Podcasts about Band

Garry welcomes Tom Skilling and a performance by the OhYes! Band to The Garry Meier Show Cocktail Hour LIVE! Streaming starts at 6 p.m. Eastern/5 Central, on Friday, June 27, 2025. We know nonsense and yappetizers aplenty will be served. Lube is up to you, just be safe and responsible while you stream along LIVE! LIVE! LIVE! (or catch a replay at your convenience) on the GarrForceLIVE YouTube channel.

Here is the second set of the band's performance at the Forum in Inglewood California on June 4, 1977.  A long and fine set of music, luckily for us captured by a nice audience recording, results in one of the few Spring '77 shows that hasn't been commercially released.  This show features quite a few 'big' numbers - Estimated>Eyes, Terrapin, Playin in the Band, Franklin's Tower.. The Playin' sandwich is really nicely done,, as is the transitions throughout the set.  I hope you enjoy this one, my advice is to turn it up!  Grateful Dead The Forum Inglewood, CA 6/4/1977 - Saturday Two      Samson And Delilah [6:07]  Ship Of Fools [7:52]  Estimated Prophet [9:39] > Eyes Of The World [10:45] > Drums [2:#35] > Good Lovin' [5:30]  Terrapin Station [11:05] > Playing In The Band [9:40] > Franklin's Tower [10:34] > Space [3:34] > China Doll [6:09] > Not Fade Away [11:18] > Playing In The Band [3:31#] Encore      One More Saturday Night [5:12]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod062725.mp3   My thanks for your support of the Deadpod !      

Garry welcomes Tom Skilling and a performance by the OhYes! Band to The Garry Meier Show Cocktail Hour LIVE! Streaming starts at 6 p.m. Eastern/5 Central, on Friday, June 27, 2025. We know nonsense and yappetizers aplenty will be served. Lube is up to you, just be safe and responsible while you stream along LIVE! LIVE! LIVE! (or catch a replay at your convenience) on the GarrForceLIVE YouTube channel.

Famous Actor Now Fronting a Bruce Springsteen Tribue Band

Shopkeeper Dan is back again, joining Kyle and Bear to discuss various headlines ranging from global cybersecurity incidents, Walmart's role in stopping fraud, and the implications of AI in personal relationships. They explore the recent hacking of Iranian state TV, the rise of state-sponsored hacking, and the importance of securing digital assets. The conversation also delves into the emotional connections people form with AI, culminating in a humorous discussion about a man proposing to his AI chatbot girlfriend. they follow that up with a serious discussion on AI hallucinations leading to a defamation lawsuit against Google, and a not so serious debate on whether Elon Musk is a superhero or supervillain. They also explore the ethical responsibilities of companies like Walmart in preventing fraud and wrap up with a light-hearted story about espionage in the sausage industry.Subscribe, share, and join the trading conversations on Facebook, Twitter, LinkedIn and Discord!Sponsors and FriendsOur podcast is sponsored by Sue Maki at Fairway Independent Mortgage (MLS# 206048). Licensed in 38 states, if you need anything mortgage-related, reach out to her at SMaki@fairwaymc.com or give her a call at (520) 977-7904. Tell her 2 Bulls sent you to get the best rates available!If you are interested in signing up with TRADEPRO Academy, you can use our affiliate link here. We receive compensation for any purchases made when using this link, so it's a great way to support the show and learn at the same time! **Use code CHINASHOP15 to save 15%**Visit Airsoftmaster.com to support one of our own!To contact us, you can email us directly at bandoftraderspodcast@gmail.com Check out our directory for other amazing interviews we've done in the past!If you like our show, please let us know by rating and subscribing on your platform of choice!If you like our show and hate social media, then please tell all your friends!If you have no friends and hate social media and you just want to give us money for advertising to help you find more friends, then you can donate to support the show here!Bear:Bear made the transition from investing to trading at the beginning of COVID. After initial success with options, he quickly learned that his luck was greater than his skill and shifted his focus to futures. Bear has fully embraced the role of emotions and mental capital with the mindset that trading futures is purely an internal struggle that rewards patience, calm, bravery, focus, passion, and commitment. Beyond markets Bear finds joy in his community as a volunteer firefighter and EMT.Follow Bear on TwitterDan:Dan co-founded 2 Bulls in a China Shop with Kyle when their shared passion for active trading ignited during the lockdowns. Their daily discussions about trades, interests, and the valuable lessons learned created the bedrock for what eventually evolved into both the 2 Bulls in a China Shop and Band of Traders podcasts.While navigating the complexities of trading, Dan infused humor into the shows with his self-deprecating wit and candid discussions about their trading experiences. This dynamic duo's chemistry became the catalyst for a podcast that resonated widely, capturing the attention of a diverse audience.Service Unscripted WebsiteAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

YoutubeFacebookXInstagramBioNORTHERN KENTUCKY – Orchid in the Ivy, the hard-hitting alternative rock triofronted by Brett Scharf, is turning heads with the re-release of their fiery, pop-punkrendition of “Beds Are Burning.” Originally recorded some time ago, the band recentlyremixed and relaunched the track to pave the way for their upcoming five-songEP—proving that rock is far from dead and Scharf's creative fire is still blazing.“We did a new mix,” says Scharf of the Midnight Oil classic. “We kinda did it a whileago, and we basically did a whole remix... people will maybe recognize it a little bit andthen kinda get your feet wet again with it—and then go with the five song EP after that.”The result? A faster, sharper, and more aggressive version of the politically chargedanthem—reborn through Orchid in the Ivy's melodic punk-rock lens. “I always thought ithad a great groove to it,” Scharf explains. “I was messing around with it one day andjust thought, ‘God, if we sped this up, this would be more like almost a punk rock tune.' Idon't think they realized how kind of heavy and punk rock that song could actually be.”For Scharf, who once toured alongside now-household names like Fall Out Boy andMotion City Soundtrack in his early band Spindle, Orchid in the Ivy represents a rebirth.After years of navigating the ups and downs of multiple projects, including RosemaryDevice, Scharf stepped into the role of lead singer “more out of necessity than anythingelse.” That unplanned shift uncovered a sound—and voice—that finally felt right.“I put some vocals down on a couple songs and asked my drummer what he thought.He liked it, and we just kept going forward that way,” says Scharf.Since forming in 2013, Orchid in the Ivy has remained fiercely self-sufficient. The bandrecords everything at Scharf's own studio, allowing them the space to experiment andevolve. “We were trying to really find out our sound,” Scharf says. “I think in the last fiveor six years, we really found our voice.”That voice blends the emotional punch of Brand New's The Devil and God Are RagingInside Me with the melodic grit of Alkaline Trio's Crimson and the urgency of RiseAgainst. The upcoming EP, while not including “Beds Are Burning,” follows hot on itsheels, with singles set to roll out every six to eight weeks.“There's a little more emotion involved in this one,” Scharf notes of the new material.“The stuff I've been writing for this EP—and even the next one—is just a little morepersonal. With everything going on in the world, it just seems like a chaotic time.”Though Scharf's journey has spanned decades and many stages, his passion hasnever faded. “The older I got, the better the writing got,” he says. “There's always beenthat inspiration of finding new music, being creative. That's always been a passion ofmine.”And for fans of raw, heartfelt rock music, the message is clear. “Rock's not dead,”Scharf insists. “I hope we can burst through the scene and break some barriers again.There's still a huge audience out there—and just because major labels aren't signing it,doesn't mean they're not there. That's what rock has always been about: breaking downbarriers.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

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.

In der aktuellen Podcastfolge “Axel Trifft Christian Friedel”, den Schauspieler und Sänger der Band Woods of Birnam, geht es um das bevorstehende Festival der Band am 5. Juli in Dresden auf dem Konzertplatz Weisser Hirsch, das eine intime und familienfreundliche Atmosphäre bieten soll. Friedel spricht über die vielfältige Musikauswahl mit etablierten Künstlern, Newcomern und einer Live-Technoband, die alle zum bunt gemischten Programm beitragen. Er äußert sich auch zu seinen DJ-Vorlieben und der aktuellen Arbeit der Band an einem neuen Album und einem zukünftigen Projekt. Abseits der Musik teilt Friedel persönliche Einblicke in seine Schauspielkarriere nach dem Erfolg von "Zone Of Interest", seine Erfahrungen mit internationalen Filmproduktionen und seine Beobachtungen zur globalisierten Filmlandschaft. Ausserdem teilt er humorvolle Anekdoten aus seiner Schulzeit und verrät seine bevorzugten Freizeitaktivitäten in Dresden.

Jules meets potential band mates Big Pear What went wrong at the wedding? Pete Murray's in town! See omnystudio.com/listener for privacy information.

No Em Ponto de hoje vamos falar sobre os primeiros treinos livres para o GP da Áustria de Fórmula 1.E mais:- Band quer renovar com F1- Perez fala sobre briga com Max- Brad Pitt pilota McLarenApresentação: Carlos Garcia e Gabriel Gavinelli.

Lionel wraps up the show talking about defining sexism and racism, asking what solo artists can be successful without their bands and talks about the glory of radio remotes in the 80s. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you enjoy our content and appreciate what we do, kindly consider donating to the channel! Cash App: $TigerTalk1400 PayPal.me/TigerTalk1400 Become a Patron at www.patreon.com/TigerTalkWithThe1400Klub We appreciate the support! It all helps thee cause: THEE I LOVE - Jackson State University!

If you enjoy our content and appreciate what we do, kindly consider donating to the channel! Cash App: $TigerTalk1400 PayPal.me/TigerTalk1400 Become a Patron at www.patreon.com/TigerTalkWithThe1400Klub We appreciate the support! It all helps thee cause: THEE I LOVE - Jackson State University!

The Slamfest Podcast brings the premier rock concert pregaming experience from the parking lot to the podcasting airwaves. Episode 263 - It's the end of the 2nd quarter and time for another concert regret episode.  This time Brad goes back to the mid-90's and discusses an 80's rock band touring for the first time in 6 years - R.E.M.'s Monster Tour hit the Breslin Student Events Center in East Lansing, MI on 9/27/95.  He welcomes Slamfest Crew Member Andy C. back to the podcast to recap this tour and talk about the R.E.M. show he saw at Sandstone Amphitheater in Bonner Springs, KS on 5/27/95.   For the Band on the Bill Spotlight, they put 80's R.E.M. songs up against 90's R.E.M. songs and choose their favorites.  After a Slamfest Tip of the Week, they are faced with a "Which Side are you On?" - Side 1 or 2 from R.E.M.'s ninth studio album, Monster, from 1994.Music in this episode by:R.E.M.Black SabbathKissOzzyVisit the Slamfest Podcast online at: https://slamfest-podcast.simplecast.comRequest to join the Slamfest Podcast private Facebook page here:https://www.facebook.com/groups/slamfestpodcastE-mail us at : slamfestpodcast@gmail.com

Tema de abertura de Claudio Zaidan no programa Bandeirantes Acontece.

Seit mehr als 20 Jahren lebt Dota, früher bekannt als „Kleingeldprinzessin“ und inzwischen Sängerin der nach ihr benannten Band, von der Musik.

