Mulligan, known for roles in films such as Maestro, Promising Young Woman and Suffragette, returns to our cinema screens in the comedy drama The Ballad of Wallis Island. She talked to Anita Rani about playing ex-folk singer Nell, working on a film set with a young baby, and why she loves musicals.Earlier this week, goalkeeper Mary Earps, one of England's most high profile footballers, announced her retirement from the international game. Her decision comes just five weeks before the Lionesses go to the European Championships to defend their title. Jessica Creighton was joined was joined by football writer for the Guardian Suzy Wrack, and sports lecturer at the University of Worcester and professional goalkeeping coach, Dr Julia West, to discuss why Mary took this decision.Announcements of cuts to foreign aid this year from both the UK and US governments, amongst others, have left many organisations facing funding issues and putting their programmes at risk. As humanitarian crises continue across the world, including in Ukraine, Gaza, Sudan, with many vulnerable people suffering including women and girls, the need to provide aid remains as high as ever. Dr Helen Pankhurst, Senior Advisor on Gender Equality for Care International UK, and Sofia Calltrop, the UN Women Chief of Humanitarian Aid, discussed with Kylie Pentelow the effects of these cuts on women and girls globally and the importance of gender equality programming.The American folk trio I'm With Her have routinely taken time out from their individual careers to dream up songs together. On their long-awaited second album Wild and Clear and Blue, they sing about reaching into the past, navigating a chaotic present, and bravely moving forward into the unknown. They joined Kylie in the studio.Presenter: Anita Rani Producer: Annette Wells Editor: Sarah Jane Griffiths

RHLSTP #563 - Barry Norman's Pickled Onions - Richard is very proud of his toilet based pedantry. His guest is returning hero Timkey. They chat about his fantastic new film. The Ballad of Wallis Island and how he managed to get Carey Mulligan on board, plus Richard's impressive roster of unreleased film appearances, plus Tim's latest book of poetry, an hilarious but poignant and moving story of his time in Hollywood and the influence of Charles Bukowski. There is a 10 minute discussion about Tim's love for Last of the Summer Wine, which suggest he doesn't love it as much as he claims and of course another episode of timkey the monkey and his magic flute. Plus Tim suggests a guest that will have Off Menu quaking in their boots and eating dinosaurs.Buy Tim's book here https://www.utterandpress.co.uk/products/l-a-babySee RHLSTP live in Sheffield and at the Edinburgh Fringe http://richardherring.com/rhlstpSee RHLSTP live http://richardherring.com/rhlstpSUPPORT THE SHOW!Watch our TWITCH CHANNELSee extra content at our WEBSITE Become a member at https://plus.acast.com/s/rhlstp. Hosted on Acast. See acast.com/privacy for more information.

Three-time Oscar nominee Carey Mulligan – star of Tim Key and Tom Basden's ‘The Ballad of Wallis Island' – is this week's dream guest. But can James name those nominated roles? Carey Mulligan stars in ‘The Ballad of Wallis Island' which is in cinemas from 30 May. Off Menu is a comedy podcast hosted by Ed Gamble and James Acaster.Produced, recorded and edited by Ben Williams for Plosive.Video production by Megan McCarthy for Plosive.Artwork by Paul Gilbey (photography and design).Follow Off Menu on Twitter and Instagram: @offmenuofficial.And go to our website www.offmenupodcast.co.uk for a list of restaurants recommended on the show.Watch Ed and James's YouTube series 'Just Puddings'. Watch here. Hosted on Acast. See acast.com/privacy for more information.

Bootlegging whiskey, acid tests, grass, and songs about murder. The origins of the Grateful Dead are fascinating and not what most people think. Born out of the tradition of “old, weird America”; bluegrass, jug band music and deadly folk tales, the Grateful Dead, as young adults, were into some strange stuff and we are all better for it. The band would go on to create their very own “new, weird America” due in part to the cultural impact they would have over their near 40-year career. But their connection to the traditional music that spawned them was due in large part to their harmonica player, singer, and keyboardist, Ron “Pigpen” McKernan, who lived “the life” so authentically that he died at the age of just 27. This is the Grateful Dead origin story and the Ballad of Pigpen. To view the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠. This episode was originally published on October 13, 2020. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com/membership⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices