Podcasts about Ballad

Verse set to music

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Ballad

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Latest podcast episodes about Ballad

Movies, Films and Flix
Episode 636 - The 2025 Mid-Year Random Awards

Movies, Films and Flix

Play Episode Listen Later Jul 18, 2025 42:40


The 2025 Mid-Year Random Awards! Mark and Megan hand out awards to their favorite 2025 movies, performances, moments and scenes. In this episode, you'll hear them talk about Companion, Presence, Black Bag, The Ballad of Wallis Island, One of Them Days, Sinners, Eephus, Warfare, The Surfer, Dangerous Animals, 28 Years Later, Ghost Killer, Jane Austen Wrecked My Life and many more cool movies. Enjoy!

Parlando - Where Music and Words Meet
The Ballad of J. W. Hinckley

Parlando - Where Music and Words Meet

Play Episode Listen Later Jul 18, 2025 5:57


A topical song the LYL Band sang in 1980 about privilege and the attempted assassination of President Reagan. This is part of an atypical series I'm running this summer about some performances I've been a part of over the years. What the Parlando Project normally does is combine various other people's words (usually literary poetry) with original music in differing styles. We've done over 800 of those combinations, and you can hear any of them and read about our encounter with the words at our blog and archives located at frankhudson.org

The Clay Edwards Show
The Ballad Of Rudy Warnock Takes Suicidal Turn

The Clay Edwards Show

Play Episode Listen Later Jul 17, 2025 11:02


Rudy Warnock's Downfall: Guilty Verdict to Suicide Attempt – Shocking Turn in Corruption Saga! In a gripping segment, Clay Edwards dives into the Rudy Warnock corruption case, admitting initial disinterest as it predates his deep political dive. On July 16, 2025, Warnock's guilty verdict hits – "If he's corrupt, lock him up!" – a white-collar crime stealing taxpayer money, potentially netting 20-50 years in federal prison. But tragedy strikes: Post-trial, Warnock wrecks on I-20 near Pelahatchie, then attempts suicide by slitting his throat/wrists. A good Samaritan intervenes, saving his life (or prolonging suffering?). Rushed to UMMC in critical condition, recovery looms painful – nerve damage, bleeding out. Clay's take: "Nobody deserves that; hope he survives, but jail sucks worse handicapped. Nonviolent felon could've stayed out pre-sentencing; now straight to holding." Sympathy for family amid bad choices: "Life comes at you fast – suicide isn't the way out." Raw empathy meets accountability in this chaotic ballot of betrayal. 

Better With Glasses: A Summer I Turned Pretty Podcast

*Contains books and show spoilers*The only thing better about one episode is two episodes!!! This episode is now lovingly called the Ballad of Med Student No. 1. We are so excited to discuss our scene, this very dramatic episode & of course, Bonrad Christmas in Cousins Pt. 2.  This is a rough watch especially because we care for all of these characters so much but we're here to break down every tear, every apology, every flashback and the big proposal.

Once upon a Time in Cinema Der Filmpodcast 
#227: The Ballad of Wallis Island

Once upon a Time in Cinema Der Filmpodcast 

Play Episode Listen Later Jul 17, 2025 56:34


Folge #227: The Ballad of Wallis IslandZwischen K-Pop, Action und leisen Tönen Von Schreibstilen, High-Fantasy-Marathons und einer herzerwärmenden Insel-Ballade! Nach einem kleinen Einstiegs-Diskurs über konstruktive Kritik, die Tücken des Schreibens und die Frage, ob man eher sachlich oder emotional textet, starten Timo und Zeljko in eine Folge, die eine Premiere feiert: Sie haben gleich drei Filme gemeinsam gesehen! Doch zuerst berichtet Timo von seinem wochenendlichen Solo-Marathon: Er hat sich die komplette Hobbit-Trilogie im Extended Cut angesehen. Sein Fazit: Auch wenn die Filme unterhaltsam sind, erreichen sie bei weitem nicht die epische Qualität von The Lord Of The Rings. Zu viel offensichtliches CGI und eine für ein kleines Buch zu aufgeblähte Story trüben das Erlebnis, auch wenn die Rückkehr nach Mittelerde trotzdem Spaß gemacht hat. Danach stürzen sich die beiden auf From the World of John Wick: Ballerina. Ana de Armas liefert als rachsüchtige Tänzerin eine starke Performance ab. Der Film braucht sich hinter der Hauptreihe nicht zu verstecken und überzeugt mit kreativer, saftiger Action – Stichwort: Flammenwerfer! Ein wilder Ritt, der beweist, dass das Universum auch ohne Baba Yaga im Zentrum funktioniert. Ein weiterer Film, den beide gesehen haben, ist K-Pop: Demon Hunters. Hier gehen die Meinungen allerdings auseinander: Während Timo von der bunten Mischung aus Dämonenjagd und eingängigen Pop-Songs positiv überrascht und bestens unterhalten wurde, konnte der Film Zeljko nicht ganz abholen. Eine kleine Debatte über die Nuancen von K-Pop und J-Pop inklusive! Der Film der Woche ist diesmal ein echter Geheimtipp und eine Perle des britischen Kinos: The Ballad Of Wallis Island. Die Geschichte zweier Musiker, die auf einer abgelegenen, nebligen Insel wieder zusammenfinden, ist eine wunderschöne, melancholische und gleichzeitig unglaublich witzige Tragikomödie. Mit leisem, trockenem Humor, fantastischen Bildern und wunderschöner Musik ist der Film ein echtes Herzensstück. Eine klare Empfehlung für alle, die eine Pause von lauten Blockbustern brauchen und sich auf eine Geschichte mit viel Gefühl und wunderbaren Charakteren einlassen wollen. Eine Folge voller Film-Tipps, unterschiedlicher Meinungen und einer großen Portion Film-Leidenschaft. Also, Ohren auf und ab in die Welt von "Once Upon A Time In Cinema - Der Filmpodcast" – jeden Donnerstag um 18:00 Uhr, überall wo es Podcasts gibt! Inhalt:(00:00) Intro (04:10) The Hobbit 1-3 (13:40) Ballerina (28:10) K-Pop Demon Hunters (46:50) The Ballad of Wallis Island ____ Der Film-Podcast mit Zeljko und Timo Anfragen: ouatic@gmx.de https://letterboxd.com/OuaticPodcast https://instagram.com/onceuponatimeincinema_

Wrestling Mayhem Show
The Ballad of Raspberry Tart with Emily Fear | Wrestling Mayhem Show 965

Wrestling Mayhem Show

Play Episode Listen Later Jul 16, 2025 123:34


In this jam-packed episode of Wrestling Mayhem Show 964, Sorg, Mad Mike, Matt Carlins, Rizz, and special guest Emily Fear from the Grit and Glitter Podcast dive deep into an explosive weekend of professional wrestling. From AEW's All In spectacle to WWE's Evolution 2, no match or moment is left unturned. They debate show lengths, production quality, powerful women's matches, chaotic faction storytelling, and the state of pay-per-view economics. There's humor, intensity, and plenty of wrestling hot takes—including Mason's youthful perspective on the AEW vs. WWE battle. Whether you're into elite storytelling or tart-themed wrestling personas, this episode delivers it all. ⸻

Indy Mayhem Show: Pro Wrestling Interviews
The Ballad of Raspberry Tart with Emily Fear | Wrestling Mayhem Show 965

Indy Mayhem Show: Pro Wrestling Interviews

Play Episode Listen Later Jul 16, 2025 123:34


In this jam-packed episode of Wrestling Mayhem Show 964, Sorg, Mad Mike, Matt Carlins, Rizz, and special guest Emily Fear from the Grit and Glitter Podcast dive deep into an explosive weekend of professional wrestling. From AEW's All In spectacle to WWE's Evolution 2, no match or moment is left unturned. They debate show lengths, production quality, powerful women's matches, chaotic faction storytelling, and the state of pay-per-view economics. There's humor, intensity, and plenty of wrestling hot takes—including Mason's youthful perspective on the AEW vs. WWE battle. Whether you're into elite storytelling or tart-themed wrestling personas, this episode delivers it all. ⸻

Sorgatron Media Master Feed
Wrestling Mayhem Show 965: The Ballad of Raspberry Tart with Emily Fear

Sorgatron Media Master Feed

Play Episode Listen Later Jul 16, 2025 123:34


In this jam-packed episode of Wrestling Mayhem Show 964, Sorg, Mad Mike, Matt Carlins, Rizz, and special guest Emily Fear from the Grit and Glitter Podcast dive deep into an explosive weekend of professional wrestling. From AEW's All In spectacle to WWE's Evolution 2, no match or moment is left unturned. They debate show lengths, production quality, powerful women's matches, chaotic faction storytelling, and the state of pay-per-view economics. There's humor, intensity, and plenty of wrestling hot takes—including Mason's youthful perspective on the AEW vs. WWE battle. Whether you're into elite storytelling or tart-themed wrestling personas, this episode delivers it all. ⸻

Mużika Mod Ieħor ma' Toni Sant
Mużika Mod Ieħor ma' Toni Sant - 729

Mużika Mod Ieħor ma' Toni Sant

Play Episode Listen Later Jul 16, 2025


Toni Sant presents the 729th in a series of podcasts featuring music by performers in or from Malta. Artists featured in this podcast: PART 1Luke Vella -Too MuchJas Rolyn -Waiting on MeMirana Conte -Għajjejt (i8)Scar -Dancing In The SunHanging By Threads -The Fall5 Years From Now - Jekk Taqa' Nkompli NtikMelchior Sultana - Back with the PhonkPART 2Timothy Garrett - Everything We Know Has ChangedPART 3Featured album: The Ballad of Monte Loco by Melbourne Ska Orchestra >> Details about this podcast [in Maltese] See also: - MMI Podcast: YouTube playlist - MMI Podcast: Facebook Page - MMI Archive on Mixcloud | @tonisant on Twitter - M3P: Malta Music Memory Project - Mużika Mod Ieħor ma' Toni Sant on Facebook (MP3)

DISGRACELAND
Motley Crue Pt. 2: The Ballad of Nikki Sixx – Dead, Doped Up, and Running Naked with a Loaded .357

DISGRACELAND

Play Episode Listen Later Jul 15, 2025 40:01


He was broke, strung out, and cleaning up other people's puke. Then he got stiffed by a gangster with ties to the infamous Wonderland Murders. A few years later, he was dead on the floor – for the second time. This is the high-speed tale of Nikki Sixx, a rock 'n roll original who came back to life more than once to take his place as the poster boy for hair metal's wildest and wettest dreams. This isn't a comeback story – It's a resurrection. To see the full list of contributors, see the show notes at ⁠⁠www.disgracelandpod.com⁠⁠. 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

ComixLaunch: Crowdfunding for Writers, Artists & Self-Publishers on Kickstarter... and Beyond!
ComixLaunch Roundtable with James Burton, Joe Kazmer & Jarrod Burris

ComixLaunch: Crowdfunding for Writers, Artists & Self-Publishers on Kickstarter... and Beyond!

Play Episode Listen Later Jul 13, 2025 76:21


Tyler James hosts an engaging discussion with a panel of comic creators featuring both new and returning guests. Joseph Kamer and Jared Burris introduce their action-packed comic series 'Collision Force,' a tribute to '80s and '90s cinema, while James Burton talks about his heartfelt project, 'The Ballad of Nod,' inspired by personal experiences with grief and loss.

Professional Book Nerds
Summer Reading Magic: Authors on Writing for Young Readers

Professional Book Nerds

Play Episode Listen Later Jul 10, 2025 168:32


What makes a summer read unforgettable for kids and teens? In this episode of Book Lounge by Libby, Joe is joined by authors Jamie Sumner, Kelsey Impicciche, and Julie Soto for a sunny conversation all about Summer Reading Magic.   They explore what defines a great summer book across different age groups, how they tailor their writing to young readers, and the power of stories to inspire, comfort, and reflect today's youth.   The group also shares nostalgic memories of library reading programs, talks about trends and representation in current kidlit and YA, and offers insight into helping young readers fall in love with books—this summer and beyond.  Want to watch the video version of our show? Watch now on the Libby App YouTube channel!  Guest Host Recommendations:    Part 1:  Carmen  Canto Contigo by Jonny Garza Villa  A Cruel Thirst by Angela Montoya  Ballad & Dagger-An Outlaw Saints Novel by Daniel José Older  Cece  To Night Owl from Dogfish by Holly Goldberg Sloan & Meg Wolitzer  This Is What It Feels Like by Rebecca Barrow   Fireborne by Rosaria Munda   Joe  Witchlings – Claribel A. Ortega  Scepter of Memories – Claribel A. Ortega  The 99 Boyfriends of Micah Summers – Adam Sass  Cursed Boys and Broken Hearts – Adam Sass  Surrender Your Sons – Adam Sass  Your Lonely Nights Are Over – Adam Sass  Part 2:  Bre  The Last Dragon on Mars by Scott Reintgen  Hide and Seeker by Daka Harmon  Root Magic by Eden Royce  Meara  The Girl Who Kept the Castle by Ryan Graudin  The Vanquishers by Kalynn Bayron   We Are All So Good at Smiling by Amber McBride   Follow the Guests & Guest Hosts:  Segment 1:  Jamie Sumner - Website  Julie Soto - Website  Kelsey Impicciche - Website  Segment 2:  Bre - Links  Carmen - Links  Cece - Links  Meara - Links  Time Stamps:   00:00:00 Title  00:00:16 Intro  00:05:09 Segment 1 – Jamie Sumner & Kelsey Impicciche   00:55:47 Segment 1 – Julie Soto  01:25:30 BREAK – Libby Tip: Read Alongs, Filters and more!  01:31:01 Segment 2 – Book Recommendations with Carmen & Cece  02:00:36 Segment 2 – Book Recommendations with Bre & Meara!  02:43:21 Outro  Readers can sample and borrow the titles mentioned in today's episode in Libby. Library friends can add these titles to their digital collections for free in OverDrive Marketplace and Kanopy. Check out our Cumulative List for the whole season, or this list for today's episode!  Looking for more bookish content? Check out the Libby Life Blog!  We hope you enjoy this episode of Book Lounge by Libby. Be sure to rate, review and subscribe on Apple Podcasts, Spotify, or wherever you listen! You can watch the video version of our show on the Libby App YouTube channel. Keep up with us on social media by following the Libby App on Instagram!   Want to reach out? Send an email to bookloungebylibby@overdrive.com. Want some cool bookish swag? Check out our merch store at: http://plotthreadsshop.com/booklounge!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Ballad of the Seven Dice
Escaping Carcosa Offline - Day 3 E4 // How do you like your eggs?

Ballad of the Seven Dice

Play Episode Listen Later Jul 10, 2025 60:57


Welcome to the Ballad of the Seven Dice. The offline crew are trying to have some breakfast and enjoying some lovely savoury tea as they plan their next moves in the great city of Seattle.  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

Straight Up
Brad Pitt's PR tricks, the American Apparel cult and Charlize Theron

Straight Up

Play Episode Listen Later Jul 10, 2025 49:11


Brad Pitt's carefully crafted F1: The Movie promo run has us thinking about how celebrities script their own stories and how easily we buy into them. From Brad's quiet erasure of abuse allegations by Angelina Jolie to Chris Brown packing stadiums despite a long history of violence, we're diving into the messy, age-old question: can you really separate the art from the artist? Also this week: a gorgeously candid Charlize Theron interview, Tim Key's rom-com of the summer The Ballad of Wallis Island and Netflix's jaw-dropping exposé on the cult of American Apparel and the toxic founder Dov Charney. We love hearing from you, DM us ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@straightuppod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, email at ⁠⁠hello@straightuppodcast.co.uk⁠ and follow us on TikTok @straightuupod too!Huge thanks to our sponsor⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Yonder⁠⁠⁠⁠⁠⁠⁠⁠, the incredible lifestyle rewards credit card packed with rewards you'll actually *want* to use. Find out more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠yonder.com/straightup⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Borrow responsibly. £15 a month. 18+ and UK only. Rep 66.0% APR var. T&Cs apply.Try BookBeat for free for 60 days (w 40 hrs of listening) and stream millions of audiobooks using our code straightup at bookbeat.comRecs/ reviews:Birnam Wood, Eleanor CattonCharlize Theron, Call Her Daddy  Brad Pitt is Fooling You, Vulture A Complete Timeline of Chris Brown's Controversies, PeopleScooter Braun, Diary of a CEOBrad Pitt, GQ interview by Otessa Mosfegh, 2022I think I'm done with being interviewed by women. Jameela Jamil Substack Millie Bobby Brown, ageing and Lucy Boynton on domestic violence, our March 6 episode Trainwreck:The Cult of American Apparel, NetflixThe Ballad of Wallis Island, in cinemas now . Hosted on Acast. See acast.com/privacy for more information.

kulturWelt
Heimatkunde: Bayerischer Museumspreis geht nach Ergoldsbach

kulturWelt

Play Episode Listen Later Jul 10, 2025 16:33


Das Goldbachmuseum in Ergoldsbach bei Landshut gibt es noch kein halbes Jahr, und schon wurde es ausgezeichnet mit dem Bayerischen Museumspreis. / Neu im Kino: "The Ballad of Wallis Island", eine Tragikomödie mit Musik / Was macht Kunst zur Kunst? Der Comic "Blow Up" will diese Frage beantworten.

Book Retorts
The Ballad of Songbirds and Snakes - Part 2

Book Retorts

Play Episode Listen Later Jul 9, 2025 124:12


Back from our summer break, Danielle finally graces everyone with the finale to the 2020 book The Ballad of Songbirds and Snakes by Suzanne Collins. When we last left Coriolanus, he was being called in to rescue Sejanus from the big bad Hunger Games where he was determined to kill himself to make a statement; Coriolanus won't let him, which in retrospect was perhaps a stupid decision. Anyway, things go awry and pretty soon everyone in the Hunger Games has died except, shockingly, Lucy Gray, thanks to some minor, very valid, totally explainable cheating on Coriolanus's part. Unfortunately, Dr Gaul, Sam's favorite punching bag, doesn't see it that way. Given that Dr Gaul is crowd-sourcing ideas on why they even have the Hunger Games, it shocks Sam that she sends her brightest student off to live in obscurity as a Peace Keeper in retribution. But alas, plot. This is about where Danielle gave up writing Coriolanus in her notes and started calling him Corio. So, Corio cruises over to District 12 where he meets up with the true hero of the novel, Lucy Gray, where they promptly pick up where they left off but with kissing. Unfortunately, finally being able to compare Corio to regular humans, you realize he's incredibly stupid and not getting any smarter. Then Lucy sings too many songs, Corio kills too many people, and pretty soon they're running away to escape being framed for murder. Murder Corio committed, to be clear, but it was really minor, very valid, and totally explainable so it hardly counts. Then the bad guys win because Hunger Games. The end.

Corso - Deutschlandfunk
Neue Filme: The Ballad of Wallis Island, Vier Mütter für Edward, Der Fleck

Corso - Deutschlandfunk

Play Episode Listen Later Jul 9, 2025 5:44


Fischer, Sigrid www.deutschlandfunk.de, Corso

Fazit - Kultur vom Tage - Deutschlandfunk Kultur
Film der Woche: "The Ballad of Wallis Island" und Regiedebüt "Der Fleck"

Fazit - Kultur vom Tage - Deutschlandfunk Kultur

Play Episode Listen Later Jul 9, 2025 7:29


Leweke, Anke www.deutschlandfunkkultur.de, Fazit

Jazzmeeting
July 9 2025 – I

Jazzmeeting

Play Episode Listen Later Jul 9, 2025


Frank Mccomb – The Crooner of Love / Gotta Find a Way (Live) – 5:29 Ola Onabule – Ballad of the Star Crossed – 6:02 Nubiyan Twist; Nile Rodgers – Lights Out – 4:01 Bill Laurance; Michael League – Where You Wanna Go 3:44 Emilio Piano; Ibrahim Maalouf – Cascades – 2:47 Masaki Ueda – […]

There Are Too Many Movies
288. Star Wars: Episode I - The Phantom Menace | Now This Is Podcasting!

There Are Too Many Movies

Play Episode Listen Later Jul 8, 2025 96:16


The bois celebrate Alex's birthday by discussing Star Wars: Phantom Menace, Bring Her Back, The Pitt, True Detective Season 1, and more!Join our Patreon for bonus episodes, supplements, Discord access, and more: https://www.patreon.com/therearetoomanymoviesMerch: https://www.toomanymovies.com/shopInstagram:https://www.instagram.com/therearetoomanymovies/TikTok:https://www.tiktok.com/@therearetoomanymoviesListen on Spotify:https://open.spotify.com/show/7lwOlPvIGdlmr6XjnLIAkG?si=4e3d882515824466Subscribe on iTunes:https://podcasts.apple.com/us/podcast/there-are-too-many-movies/id1455789421Twitch:https://www.twitch.tv/therearetoomanymoviesTwitter:http://www.twitter.com/tatmmpod00:00:00 Cold Open00:00:34 Intro00:06:30 Alex Opens Presents00:15:41 Bring Her Back00:19:00 Trainwreck: Poop Cruise00:20:53 Spiderman 300:25:14 The Pitt00:28:35 Reuben Solo: Feedback Loop00:30:42 Teenage Mutant Ninja Turtles II: The Secret of the Ooze00:36:15 The Ballad of Wallis Island00:37:57 Frankehooker00:42:24 True Detective Season 100:55:22 Star Wars: The Phantom Menace01:24:09 Is It Cinema?01:26:48 DMT (Dumb Movie Title)01:29:33 Guess The Budget01:31:20 Movies In Space01:36:55 Outro

Lunar Sea Spire
Episode 550: The Ballad of Hopediah Plantar and Anne Hunter (from Amphibia)

Lunar Sea Spire

Play Episode Listen Later Jul 8, 2025 15:24


GC13 and David discuss the The Ballad of Hopediah Plantar and Anne Hunter from Amphibia. Well, Hop Pop got another lesson. Usually Anne has the lessons on lock, but she's willing to share every not and again—especially since she comes back to learn the second lesson of the pair! And while we didn't mention the … Continue reading

SUDDENLY: a Frank Sinatra podcast
65: Pal Joey, Part 3 - Fight for What You Love

SUDDENLY: a Frank Sinatra podcast

Play Episode Listen Later Jul 8, 2025 182:50


Alfred Hitchcock! bell hooks! The Ballad of Reading Gaol! The dramatic conclusion of our Pal Joey series finds Rabia, Felix and Henry bewitched, bothered and bewildered as they learn the end of Lorenz Hart's story and grapple with the very nature of love. In putting forth our dueling philosophies of love, can we get to the bottom of the thing that all of Sinatra's songs are about, the thing that has baffled philosophers since time began? What is this thing called love, anyway?!

There Will Be Pod
June 2025 Movies + F1

There Will Be Pod

Play Episode Listen Later Jul 7, 2025 36:37


The new summer blockbuster F1 needs Brad Pitt and we need movie superfan Benji Gotfried - alongside The Movie Ladder Podcast cohost Zach Brooks and listener John to cover new releases from June 2025, headlined by the formula one flick as well as The Phoenician Scheme, The Life of Chuck, Materialists, and a bunch of murder movies: Echo Valley, 28 Years Later, Predator Killer of Killers and I Don't Understand You.Minor SPOILERS only for F1 at 11:00 for 30 seconds.Outre: Morning Evening by Tom Basden on the OST of The Ballad of Wallis Island (2025)

Kinocast | Der Podcast über Kinofilme, Sneak Preview, Filme, Serien, Heimkino, Streaming, Games, Trailer, News und mehr

Zwei Filme, zwei Welten – eine neue Podcast-Episode In der aktuellen Folge unseres Podcasts widmen wir uns zwei Filmen, die unterschiedlicher kaum sein könnten – und doch beide auf ihre Weise faszinieren. „The Ballad of Wallis Island“ ist eine britische Tragikomödie, die auf einem Kurzfilm von 2007 basiert. Regisseur James Griffiths erzählt die Geschichte des exzentrischen Lottogewinners Charles Heath, der seine musikalischen Idole auf eine abgelegene Insel einlädt, um ein exklusives Privatkonzert zu erleben. Was als schrullige Idee beginnt, entwickelt sich zu einer berührenden Auseinandersetzung mit Vergangenheit, Versöhnung und der heilenden Kraft der Musik. Mit dabei: Carey Mulligan, Tom Basden und Tim Key in wunderbar nuancierten Rollen. Ganz anders, aber nicht weniger spannend: „Jurassic World: Die Wiedergeburt“. Der siebte Teil der Dino-Reihe bringt frischen Wind ins Franchise. Unter der Regie von Gareth Edwards und mit einem neuen Cast rund um Scarlett Johansson, Mahershala Ali und Jonathan Bailey geht es auf eine gefährliche Expedition in eine verbotene Zone am Äquator. Ziel: die DNA der größten Dinosaurier-Arten für ein revolutionäres Medikament. Natürlich läuft nichts wie geplant – und bald kämpfen die Figuren nicht nur ums Überleben, sondern auch mit moralischen Fragen. In unserem Podcast sprechen wir über die Stärken und Schwächen beider Filme, über Nostalgie, Neuanfänge und die Frage: Was macht einen Film wirklich erinnerungswürdig? Jetzt reinhören – überall, wo es Podcasts gibt. Timecodes: 00:00:00 Einleitung 00:01:25 The Ballad of Wallis Island 00:13:53 Wir tippen den nächsten Sneak-Film 00:15:30 Jurassic World: Die Wiedergeburt 00:37:03 Kinocharts und Neustarts 00:43:06 Streaming Empfehlungen + Neustarts 00:44:26 Sonstiges

Gateway Mackenzie Audio
Ballad Of An Old Man | Jason Elsmore

Gateway Mackenzie Audio

Play Episode Listen Later Jul 6, 2025 56:12


Psalm 71, a song of lament and hope written by an old man—likely King David—reflects on God's unwavering faithfulness throughout his life. Jason Elsmore leads us through this Psalm from youthful confidence to the struggles of aging, this sermon reminds us that God is our refuge, rock, and fortress, unchanging in His love and compassion. Whether you're walking through a season of pain, feeling spiritually weak, or wondering if God has changed His mind about you—this message is for you. Be encouraged by four timeless truths:1. God will never change His mind about you.2. He is present with you in your pain and offers hope for tomorrow.3. You have a story of God's power and provision to share with the next generation.4. God will be faithful to the very end.If you need prayer, we're here for you. Reach out at ⁠www.gatewaybaptist.com.au/prayerSubscribe for more content to help you grow as a fully devoted follower of Jesus: ⁠https://www.youtube.com/c/GatewayBaptistChurchAus?sub_confirmation=1Psalm 71:1–6"In you, Lord, I have taken refuge; let me never be put to shame. In your righteousness, rescue me and deliver me; turn your ear to me and save me. Be my rock of refuge, to which I can always go..."----Gateway Baptist Church meets across six locations in South-East Queensland and online.For over 90 years, we've been committed to guiding people to become fully devoted followers of Jesus.Learn more about us at ⁠https://gatewaybaptist.com.au⁠ or join us on Sundays at ⁠gtwy.au/live#Healing #freedom #Gospel #Salvation #Jesus #Faith #Christian #Church #Churchonline #GatewayOnline #JasonElsmore

Texas Standard
Rap to the Ranch: The Ballad of Mason ‘Bric' LaDue –  A Texas Standard Special Rebroadcast

Texas Standard

Play Episode Listen Later Jul 4, 2025 50:10


Mason LaDue raises cattle on family land in Central Texas. But before he was a rancher, he was mostly on the road, managing tours for artists like Curren$y and Wiz Khalifa.His journey from the Dallas hip-hop circuit to the homestead is the focus of today's special program, Rap to the Ranch: The Ballad of Mason […] The post Rap to the Ranch: The Ballad of Mason ‘Bric' LaDue –  A Texas Standard Special Rebroadcast appeared first on KUT & KUTX Studios -- Podcasts.

Visual Intonation
EP 128: The Politics of The Image with Cinematographer/Director Alex Ashe

Visual Intonation

Play Episode Listen Later Jul 4, 2025 89:22


Alex Ashe's story doesn't begin behind a camera. It begins with a battered lighting technician's manual clutched between takes, with sweat on his brow and questions on his tongue. From long nights rigging lights to quiet hours studying lenses, Ashe's climb through the grip and electric department shaped the sensibility he brings to the frame today. Now a cinematographer and director, his images carry that hard-earned precision and a belief that light is never neutral. In this episode, Ashe discusses the layered politics of light and shadow, from his work on Nosferasta, an anti-colonial Rastafarian vampire epic, to The Ballad of Suzanne Césaire, shot almost entirely on 16mm in the relentless Florida sun. His collaborations with artists like Madeleine Hunt-Ehrlich and Ira Sachs open a conversation about the deep trust between director and DP, where every decision—from pulling the exposure to choosing glass—is both a technical and philosophical one. But this is also the story of a filmmaker who questions images even as he makes them. Ashe grew up in the age of Netflix DVDs and arrived at cinema through theory, through The Battle of Algiers, through late-night rewinds. His education in Modern Culture and Media and Africana Studies taught him to interrogate the frame—and that mindset infuses all his work, whether shooting the surreal aftermath of a police shooting or chasing natural light in a cramped apartment. Visual Intonation is a show about how we see, and in this conversation, Ashe shows us how cinema can still be both a document and a dream. We talk risk, reverence, and the beauty of shooting on film. No gimmicks. Just a love for the image and the meaning inside it. Alex Ashe's Website: https://alexmashe.com/Alex Ashe's IMDB: https://www.imdb.com/name/nm5737742/Alex Ashe's Instagram: https://www.instagram.com/alexmashe/?hl=enSupport the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Everything Is Content
A Ballad for Tim Key, Bezos' Naff Wedding & Jameela Jamil

Everything Is Content

Play Episode Listen Later Jul 4, 2025 68:18


We are back. The two-weeks are over!Oenone's new fav film is The Ballad of Wallis Island starring Tim Key, Carey Mulligan, Tom Basden and Sian Clifford. If you're after some joy, some tears and some meditations on life, this is for you.Beth's rage bait of the week is.... Bezos' tacky wedding. We get a lil salty, and discuss the billionaire's bridal event, the guests and the questionable aesthetics.Ruchira takes us through Jameela Jamil's beef with a Sunday Times profile of her. She's since sworn off female print journalists... is that fair?Thank you for returning back to us and being so patient with our break. It worked a treat and we're so excited to be back. Could you please share us with a friend and review us? It's the reason we can keep going

Second Day Film Podcast
Episode 104: Sinners, Snow White, House of David, Captain America: Brave New World, The Ballad of Wallis Island

Second Day Film Podcast

Play Episode Listen Later Jul 3, 2025 102:41


Mike and Champ return to discuss five titles from 2025. Topics include the moody, toe-tapping music and thrills of Sinners, the missed opportunities to dive into the political world of Marvel in Captain America: Brave New World, the authentic balancing act of tradition and drama in House of David and the overblown controversy of Disney's live action remake of Snow White. Also, the Ballad of Wallis Island is a feel-good gem that more people need to see.

Modern Escapism
231: The Great Arrakis Bake-Off

Modern Escapism

Play Episode Listen Later Jul 3, 2025 120:43


We're all back and it's hot as hell. Listen to us melt and discuss: The Ballad of Wallis Island Final Destination: Bloodlines Elio F1 Deep Cover 28 Years Later Death Stranding 2: On The Beach CONTACT US Modern Escapism are creating Brilliant Podcasts | Patreon Email Instagram Bluesky Discord Twitch TikTok Check out our other podcasts: https://shows.acast.com/scorchedsheep https://shows.acast.com/smashthatglass https://shows.acast.com/deepdivelounge You can also follow us individually at: Biggie Gadget Stig Candy Oodles This episode was produced and edited by Gadget

Tread Perilously
Tread Perilously -- Baywatch: Blindside

Tread Perilously

Play Episode Listen Later Jul 3, 2025 115:18


Tread Perilously returns to the Ballad of John D. Cort with an episode of Baywatch called "Blindside." After a long period away, John D. Cort returns to Baywatch to complete his mandatory ten days and go through his lifeguard recertification. Everyone is thrilled to see him except C.J. They had a thing going before she left Baywatch some years prior. Also, Mitch notices something is off with Cort's peripheral vision. But does Mitch know better than the county optometrist? Meanwhile, Hobie befriends a very tall man working as a sideshow giant on the nearby pier. Will he be able to convince him to change his employment situation? Justin finally meets Second Hobie as "Blindside" takes the Ballad into season 4 of Baywatch. He and Erik try to dissect just how much David Hasselhoff felt uncomfortable around John Allen Nelson. The pair also finally encounter the Baywatch of pop culture memory. The lack of half the cast -- including Alexandra Paul and Nicole Eggert -- does not go unnoticed. Another series for Nelson gets pitched. Nuance leads to a conversation about Pamela Anderson. Geography Corner explains how unlikely it would be for Cort to arrive at the beach on horseback. A county permit becomes surprisingly important in Hobie's story and the modern use of "wild" makes a surprise appearance.

Front Row
Tim Key on his sleeper hit The Ballad of Wallis Island

Front Row

Play Episode Listen Later Jul 1, 2025 42:34


Comedian and poet Tim Key on writing and starring in The Ballad of Wallis Island which has become one of the surprise film hits of the year.Novelists Saima Mir and Marcia Hutchinson on setting their stories in Bradford.Playwright Ntombizodwa Nyoni on reimagining the 5th Pan African Congress which took place in Manchester in 1945 for her new play, Liberation.As the Japanese art form, Manga, makes its presence felt at this year's Bradford Literature Festival, writer and comic specialist Paul Gravett who has curated the exhibition, Make Mine Manga, and Manga artist, Eira Richards, discuss the visual vocabulary of this distinctive art genre.Presented by Nick Ahad Produced by Ekene Akalawu

japanese island comedians manchester liberation ballad manga bradford tim key sleeper hit bradford literature festival paul gravett pan african congress
March Forth with Mike Bauman
Episode 179: Jesse Weber of The Failsafe

March Forth with Mike Bauman

Play Episode Listen Later Jul 1, 2025 68:01


On this episode of March Forth with Mike Bauman, Mike chats with Jesse Weber of The Failsafe! The Failsafe is a modern rock band that melds soaring riffs, powerful choruses, electronic elements, and pop-inspired vocals for a sound that's both catchy and filled with conviction. Since dropping their LP Erasing Color in 2019, The Failsafe has a musical catalog that's topped 1 million streams. Over the years, they've shard the stage with the likes of Nonpoint, Skillet, Drowning Pool, Saliva, Adelitas Way and Saving Abel, among others. On June 27th, The Failsafe dropped their latest single, a cover of Panic At The Disco's "The Ballad of Mona Lisa." The cover will be featured on Ghost Killer Entertainment's Pop Goes Hardcore Volume 3 playlist, which releases July 4th. The Failsafe has upcoming tour dates this July, including 7/18 at Rockfest in Cadott, Wisconsin, and a headlining performance 7/25 at Booney Bash Fest in Gould City, Michigan. On this episode, Jesse returns to talk with Mike about The Failsafe's cover of "The Ballad of Mona Lisa," finding his rock voice after starting out in choir when he was younger, including being able to sing "Pardon Me" from Incubus, his new covers channel, the challenges of music marketing for bands today, upcoming tour dates with The Failsafe, and more. This episode also features the aforementioned cover of "The Ballad of Mona Lisa" from The Failsafe, available where you get your music! Follow The Failsafe on Instagram @wearethefailsafe. Follow Jesse @thefailsafejesse and @jesse_vox.wav. To stay up-to-date with The Failsafe and check out their upcoming tour dates, visit https://wearethefailsafe.com/. Follow Mike on Instagram @marchforthpod. To stay up-to-date on the podcast and learn more about Mike, visit https://linktr.ee/marchforthpod. If you or someone you know needs mental health resources, please visit the following links: https://www.psychologytoday.com/us; https://988lifeline.org/ Thanks for listening! If ya dug the show, like it, share it, tell a friend, subscribe, and above all, keep the faith and be kind to one another.

The Geek Cave Podcast
Geek Cave Podcast 177.1 | COMICS | The ballad of Booster Gold

The Geek Cave Podcast

Play Episode Listen Later Jul 1, 2025 40:33


This month's comics episode features a profile on Booster Gold, reviews of Superman: The Exile, Dick Tracy, Sisters, and One Shot, plus we take a look at a couple of audiobooks (Console War and Project Hail Mary) while trying to answer a vague Green Lantern question.  Sponsored by Gamefly. New customers can get a 30-day free trial by clicking on the GameFly link at the top of GeekCavePodcast.com. Like the show? Please leave a rating wherever you found us! Download and listen today on Apple Podcasts, Spotify, iHeart, Amazon, Stitcher, Goodpods, and more of your favorite podcast services! 

Story 'n Things: A Book Podcast
Our Mid-Year Book Ranking: January to June Reads

Story 'n Things: A Book Podcast

Play Episode Listen Later Jul 1, 2025 62:01


In this mid-year check-in episode of The Book Fix, Yajaira and Cheli reflect on every book they've read from January to June and rank them on a chaotic, totally subjective tier list. From five-star favorites to books that left them speechless—in a bad way—they revisit standout titles like The Ballad of Songbirds and Snakes, Two Twisted Crowns, Beneath These Cursed Stars and Sunrise on the Reaping. They relive their most unhinged reactions, recall the spiciest (and cringiest) book boyfriends, and laugh through the titles that made them question their life choices. It's a fun, fiery recap of the reading highs and lows that shaped the first half of their year, complete with banter, bold takes, and plenty of “how did we end up here?” moments.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

Double Deuce podcast
504: Here Come the Submarines!