Nesta quinta-feira, o podcast Motorsport.com chega com o DIRETO DO PADDOCK, que aborda o dia de mídia da F1 na Áustria. Repórteres do Motorsport.com, Carlos Costa (@ocarlos_costa) e Isa Fernandes (@isamfer_) repercutem os destaques no Brasil e em Spielberg.Bitcoin e criptomoedas? Invista na Mynt, a plataforma cripto do BTG Pactual, e tenha Cashback em Bitcoin até R$ 250 - http://bit.ly/458S3AX

Wednesday, June 25th, 2025Today, former DoJ lawyer Erez Reuveni issues a bombshell whistleblower account of Emil Bove's intentional defiance of court orders on the eve of his judicial confirmation hearing; US intelligence assessments indicate that Iran's nuclear sites were not destroyed and they can be back up and running in a few months; Florida is paving over the Everglades to build its own concentration camp; a federal judge has blocked Trump's termination of University of California research grants; the Senate parliamentarian nixes the public lands selloff in the Billionaire Bailout Bill; four tech execs are sworn in as lieutenant colonels in the Army; Senator Lisa Murkowski signals she may turn Independent and caucus with Democrats; House Dems choose youth over seniority in the House Oversight ranking member election; and Allison delivers your Good News.Thank You, DeleteMeGet 20% off your DeleteMe plan when you go to joindeleteme.com/DAILYBEANS and use promo code DAILYBEANS at checkout. Thank You, Daily LookFor 50% off your order, head to DailyLook.com and use code DAILYBEANS. Thank You, CBDistilleryUse promo code DAILYBEANS at CBDistillery.com for 25% off your purchase.  Specific product availability depends on individual state regulations.Check out Dana's social media campaign highlighting LGBTQ+ heroes every day during Pride Month -  Dana Goldberg (@dgcomedy.bsky.social)Guest: Martha BarnetteFriends with Words Adventures in Languageland - book by Martha BarnetteMarthaBarnette.comA Way with Words Podcast@marthabarnette - BlueSky, Martha Barnette (@martha.barnette) - Instagram, MarthaBarnette - twitterStoriesStrike Set Back Iran's Nuclear Program by Only a Few Months, U.S. Report Says | The New York TimesLive updates: Trump lashes out at Israel and Iran amid accusations of ceasefire violations | NBC NewsWhat Big Tech's Band of Execs Will Do in the Army | WIREDFlorida Builds ‘Alligator Alcatraz' Detention Center for Migrants in Everglades | The New York TimesHouse Democrats Elect Robert Garcia for Top Oversight Post | The New York TimesJudge blocks Trump's termination of UC research grants | Courthouse News ServiceMurkowski suggests she could become an Independent in the right circumstance - Live Updates | POLITICOGOP budget bill could threaten public lands, conservation groups voice opposition | NBC MontanaFrom The Good Newsuncomplicatedkitchen.org'No Kings' Protests see thousands in San Antonio area speak out, joining national movementGay Men's Chorus Of Washington, DCPotomac Fever (@potomac.fever) -  Instagram‘Get ready to sweat!' The animal mega-marathon stampeding from the Congo to the Arctic | Stage | The GuardianBe Biscuit's Hero - AZ Humane SocietyStar 67 - The Daily Beans - Apple PodcastsReminder - you can see the pod pics if you become a Patron. The good news pics are at the bottom of the show notes of each Patreon episode! That's just one of the perks of subscribing! patreon.com/muellershewrote Federal workers - feel free to email me at fedoath@pm.me and let me know what you're going to do, or just vent. I'm always here to listen.Share your Good News or Good TroubleMSW Good News and Good Trouble Check out other MSW Media podcastshttps://mswmedia.com/shows/Subscribe for free to MuellerSheWrote on Substackhttps://muellershewrote.substack.comFollow AG and Dana on Social MediaDr. Allison Gill Substack|Muellershewrote, BlueSky|@muellershewrote , Threads|@muellershewrote, TikTok|@muellershewrote, IG|muellershewrote, Twitter|@MuellerSheWrote,Dana GoldbergTwitter|@DGComedy, IG|dgcomedy, facebook|dgcomedy, IG|dgcomedy, danagoldberg.com, BlueSky|@dgcomedyHave some good news; a confession; or a correction to share?Good News & Confessions - The Daily Beanshttps://www.dailybeanspod.com/confessional/ Listener Survey:http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=shortFollow the Podcast on Apple:The Daily Beans on Apple PodcastsWant to support the show and get it ad-free and early?Supercasthttps://dailybeans.supercast.com/Patreon https://patreon.com/thedailybeansOr subscribe on Apple Podcasts with our affiliate linkThe Daily Beans on Apple Podcasts

It’s the moment Danity Kane fans have been waiting for. Aubrey O’Day is joined by her Danity Kane sister D. Woods for a no-holds-barred conversation that blows the lid off years of silence. From surviving the mind games of Making the Band to protecting her peace during Diddy’s explosive trial, D. finally reveals what it really felt like behind the scenes — and why now was the time to speak. Nothing is sugar-coated.Who sabotaged Danity Kane?What was the breaking point on MTV?And if Diddy walks… who should be afraid? Truths are spilled, wounds are reopened, and healing finally begins — on her terms. This isn’t just a reunion. It’s a reckoning.See omnystudio.com/listener for privacy information.

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Hillary Reese - Decoy FOLLOW ON SPOTIFYBevin x The Young Fables - The Dream Less Traveled FOLLOW ON SPOTIFYJordyn Richards - Close To You FOLLOW ON SPOTIFYTilde - Anywhere But Here FOLLOW ON SPOTIFYAbz Winter Official - Tired Of You FOLLOW ON SPOTIFYSunshine Duo Band - I Sang Every Love Song For You FOLLOW ON SPOTIFYDevon Michael - Amateur Astronomer FOLLOW ON SPOTIFYTaquirah - Rush Acoustic FOLLOW ON SPOTIFYMaggie Andrew - Fall Like A Feather FOLLOW ON SPOTIFYSOZI - Skipping Stones FOLLOW ON SPOTIFYCat Tedder - At Ease FOLLOW ON SPOTIFYMaritza Merk - Bloom FOLLOW ON SPOTIFYK Michelle DuBois - Tar and Scars FOLLOW ON SPOTIFYMelxdie - Throw It Back FOLLOW ON SPOTIFYiumi the band - I Hate Me FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Profitable Musician Newsletter at profitablemusician.com/joinVisit our Sponsor 39 Streams of Income at profitablemusician.com/incomeVisit our Sponsor Kick Bookkeeping at profitablemusician.com/kickVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

It's been more than 25 years since the Swedish hardcore punk band Refused released their seminal album, “The Shape of Punk to Come.” Their most famous song from that album, “New Noise,” has been called a political anthem and a protest song. It's been used in the Palme d'Or'-winning film “Triangle of Sadness” as well as in the hit show “The Bear.” Last year, frontman Dennis Lyxzén of Refused joined Tom Power to tell us how “New Noise” became a global hit after the band had already called it quits.

Sean "Diddy" Combs, a prominent music mogul and entrepreneur, has faced multiple allegations of sexual assault spanning several decades. One such allegation involves a woman identified as Jane Doe, who claims she was assaulted by Combs during an event related to the MTV reality show Making the Band.BackgroundIn 2004, Jane Doe, then 19 years old, was a college student in Brooklyn. She met Combs during a promotional event for Making the Band, a reality show he produced that aimed to form a new music group.According to Jane Doe's lawsuit:Invitation to Hotel Room: Combs invited her and a friend to his hotel room in Manhattan under the pretense of discussing potential opportunities in the music industry.Unwanted Advances: Once in the room, Combs allegedly made unsolicited sexual advances, including inappropriate touching and attempts to kiss her.Physical Resistance: Jane Doe resisted his advances, leading to a physical struggle where she was reportedly pushed onto the bed.Assault: She alleges that Combs then sexually assaulted her despite her protests.Following the alleged incident, Jane Doe states she experienced significant emotional distress, including feelings of shame and humiliation. She also claims to have faced professional setbacks as a result of the assault.Jane Doe filed a lawsuit against Combs, seeking compensatory and punitive damages for the alleged assault. The case is currently pending in the U.S. District Court for the Southern District of New YorkThis allegation is part of a series of accusations against Combs, with multiple individuals coming forward with claims of sexual assault and misconduct. Combs has denied these allegations, and his legal team has stated that he intends to defend himself against these claims.to contact me:bobbycapucci@protonmail.comsource:combs-da-band-photoshoot-complaint.pdf

Sean "Diddy" Combs, a prominent music mogul and entrepreneur, has faced multiple allegations of sexual assault spanning several decades. One such allegation involves a woman identified as Jane Doe, who claims she was assaulted by Combs during an event related to the MTV reality show Making the Band.BackgroundIn 2004, Jane Doe, then 19 years old, was a college student in Brooklyn. She met Combs during a promotional event for Making the Band, a reality show he produced that aimed to form a new music group.According to Jane Doe's lawsuit:Invitation to Hotel Room: Combs invited her and a friend to his hotel room in Manhattan under the pretense of discussing potential opportunities in the music industry.Unwanted Advances: Once in the room, Combs allegedly made unsolicited sexual advances, including inappropriate touching and attempts to kiss her.Physical Resistance: Jane Doe resisted his advances, leading to a physical struggle where she was reportedly pushed onto the bed.Assault: She alleges that Combs then sexually assaulted her despite her protests.Following the alleged incident, Jane Doe states she experienced significant emotional distress, including feelings of shame and humiliation. She also claims to have faced professional setbacks as a result of the assault.Jane Doe filed a lawsuit against Combs, seeking compensatory and punitive damages for the alleged assault. The case is currently pending in the U.S. District Court for the Southern District of New YorkThis allegation is part of a series of accusations against Combs, with multiple individuals coming forward with claims of sexual assault and misconduct. Combs has denied these allegations, and his legal team has stated that he intends to defend himself against these claims.to contact me:bobbycapucci@protonmail.comsource:combs-da-band-photoshoot-complaint.pdf

Sean "Diddy" Combs, a prominent music mogul and entrepreneur, has faced multiple allegations of sexual assault spanning several decades. One such allegation involves a woman identified as Jane Doe, who claims she was assaulted by Combs during an event related to the MTV reality show Making the Band.BackgroundIn 2004, Jane Doe, then 19 years old, was a college student in Brooklyn. She met Combs during a promotional event for Making the Band, a reality show he produced that aimed to form a new music group.According to Jane Doe's lawsuit:Invitation to Hotel Room: Combs invited her and a friend to his hotel room in Manhattan under the pretense of discussing potential opportunities in the music industry.Unwanted Advances: Once in the room, Combs allegedly made unsolicited sexual advances, including inappropriate touching and attempts to kiss her.Physical Resistance: Jane Doe resisted his advances, leading to a physical struggle where she was reportedly pushed onto the bed.Assault: She alleges that Combs then sexually assaulted her despite her protests.Following the alleged incident, Jane Doe states she experienced significant emotional distress, including feelings of shame and humiliation. She also claims to have faced professional setbacks as a result of the assault.Jane Doe filed a lawsuit against Combs, seeking compensatory and punitive damages for the alleged assault. The case is currently pending in the U.S. District Court for the Southern District of New YorkThis allegation is part of a series of accusations against Combs, with multiple individuals coming forward with claims of sexual assault and misconduct. Combs has denied these allegations, and his legal team has stated that he intends to defend himself against these claims.to contact me:bobbycapucci@protonmail.comsource:combs-da-band-photoshoot-complaint.pdf

Greta Morgan is a founding member of The Hush Sound, touring with Fallout Boy when she was still a teenager, releasing records via Fueled By Ramen, before moving on to being a touring member of Vampire Weekend and performing with Jenny Lewis. After contracting long Covid she developed spasmodic dysphonia - a neurological voice disorder characterized by involuntary spasms of the muscles in the voice box. I.E. it is nearly impossible to sing. After writing nearly 350,000 words in journals, she turned her work into a book - "The Lost Voice" (out now via Harper Collins). We talk with Greta about this life altering change, and it's effects on her creativity and creative practice, our evolving identity coming from self, not from others or our output, the worthiness shadow, acceptance, longevity, and more.Get more access and support this show by subscribing to our Patreon, right here.Links:Greta Morgan“The Lost Voice”Kahlil Gibran - “The Prophet”Ep 96 - Maggie SmithThe Hush SoundFallout BoyVampire Weekend Spasmodic DysphoniaMichelle Zoner - “Crying in H Mart”Suleika Jaouad - “Between Two Kingdoms”Harper CollinsEp 27 - Mary GauthierClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

It’s the moment Danity Kane fans have been waiting for. Aubrey O’Day is joined by her Danity Kane sister D. Woods for a no-holds-barred conversation that blows the lid off years of silence. From surviving the mind games of Making the Band to protecting her peace during Diddy’s explosive trial, D. finally reveals what it really felt like behind the scenes — and why now was the time to speak. Nothing is sugar-coated.Who sabotaged Danity Kane?What was the breaking point on MTV?And if Diddy walks… who should be afraid? Truths are spilled, wounds are reopened, and healing finally begins — on her terms. This isn’t just a reunion. It’s a reckoning.See omnystudio.com/listener for privacy information.

Mr. Christopher and Michael Bland sit down with the Time Band featuring Jellybean Johnson, Monte Moir, Tori Ruffin, and Ricky Freeze Smith to discuss their history with Morris Day and the Time, their Masterclass, and plenty of behind the scenes stories.

Listen as KBTHABANDHEAD gives his review/analysis of the 2025 Summer Band battle between the Georgia All-Star Mass band and the Memphis Mass band. I hope you enjoy the commentary. Please leave a comment with any thoughts or concerns you may have. More is on the way. STAY TUNED!!   Website: https://www.bskillzentertainment.com/ Watch my REACTIONS on YouTube: https://www.youtube.com/c/kbthabandhead Instagram: https://www.instagram.com/kbthabandhead/ TikTok: https://www.tiktok.com/@kbthabandhead?lang=en Merch: https://kbthabandhead.myspreadshop.com/

Episode 326 features Tiny City, an indie rock band from Charlotte, North Carolina. Band members include Nick Muccio (bass), Brendan Pope (guitar, keys), and Caleb Biele, and Derek Stanton (lyricist, lead vocals, drums). Each of them joined the chat in one way or another, and it made for a fun and engaging conversation. We'll be playing a show together on November 15th in Charlotte at Starlight on 22nd. I featured their track “How Did You Know” off their latest album. We discussed their writing and recording process in depth, as well as their most recent tour, which took them all over the East Coast. Now that all the guys have full-time jobs, we also chatted about balancing music and work life. Thanks for listening—and as always, support local art! This year's PTR Fest is this Saturday, June 28th at Fish Head Cantina!   PTR FEST LINE UP   4pm — Will Barkley @thegypsywheel   430pm — The Mack Brothers @themackbrothersmusic   5pm — The Flip Phones @theflipphones   5pm — Brad William Cox @bradcoxentertainment   6pm — Pack of Larks @packoflarks   630pm — LJR @lukejustinroberts   7pm — Patrick Duffy Band @_p_d_b__   730pm — Xavier James @xavierjamesmusic   8pm — @scoriaofficial   830pm — the Hollow Truths @thehollowtruths   9pm — @letsbeastronauts   930pm — Big Laird @thebiglairdband   1030pm — The Caffeine Rush

Send us a textIn today's chinwag, we'll explore a candidate for the first novel in English by the first professional female writer in English: Oroonoko by Aphra Behn (1688).  It's the story of an African prince and his beloved, who are betrayed into slavery and do not live happily ever after.  The novel seems a modest heroic romance, but I think Ms. Behn has a more complex project up her sleeve . . . .Full text of Oroonoko: https://pressbooks.library.torontomu.ca/oroonoko/chapter/the-history-of-the-royal-slave/Additional music:"James Bond Theme Song" from The Internet Archivehttps://archive.org/details/tvtunes_6995"Jeopardy Theme Think Music" from The Internet Archivehttps://archive.org/details/tvtunes_29826Support the showPlease like, subscribe, and rate the podcast on Apple, Spotify, YouTube Music, or wherever you listen. Thank you!Email: classicenglishliterature@gmail.comFollow me on Instagram, Facebook, Bluesky, and YouTube.If you enjoy the show, please consider supporting it with a small donation. Click the "Support the Show" button. So grateful!Podcast Theme Music: "Rejoice" by G.F. Handel, perf. The Advent Chamber OrchestraSubcast Theme Music: "Sons of the Brave" by Thomas Bidgood, perf. The Band of the Irish GuardsSound effects and incidental music: Freesounds.orgMy thanks and appreciation to all the generous providers!

It's Sparks! The Band!! Russell and Ron Mael are back on the podcast to talk about their new album, "Mad!" (available now), going out on their big world tour, and how it's possible to overthink things and STILL just move forward anyway. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Always the dumbest things.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of I Am Salt Lake, I sit down with singer-songwriter Tyler Privett , the creative force behind the full band Maverick Tyler. We dive into his journey through music—what first sparked his passion, the instruments he plays, and how his sound has evolved over the years. Tyler shares stories from his early days, insights into his songwriting process, and what it's like performing with a full band that carries his artistic vision.Joining me as guest co-host is Jeramie Velarde, who brings an extra layer of perspective and energy to the conversation. Together, we explore the roots of Maverick Tyler's music, Tyler's creative influences, and what fans can expect from upcoming projects. Whether you're already familiar with Maverick Tyler or just tuning in for the first time, this episode offers an engaging, behind-the-scenes look at one of Salt Lake's rising musical talents.

SlapperCast Episode 332: "Lightning Round" A spontaneous and very fun episode recorded in Turbo's office this past Thursday afternoon right after the three of us had lunch together. Show dates Blaggards.com (https://blaggards.com/shows/) Facebook (https://www.facebook.com/pg/blaggards/events/) Bandsintown (https://www.bandsintown.com/a/3808) Follow us on social media YouTube (https://www.youtube.com/blaggards) Facebook (https://www.facebook.com/blaggards/) Twitter (https://twitter.com/blaggards) Instagram (https://www.instagram.com/blaggards/) Become a Patron Join Blaggards on Patreon (https://www.patreon.com/blaggards) for bonus podcast content, live tracks, rough mixes, and other exclusives. Rate us Rate and review SlapperCast on iTunes (https://itunes.apple.com/us/podcast/slappercast-a-weekly-talk-show-with-blaggards/id1452061331) Questions? If you have questions for a future Q&A episode, * leave a comment on Patreon (https://www.patreon.com/blaggards), or * tweet them to us (https://twitter.com/blaggards) with the hashtag #slappercast.

Producer/bassist Jim Reilley will most likely be remembered as a founding member (along with musical partner Reese Campbell) of seminal folk rock band The New Dylans. Founded in 1986,the band barnstormed the US throughout the 90's and won critical praise from Rolling Stone (who called their songs “offbeat classics”) and virtually every other major music publication and major newspaper. The Village Voice placed the band in the top 5 Ep's of 1986 in their prestigious Pazz and Jop Poll. The band won the hearts and minds of many fans in the then burgeoning AAA American radio format and had several feature spots on important tastemaking radio shows including NPR's All Things Considered, Idiot's Delight with Vin Scelsa, Partridge Family Imp Danny Bonaduce's WLUP show, Mountain Stage, WXPN's World Café and Acoustic Café. Michael Stipe of R.E.M. proclaimed The New Dylans his favorite band of 1986 and Natalie Merchant (of 10,000 Maniacs) would often jump onstage and sing with the band.After 10 years of solid touring often over 175 dates a year sharing stages with many luminaries including (R&R Hall Of Famers) The Band, Reilley moved to Nashville to sign a writing and production deal with Curb Records. As a songwriter, Reilley had over 60 songs recorded by such artists as Hal Ketchum, Sam Bush, Vince Gill, Lauren Daigle, Hillary Scott, Claudia Church, Leann Rimes, Cowboy Crush, Jana Kramer, Jack Ingram, Lila McCann, Carly Pearce, John Cowsill, Vicki Peterson (The Bangles), Tim O'Brien and had a European hit with Danish Rock legend Peter Belli. In his career, Reilley has produced or made music with Sheryl Crow, Pam Tillis, Lee Brice, Levon Helm, Ethan Hawke, John Osborne, Brothers Osborne, The Fleshtones, Pure Prairie League, Leann Rimes, Rodney Crowell, Shawn Colvin, Rodney Atkins, Cowboy Jack Clement, Lucinda Williams, Ryan Adams & The Cardinals, Uncle Tupelo, Kathleen Edwards, Mary Gauthier, Superdrag, Gillian Welch, Prince's  New Power Generation, Linda Hargrove, Harlan Howard, Jim Lauderdale, Hillary Scott, Jenna Von Oy, Tommy Womack, Carly Pearce, Jana Kramer, Linda Davis, Vince Gill, Cheetah Chrome of The Dead Boys, Vicki Peterson (The Bangles), The Mavericks, Jack Ingram, Tiffany, NRBQ, Patty Larkin, Dave Van Ronk, Leah Andreone, Diamond Rio, Hank Williams Jr, Jett Williams, Shel Silverstein, Townes Van Zandt, Richie Havens, Al Perkins, The Story, Kasey Chambers, Del McCoury Band, Minton Sparks, Joy Lynn White, Sam Bush, David Mead, Daniel Tashian, members of The Jayhawks, Wilco, Genesis, Cheap Trick, Buckcherry, The Milk Carton Kids, Lake Street Dive, Blondie, John Mellencamp, Foo Fighters, Tom Petty & The Heartbreakers, The Doobie Brothers, Counting Crows, The Wallflowers, Joe Perry Band, The Black Crowes, Old Crow Medicine Show, The Bangles, Ben Folds, Alabama Shakes, Jack White band, Ten Years After, The Black Keys, The Band, The Beach Boys, 10,000 Maniacs, R.E.M. and more.www.producerjimreilley.com"Still on the Run" - https://www.fbrmusic.com/Host - Trey MitchellIG - treymitchellphotography IG - feeding_the_senses_unsensoredFB - facebook.com/profile.php?id=100074368084848Threads - www.threads.net/@treymitchellphotographySponsorship Information/Guest Suggestions  -  ftsunashville@gmail.com

This week on the pod: We sit down with true Renaissance man Alan Pell Crawford—author, journalist, private investigator, and founding member of The Hambiscuits. From writing for The Washington Post during the Watergate era to covering Capitol Hill, going undercover as a private investigator, and starting a bluesy jazz band with a nod to NOLA later in life, Alan's journey is anything but ordinary.✨ Hear about:His path from Indiana to Richmond via D.C. and The Martin AgencyWriting for The Wall Street Journal, Vogue, National Review, and moreHis undercover P.I. days (yes, folding hospital towels was involved)His latest book This Fierce People, plus other favorites like Twilight at MonticelloThe origin of The Hambiscuits and their vintage soundA fun George Harrison story you've probably never heardTips on taking creative leaps—and making them count

durée : 00:05:18 - C'est une chanson - par : Frédéric Pommier - Porté par Arthur H, "Ange", son nouveau film, sort le 25 juin au cinéma. Au micro de Frédéric Pommier, Tony Gatlif évoque la chanson "Do ciebie Kasiuniu" du groupe polonais Warsaw Village Band, groupe qu'il a découvert en concert dans une cave il y a près de 30 ans dans la banlieue de Varsovie. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The Gathering of the Juggalos line-up is out! Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

Pretoria boys No Closure recently made it onto the Ramfest lineup consisting of headlining act The Devil Wears Prada in South Africa. We chat about the metalcore/hardcore scene in Pretoria, the diversity in South African live shows, and get their response on what was said about the members during the Lower Hollow episode. 

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

Fred Schneider of The B-52s discusses his massive 10,000+ record collection while sharing stories about the B-52's early days, the original "Rock Lobster" single, vinyl reissues and new boxset. Topics Include: Massive record collection visible in wall-to-ceiling custom cabinets Estimates 10,000+ records, considers himself a "record nut" Collection includes avant-garde, classical, funk, soul, bad records Loves bad Christmas records and Halloween records specifically Been collecting since age 13, started in early days Currently has broken receiver, can't play main system Portable player works for 45s but stops unexpectedly Still adding records but doing major purge now Selling and donating records, too many to listen to Donates to Archive of Contemporary Music organization regularly Most precious records are original 45s from youth Still has first album mother bought thinking Beatles Moved into funk, Led Zeppelin, then New Wave music Was Sirius Satellite Radio DJ for three years Prefers first pressings, doesn't care about reissues much Looking for "When I'm Gone" by Brenda Holloway Will clean up scuffed records if sound improves Vinyl never left his turntable despite CD popularity Listens to music most of day while doing activities Plays classical mornings while reading magazines and coffee Enjoys electronic music from 50s/60s and harp music B-52s sound came from all members' varied influences Band was lumped with punk but more "freak punk" Original "Rock Lobster" single recorded in Georgia mountains DB Records pressed 2,000 copies, sold out quickly Eventually pressed 30,000 total copies of original single Australia embraced band early, rolled out red carpet Band never saw penny from original single sales Talking Heads recommended B-52s to their manager successfully Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

This premium episode is UNLOCKED for everyone. For more Band of Gold, support us on Patreon! http://patreon.com/tabletopgold Daemonic party crashers have the heroes reaching for more than just hors d'oeuvres. The Band of Gold is a Tabletop Gold production, produced under the Paizo Incorporated Fan Content policy. The Band of Gold uses trademarks and/or copyrights owned by Paizo Inc., used under Paizo's Fan Content Policy (https://paizo.com/licenses/fancontent). Paizo does not recognize, endorse, or sponsor this project in any way. Original characters and content are the property of Tabletop Gold. For more information about Paizo Inc. and Paizo products, visit paizo.com…

Aubrey O'Day, a former member of the girl group Danity Kane, has openly shared her thoughts following Sean "Diddy" Combs' recent arrest on charges of sex trafficking and racketeering. O'Day expressed feelings of validation, stating that the arrest represents a "win for women all over the world." She emphasized that the purpose of justice is to provide closure and allow for new beginnings, sentiments that resonated strongly for her given her contentious past with Diddy during her time on his reality show Making the Band. O'Day has long been vocal about the emotional toll her experiences with Diddy took on her, calling him "soulless" and criticizing the broader entertainment industry's complicity in allowing his behavior to continue unchecked.O'Day also noted that while the allegations and legal actions against Diddy might bring some validation, they do not erase the trauma endured by his victims. She described the long-lasting impact of being victimized, comparing it to childhood trauma that doesn't simply vanish with time.(commercial at 11:27)to contact me:bobbycapucci@protonmail.comsource:Diddy's former protégé Aubrey O'Day calls rapper a 'soulless human' following his sex trafficking arrest | Fox NewsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

HAIM machen Schluss. Aber nicht öppe als Band. Angetrieben vom Breakup mit Produzent Ariel Rechtshaid fertigten Danielle Haim und ihre beiden Schwestern eine Liste an von Dingen, mit denen man endlich aufhören will: u. a. «Nikotin», «Vorurteile», «unbegründete Ängste» stehen da nun drauf. Verpackt werden diese Vorsätze in das übliche musikalische Gewand irgendwo zwischen Fleetwood Mac, Sheryl Crow und Vampire Weekend. Heisst aber noch lange nicht, dass HAIM auf ihrem vierten Album deswegen auf der Stelle treten – man nehme da nur mal die unerwarteten Samples (George Michael! U2?!), die es in den insgesamt 15 Songs zu entdecken gibt. So etwas haben wir von den Kalifornierinnen noch nie gehört! «I quit» ist das neue Sounds! Album der Woche. Vinyl? CD? Dein Lieblingsformat gibt's diese Woche bis Donnerstag ein Mal pro Sendung zu gewinnen.

At long last! The amazing Kevin Devine joins me for a Knicks conversation, growing up in Brooklyn, writing politically-driven music, and he takes his own shot at Build-a-Band! ---- Watch the new Half Court Sessions with Pictoria Vark at: https://www.youtube.com/@indiebasketball The JR Smiths "Meat is Murder" t-shirt is out. Get em at http://www.indiebasketball.com Support Indie Basketball and help make more Half Court Sessions happen while getting exclusives such as monthly playlists, merch discounts, and exclusive HCS songs: http://www.patreon.com/indiebasketball Join the conversation on Discord: https://discord.gg/HJaDNwxSbe Instagram | YouTube | TikTok | Bluesky Theme music courtesy of Empty Heaven. Outro courtesy of Mother Evergreen.  

