Podcasts about The Beach Boys

Are you still reading these silly show notes? Honestly, bless your heart. You're a true Time Machiner. Or you're just really bored at work. Anyway, on this week's episode, Dave and Milt climb into the Time Machine and rocket back to June 21, 1975 — the land of lava lamps, fringe vests, and an absolutely bonkers Billboard Top 10 Albums chart. We're talkin' Elton, Earth, Wind & Fire, The Beach Boys, and even Alice Cooper giving us all the Welcome-to-My-Nightmare vibes (spoiler: it's not a lullaby). But wait — Milt's back from Africa! That's right, our Chartmeister went on a literal safari. Lions. Giraffes. Possibly cursed sand. He's got stories, and Dave is mildly concerned for his health and sanity. Oh, and intern Jack "The Fact Machine" Nathanson drops in to host a chaotic 80s music trivia quiz that somehow leads to Warrant, Mr. Roboto, David Lee Roth, and yes, Michael Bolton co-writing a KISS song. You can't make this stuff up. The episode ends (because it has to) with the boys politely kicking some albums off the list and replacing them with stuff they actually like. Sorry, Chicago, but y'all were in your weird phase.

Eddie Perfect has been entertaining us for years. A star of stage and screen, he's a writer of Broadway musicals, played Mick Holland on Offspring, and once composed a musical about Shane Warne. Eddie's currently starring in the titular role for another musical he wrote – Beetlejuice - and he nails it. But for someone with such a varied life in song, I was curious about the inspirations he drew from. Strap in for his source material, and some truly beautiful nerding out on music.The Beach Boys - 'I Get Around'Lauryn Hill - 'Ex-Factor'Rage Against The Machine - 'Killing In The Name'Ella Fitzgerald - 'Fascinating Rhythm'Joni Mitchell - 'Both Sides, Now' 

I gcuimhne ar Brian Wilson, pléimid an t-albam Summer Days (And Summer Nights!!) ó The Beach Boys le hEmma Ní Chearúil.

In this very special episode of My Rock Moment, host Amanda Morck welcomes Beach Boys founding member Al Jardine for an intimate and heartfelt conversation—just a week after the passing of his lifelong friend and bandmate, Brian Wilson. As fans around the world reflect on the legacy of the Beach Boys, Al shares personal memories of his journey with Brian, the creative magic they built together, and the emotional weight of continuing on without him. He also gives listeners a behind-the-scenes look at the inspiration and heart behind his new solo EP, Islands in the Sun. Now in his 80s, Al isn't slowing down. He's preparing to hit the road this summer with The Pet Sounds Band, bringing the timeless harmonies and California spirit to audiences once again—starting July 4th. This episode is a moving tribute to brotherhood, resilience, and the enduring power of surf, sun, and soul. Find more info on Al's upcoming tour dates at: https://www.aljardine.com Listen to his latest EP, Islands in the Sun here: https://aljardine.lnk.to/IslandsInTheSun For classic rock photos and info on upcoming episodes, don't forget to follow My Rock Moment on Instagram: https://www.instagram.com/la_woman_rocks/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This month Brian Wilson, one of the most gifted song writers and composers of the 20th Century passed away. In order to explore his work and the social and cultural context behind it, along with the meaning of the surfer sound of the early 1960s Toby Manning joins the podcast to talk about Pet Sounds, Smile, Surf's Up and more. *****STOP PRESS*****I only ever talk about history on this podcast but I also have another life, yes, that of aspirant fantasy author and if that's your thing you can get a copy of my debut novel The Blood of Tharta, right here:Help the podcast to continue bringing you history each weekIf you enjoy the Explaining History podcast and its many years of content and would like to help the show continue, please consider supporting it in the following ways:If you want to go ad-free, you can take out a membership hereOrYou can support the podcast via Patreon hereOr you can just say some nice things about it here Hosted on Acast. See acast.com/privacy for more information.

Today we're celebrating the musical genius of the late Brian Wilson. A founding member of the 60s surf rock group, The Beach Boys, his groundbreaking lyrics and melodies have shaped generations and defined an era. In this episode, Marlene dives into his musical legacy by looking at one of the band's most iconic hits: Surfin' USA.  She'll talk about the inspiration behind the song, how the band brought it to life and her playing recommendations to help you bring a little surf sound into your own music! BTW...this song could be a fun addition to your 4th of July repertoire! Start Your Free 7-day Yo-Guitar Video Library Trial! Join our Guitar Tips Community! Don't miss out, our next jam session is 7/16! Marlene's Guitar Courses & Learning Resources Yo-Guitar Video Library Learn to Play Guitar in a Day!  Coaching Sessions Marlene's Tips For Guitar Playing Success book Thursday Tips blog Facebook    Instagram    X (Twitter)     YouTube     Thank you to our sponsor! GatorCo.com   Available on... @YouTube @applepodcasts @applemusic @spotify  @spotifypodcasts  #BrianWilson #TheBeachBoys #SurfinUSA #surfrock #surfmusic #guitar #learnguitar #playguitar #guitartips #guitarpodcast  Credits: Creator, Host, Producer: Marlene Hutchinson This podcast was made possible in part by: Gator Cases I Create Sound - For help getting your best sound go to www.icreatesound.com

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. On today's episode, Steve Riddle pays tribute to the late, great Brian Wilson, who recently passed away at the age of 82, by watching “I Get Around” by The Beach Boys from 1964.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=ruKCw797JM4

Despite all the peacocking from Trump and Vance claiming they "obliterated" Iran's nuclear program by dropping a trio of bombs, it appears the damage only derailed the program for a couple months, according to intelligence reports. Never one to let facts get in the way of a good social media post, Trump bragged about being nominated for a Nobel Peace Price and then put up a music video with a parody of the Beach Boys song "Barbara Ann" with the words "Bomb Iran" instead playing over a video of B-2 stealth bombers dropping bombs. Even from Trump, it's a shocking display that could inflame tensions with Iran. Could it be meant to divert attention away from something else? We welcome Presidential Historian and political analyst John Rothmann to discuss this and more. We are excited to bring Sue Halpern to the show for the first time. She writes for the New Yorker about politics and technology and has a new book out called "What We Leave Behind."

Hello Friends! It's time to head back to California as I feel it's time to cover a huge fan-favourite in The Beach Boys' catalogue, The Beach Boys Today!. Released in 1965, this album was only originally issued in mono and duophonic, but starting with the release of the Endless Harmony Soundtrack in 1998, the 11 songs from the album were slowly remixed into stereo, with the last few gathered up with the 2012 mono/stereo wave of releases. However, multiple tracks got multiple remixes in this time, and a couple of those 2012 remixes received modifications in the years since, making this a bit of a muddle tracing down what's what. How does this album fare in stereo? It's a mixed bag for sure, and I would love a fresh remix from the final 3-track masters akin to All Summer Long's stereo mix, but that doesn't mean there aren't some shining gems here too. I do want to note that the remixes completed for the 2022 Sounds of Summer: Expanded Edition will not be covered today, as these can be found in my episode covering that release. Have a jump back through your feed to 2022 to have a listen. With that out the way, get ready for a Bull Session with Big Daddy Fred, as we ask that fateful question - Do You Wanna Mono? Happy Listening, Frederick Patreon  Email  Instagram - @hypnoticfred 

Matt, Ryan, Drew, and Shannon talk basketball shooting instructors, creeks, Beach Boys, and take your calls.See omnystudio.com/listener for privacy information.

The Beach Boys' Brian Wilson died on June 11. He was 82, but as writer Sam Sodomsky wrote in a remembrance for Pitchfork, “‘immortal' is still the word that comes to mind.” Wilson's forward-thinking musical compositions helped redefine pop music in the 1960s — as well as what anyone thought was possible at the time. Tributes have poured in, including from local musicians. Submarine School of Music co-founder Ben Morey labeled Wilson “a guiding light to me for most of my life,” while psych-pop tinkerer Alex Northrup called for more Wilson-influenced sunshine “in a world that seems to be growing increasingly darker.” Both join musician and CITY magazine art director Jacob Walsh and guest host and CITY Magazine arts reporter Patrick Hosken to talk about Wilson's influence on their lives as music makers. Our guests: Ben Morey, musician and co-founder of the Submarine School of Music Alex Northrup, songwriter, producer, and engineer Jacob Walsh, musician in Big Nobody and art director for CITY Magazine

Gimme fuel, gimme fire, gimme the best podcast about the Velvet Underground and the 242nd greatest album of all time, Loaded.   Before we get to the album, this episode dishes up 11 splendid servings of good vibrations when we discuss our favorite Beach Boys songs and Marky Mark. Then we sit in on a beach wedding, relive some casino excitement, and share some iPhone hacks. We also pucker up some thoughts on kissing booths.   Then, at (1:00:00), we cool it down to talk about the Velvet Underground's fourth studio album, Loaded. We discuss Lou Reed's appeal, the inspiration for the band's hit songs, and the best songs about cowboys.    Next week's episode is sure to bring some changes as we become the best Zombies podcast and cover the 1968 psychedelic pop album "Odessey and Oracle."            Keywords:  Dirk Nowitzki, German penises, gym, surprise date, comedy store, wife, comedy show, basketball, Rolling Stone magazine, Velvet Underground, Loaded, Lou Reed, album review, music podcast, NBA, K-Rob, self-improvement, Ice Cream, Boston Baked Beans, gambling, blackjack, Vegas, casino, Mystic Lake, pull tabs, country music, cowboy songs, Tim McGraw, Waylon Jennings, Toby Keith, Beach Boys, Kokomo, Rolling Stones, Velvet Underground, Sweet Jane, Rock and Roll, album rankings, music podcast, music reviews, vinyl, record store, Velvet Underground album, Lou Reed's voice, Rolling Stone reviews, music playlist, Boston Baked Beans, country music hits, surf music, album rankings, Velvet Underground hits.

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

We close out the month of June with some classic music discussion, our favorite warm weather treats, and (naturally) some fast food talk...- Fraudulent bank charges- The Beatles or The Beach Boys?- Our favorite Beatles and Beach Boys songs- Favorite summertime/beach treats- Top 10 fast food fries- Top 10 fast food "bang for your buck"- Most popular McDonald's food by stateAll of this & more... We hope you have a great week!*Stay connected with all things 3CT related at https://linktr.ee/3countthursday *Leave us a message anytime on our voicemail at (717) 473-7833*Subscribe to the show on ALL podcast platforms & YouTube (https://www.youtube.com/@3CountThursday)*You can get your 3CT merch on TeePublic at https://www.teepublic.com/user/3countthursday*Follow 3CT on our social channels:Facebook: https://www.facebook.com/3CountThursday/IG: https://www.instagram.com/3countthursday/TikTok: https://www.tiktok.com/@3countthursdayBluesky: https://bsky.app/profile/3countthursday.bsky.socialTwitter: https://twitter.com/3CountThursdayTwitch: https://www.twitch.tv/3countthursdayCreative Commons Music used in this show created by Jason Shaw on https://audionautix.com/

GGACP celebrates the birthday (b. June 22) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher by presenting this ENCORE of an interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Peter “inspires” Austin Powers, Linda Ronstadt teams with Nelson Riddle and Peter and Gordon play the '64 World's Fair. PLUS: Spike Milligan! Del Shannon! Jackie Gleason acts out! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts!  Learn more about your ad choices. Visit megaphone.fm/adchoices

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

My father and my cousin Jeff are back in the studio, and Anthony may be in the room as well. Tonight we are going to have our summer installment of the family round-table, discussing timeless summers of Dad and Jeff's childhood, but also my own. Summer tunes, The Beach Boys, how summers were structured, and much more! With a little input from the audience and I am sure this is going to become and instant seasonal classic. Unleash Your Brain w/ Keto Brainz Nootropic Promo code FRANKLY: https://tinyurl.com/2cess6y7 Read JUNE Newsletter: https://tinyurl.com/4d3prtbz Elevation Blend Coffee & Official QF Mugs: https://www.coffeerevolution.shop/category/quite-frankly Official QF Apparel: https://tinyurl.com/f3kbkr4s Sponsor The Show and Get VIP Perks: https://www.quitefrankly.tv/sponsor One-Time Tip: http://www.paypal.me/QuiteFranklyLive Send Holiday cards, Letters, and other small gifts, to the Quite Frankly P.O. Box! Quite Frankly 222 Purchase Street, #105 Rye, NY, 10580 Send Crypto: BTC: 1EafWUDPHY6y6HQNBjZ4kLWzQJFnE5k9PK Leave a Voice Mail: https://www.speakpipe.com/QuiteFrankly Quite Frankly Socials: Twitter/X: @QuiteFranklyTV Instagram: @QuiteFranklyOfficial Discord Chat: https://discord.gg/KCdh92Fn GUILDED Chat: https://tinyurl.com/kzrk6nxa Official Forum: https://tinyurl.com/k89p88s8 Telegram: https://t.me/quitefranklytv Truth: https://tinyurl.com/5n8x9s6f GETTR: https://tinyurl.com/2fprkyn4 MINDS: https://tinyurl.com/4p84d3cx Gab: https://tinyurl.com/mr42m2au Streaming Live On: QuiteFrankly.tv (Powered by Foxhole) Youtube: https://tinyurl.com/yc2cn395 BitChute: https://tinyurl.com/46dfca5c Rumble: https://tinyurl.com/yeytwwyz Kick: https://kick.com/quitefranklytv Audio On Demand: Spotify: https://spoti.fi/301gcES iTunes: http://apple.co/2dMURMq Amazon: https://amzn.to/3afgEXZ SoundCloud: https://tinyurl.com/yc44m474

Ever wondered how a single podcast jumps from a potential ten-billion-dollar Lakers cash-out to bunker-busting bombs and a rogue Coachman cameo? That's the opening volley. Buckle in before the first coffee sip goes cold. Kev walks in fresh off spinal surgery and drops his new gym gospel. Stem-cell magic, the photo that shut up every doubter, and one training tweak you'll steal before your next workout. The scale has never lied so loudly. Then the bell rings for real. One spear, one giant, and one very nervous champion. Kev maps out the scenario that could flip an entire pay-per-view, torches 35 soft punches, and reminds everyone why the heavy always sets the pace. Fan questions yank the show into the wild. Think autism parenting wins, Iron Dome footage, and a Florida Spam caper that costs more than some cars. One of those stories makes Kevin howl. Bet you guess wrong. Ask Nash signs off with a six-figure cologne heist, taped ribs flying off the top, and a quick check on whether Big Sexy is Riyadh-bound. The only real mystery left: who's actually next? Hit play and find out. Get Blitzed-Save 15 % at Get-Blitzed.com with code KLIQ at checkout. Cash App -Download Cash App today at https://capl.onelink.me/vFut/3v6om02z and start sending or receiving money instantly. BlueChew-Visit BlueChew.com and try your first month free with code NASH, just pay $5 shipping. Mando-Control body odor anywhere with @shop.mando and get 20 % off plus free shipping with code KLIQ at shopmando.com. True Classic- Upgrade your wardrobe and save at trueclassic.com/KLIQ. 00:00 Kliq This #155: The Heavy 02:35 Gym after surgery 06:25 Owning Gyms 13:21 "What an amazing interview!" 15:13 “Hands down my favorite episode!” 17:32 Ron Killing's strikes 23:30 Promotor you trusted the most? 30:09 “The Heavy” 38:10 BREAK GET BLITZED 40:25 Working as HBK's Heavy 41:09 Friendly Competitiveness in Wrestling 41:40 The Art of Punching and Ring Psychology 42:46 Pet Peeves in Wrestling Techniques 45:54 Storytelling in Wrestling Matches 49:08 Goldberg vs. Gunther: Anticipation and Analysis 55:50 Booking and Future Prospects 56:58 Beach Boys 58:30 Led Zeppelin 01:02:40 SXM+VIIA 01:06:05 Israel Iran 01:12:48 BREAK CASH APP 01:15:23 KliqThisTV.com 01:16:00 Liv Morgan injured 01:18:05 WWE's rings 01:18:39 Uso splashes with taped ribs 01:23:56 Same/Same 01:26:54 Rhea is overpushed? 01:27:50 BREAK BLUECHEW 01:30:01 NBA Finals 01:30:40 FL vs NJ 01:35:45 Someone Stole from Sean Oliver's car!!! 01:38:48 BREAK MANDO 01:42:54 BREAK TRUE CLASSIC 01:45:12 Can we see Kevin Nash in Saudi Arabia? 01:45:58 The Departed 01:46:50 NXT LIVE 01:47:50 Nash v Goldberg at SS? 01:48:21 JCW Summerslam weekend 01:49:04 Too tense or too comfortable? 01:50:48 Remembering TNA 01:51:37 OUTRO 01:51:56 Hogan