Double Deuce podcast

Play Episode Listen Later Jun 29, 2025 24:54


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!  

Ballad of the Seven Dice
Escaping Carcosa Online- Day 3 E3 // A Guild is Formed

Ballad of the Seven Dice

Play Episode Listen Later Jun 28, 2025 55:11


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 

Randy Baumann and the DVE Morning Show
2025 DVE Pittsburgh Power Ballad Challenge Show

Randy Baumann and the DVE Morning Show

Play Episode Listen Later Jun 27, 2025 93:01


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.

Creator to Creator's
Creator to Creators S7 Ep 46 SIFUENTES

Creator to Creator's

Play Episode Listen Later Jun 27, 2025 31:50


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.

Final Show Films Actual Plays
Ballad of the Were-Wolf - Episode 11: The Gun-Show

Final Show Films Actual Plays

Play Episode Listen Later Jun 27, 2025 158:52


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 ★

Final Show Films Actual Plays
Ballad of the Were-Wolf - Episode 10: Shadows Of The Moon

Final Show Films Actual Plays

Play Episode Listen Later Jun 26, 2025 147:25


    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 ★

Story 'n Things: A Book Podcast
The Ballad of Songbirds and Snakes (2023) | Book Flix #7

Story 'n Things: A Book Podcast

Play Episode Listen Later Jun 26, 2025 48:02


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

Switched on Pop
The Ballad of Lainey Wilson and Jessie Murph

Switched on Pop

Play Episode Listen Later Jun 25, 2025 28:25


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

A History Of Rock Music in Five Hundred Songs
Song 178: “Who Knows Where the Time Goes?” by Fairport Convention, Part Two: “I Have no Thought of Time”

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jun 23, 2025


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

christmas america god tv american family california death live church australia lord english uk men battle england action olympic games americans british song friend gratitude solo australian radio holidays mind dm guns north america current songs irish grammy band island track middle east wind wall hearts sweden daughter sea jump britain muslims beatles eagles lights plant breakfast islam records cd farewell boy rolling stones thompson scottish milk birmingham elvis stream denmark swedish drunk rock and roll unicorns flood north american loyalty deliverance morris ravens longtime sanders folk bob dylan victorian elton john marry generous abba dolly parton peters playboy john lennon faced rabbit ballad matthews blue sky pink floyd generally richard branson brotherhood boyd pond sailors led zeppelin johns santa monica dreamer bbc radio candle happily beach boys needing eps jimi hendrix scientology conway millennium transit fleetwood mac kami excerpt goin kinks full house quran scandinavia alice cooper sloths rendezvous stonehenge sweeney rails bow tidal covington rod stewart tilt opec paul simon rufus mccabe hark kate bush peter gabriel sex pistols donaldson mixcloud janis joplin guinness book hampshire white man hilo brian eno sufi partly garfunkel bright lights zorn rowland john coltrane clockwork orange jimmy page chopping zeppelin messina buddy holly robert plant jerry lee lewis donahue evermore private eyes jethro tull byrds lal linda ronstadt lief troubadour easy rider searchers emmylou harris prince albert first light islander honourable nick drake lomax scientologists broomsticks sumer accordion larry page richard williams rafferty baker street edwardian dusty springfield arab israeli steve miller band steve winwood bonham roger daltrey everly brothers john bonham london symphony orchestra judy collins john cale southern comfort hutchings john paul jones richard thompson mike love island records muff liege john wood brenda lee david bailey all nations ned kelly dimming geer pegg rock on hokey pokey robert fripp loggins fairport convention adir fats waller page one pinball wizard cilla black gerry conway roches warners tam lin alan lomax average white band conceptually barry humphries louie louie southern us royal festival hall wild mountain thyme melody maker albert hall linda thompson flying burrito brothers gerry rafferty swarbrick peter grant thompsons willow tree big pink carthy ian campbell rick nelson benjamin zephaniah roger mcguinn martha wainwright chris blackwell albert lee white dress van dyke parks human kindness glass eyes sandy denny ink spots rob young fairport ronstadt joe boyd joe meek tony cox vashti bunyan glyn johns damascene shirley collins incredible string band ewan maccoll bruce johnston dame edna everage george formby steeleye span martin carthy chrysalis records music from big pink human fly painstaking eliza carthy robin campbell johnny otis unthanks i write wahabi tim hart norma waterson maddy prior silver threads i wish i was ostin fool for you iron lion judy dyble john d loudermilk doing wrong simon nicol vincent black lightning dave pegg dave swarbrick henry mccullough smiffy only women bleed sir b paul mcneill davey graham windsor davies mick houghton tilt araiza
I Hate James Dobson
Episode 34: The Ballad of Jack Chick

I Hate James Dobson

Play Episode Listen Later Jun 23, 2025 65:32


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.

Ballad of the Seven Dice
Escaping Carcosa Offline - Day 3 E3 // Yelling at Fable

Ballad of the Seven Dice

Play Episode Listen Later Jun 22, 2025 65:46


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

OH GOD, WHAT NOW? Formerly Remainiacs
Dawn of the Dread – Ten years of Trump

OH GOD, WHAT NOW? Formerly Remainiacs

Play Episode Listen Later Jun 20, 2025 71:00


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

The Popcast With Knox and Jamie
611: Bad Dads in Pop Culture

The Popcast With Knox and Jamie

Play Episode Listen Later Jun 11, 2025 59:10


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.