In this episode of the Band of Traders podcast, host Kyle and guests Bear Goes Long and Baba Yaga discuss personal updates, changes in the production cycle, market news, and their trading experiences. Baba tells the group about his experience with trading platinum and other commodities last week, while reflecting on the emotional aspects of trading and the importance of flexibility in their approaches. They discuss the emotional landscape of trading, the nuances of market analysis, and the personal experiences that shape their trading strategies. The conversation also touches on the unexpected journey of rescuing a dog, exploring themes of trauma and healing, and concludes with a discussion on what not to do when aging meat, creating a rich tapestry of personal stories and practical knowledge.Subscribe, share, and join the trading conversations on Facebook, Twitter, LinkedIn and Discord!Sponsors and FriendsOur podcast is sponsored by Sue Maki at Fairway Independent Mortgage (MLS# 206048). Licensed in 38 states, if you need anything mortgage-related, reach out to her at SMaki@fairwaymc.com or give her a call at (520) 977-7904. Tell her 2 Bulls sent you to get the best rates available!For anyone trading futures, check out Vantatrading.com. Founded by Mr. W Banks and Baba Yaga, they provide a ton of educational content with the focus of teaching aspiring traders how to build a repeatable, profitable process. You can find our exclusive affiliate link/discount code for Vanta ‘s subscription in our free discord server as well!If you are interested in signing up with TRADEPRO Academy, you can use our affiliate link here. We receive compensation for any purchases made when using this link, so it's a great way to support the show and learn at the same time! **Use code CHINASHOP15 to save 15%**Visit Airsoftmaster.com to support one of our own!To contact us, you can email us directly at bandoftraderspodcast@gmail.com Check out our directory for other amazing interviews we've done in the past!If you like our show, please let us know by rating and subscribing on your platform of choice!If you like our show and hate social media, then please tell all your friends!If you have no friends and hate social media and you just want to give us money for advertising to help you find more friends, then you can donate to support the show here!Baba Yaga:Solving problems, helping set goals, and refining processes is the bulk of Baba's passion. He does that in many contexts ranging from nonprofits to real estate firms and everything in between. He focuses on market structure through the lens of TPO charting and executes based on volume, misplaced large orders, and delta. He loves the opening range breakout and typically trades the market from the “inside out”. Vanta Trading websiteVanta Trading YouTubeFollow Baba Yaga on TwitterBear:Bear made the transition from investing to trading at the beginning of COVID. After initial success with options, he quickly learned that his luck was greater than his skill and shifted his focus to futures. Bear has fully embraced the role of emotions and mental capital with the mindset that trading futures is purely an internal struggle that rewards patience, calm, bravery, focus, passion, and commitment. Beyond markets Bear finds joy in his community as a volunteer firefighter and EMT.Follow Bear on TwitterAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Rats on Van Sessions! Sponsor the program: https://t.ly/KsrVL   Van Sessions is Recorded at The Monarch in Ogden, Utah.   ARTIST | Rats, an Imagine Music Rock Academy Band   FULL SET LIST Song 1 -  Mr. Brightside, The Killers COVER Song 2 - Paranoid, Black Sabbath COVER Song 3 - Adam's Song, blink-182 COVER Song 4 - Square Hammer, Ghost COVER   ARTIST LINKS   Imagine Music: http://www.imaginemusicogden.com/   PRESENTING SPONSORS   The Monarch Building: https://themonarchogden.com/ Lucky Slice Pizza: https://www.theluckyslice.com/   GRANTING SPONSOR   Ogden City Arts: https://ogdencity.com/707/Arts   CREDITS   Producer / Host: R. Brandon Long, The Banyan Collective Bookings: Todd Oberndorfer, todd@thebanyancollective.com Audio Mix: Scott Rogers, The Proper Way https://theproperwayband.com/studio DOP: Dixon Stoddard, https://www.instagram.com/studios_d21/ Photography: Avery Atkinson: https://www.instagram.com/avery_atkinson_/   FOLLOW // SUBSCRIBE   Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod   Tip Jar:  https://www.buymeacoffee.com/banyanmedia   The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists.   Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform.   Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording.   Bookings: todd@thebanyancollective.com

In this jam-packed episode of Who's Your Band?, hosts Jeffrey Paul and Sean Morton welcome legendary pop culture journalist and author Chaunce Hayden to the show! From Springsteen to Stern, Israel to Eurovision, and The Clash to club days in NYC — no topic is off limits and nothing is sacred.

Take our free English-level quiz here to find out what your current English level is.  Do you love All Ears English?  Try our other podcasts here: Business English Podcast: Improve your Business English with 3 episodes per week, featuring Lindsay, Michelle, and Aubrey IELTS Energy Podcast: Learn IELTS from a former Examiner and achieve your Band 7 or higher, featuring Jessica Beck and Aubrey Carter Visit our website here or https://lnk.to/website-sn If you love this podcast, hit the follow button now so that you don't miss five fresh and fun episodes every single week.  Don't forget to leave us a review wherever you listen to the show. Send your English question or episode topic idea to support@allearsenglish.com In charge of hiring for your company? Go to Indeed and support our show by saying you heard about Indeed on this podcast. Terms and conditions apply. Hiring? Indeed is all you need. Go to https://www.indeed.com/aee Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this fresh missive from the Fortress of Proopitude, Greg and Jennifer banter about Barry Jenkins, The Boys in the Band and Brian Wilson.