Topics include JJ's fear of the high-dive, Tucker discovering the music of Brian Wilson, and the just-announced sequel to Spaceballs! For more episodes of JJ Meets World, or to find out how you can support this podcast, visit http://www.jjmeetsworld.com/ Patreon - https://www.patreon.com/jjmeetsworld Merch Shop - https://shop.spreadshirt.com/jj-meets-world Apple Podcasts - https://podcasts.apple.com/us/podcast/jj-meets-world/id1367045742 Spotify - https://open.spotify.com/show/0L9IGvJuUjFK0UOR9AIF5u YouTube - https://www.youtube.com/channel/UCh1WZrpC-XE57mRzi1bzPow Google Play - https://play.google.com/music/listen?u=0#/ps/Iwnpufw6f5qromxbbw6pq32rsya Facebook - https://www.facebook.com/jjmeetsworldpodcast/ Twitter - https://twitter.com/jjmeetsworld?lang=en Instagram - https://www.instagram.com/jjmeetsworldpodcast/

We salute the life of Brian Wilson with a Beach Boy Bracket Challenge that includes a shocking reveal of Emily's favorite Beach Boys song. Jimmy talks "Jean Genie" and its inspiration Ms. Cyrinda Foxe and the influence she had on David Bowie, The New York Dolls and Aerosmith.

This week's show, after another Beach Boys belt: brand new Sloan, Black Watch, Jeffrey Runnings, Royal Blunder, Valery Trails, Deep Sea Diver, and Peter Baldrachi, plus The Byrds, Brian Wilson, Woody Herman, Immortals, Jan & Dean, Honeys, and Marty Rob...

This week I get caught up on a ton of emails from before Father's Day and this past week about Superman, Squadcast Media, Star Trek, Brian Wilson from The Beach Boys, and many other things. Contact Ray at: EMAIL: ray@theflitecast.com BLUESKY: @FliteCast THREADS: @TheFliteCast INSTAGRAM: theflitecast FACEBOOK: https://www.facebook.com/TheFliteCast/ Subscribe to The FliteCast: Apple Podcasts / YouTube / Spotify / Pandora / RSS Become a member of The FliteCast on Patreon: https://www.patreon.com/TheFliteCast

On today's bonus, we pay tribute to two music giants that passed away in the same week at the same age. We get into Sly Stone and the excellent playlist that Julius made to pay tribute to the wonderful music of Sly and the Family Stone. From there we discuss the impact of Brian Wilson and the Beach Boys on us and the music industry as a whole. We'll compare and contrast how their careers ended up and their relationships with the bands they lead. Before we leave we catch up on a couple of notable rap tracks that came out since our last recording.Julius's Sly Stone Playlist: Spotify - Apple Music - YouTubeCraig Jenkins' article on Sly Stone and Brian WilsonSend us a text message!You can follow us here: Instagram Twitter Tiktok Send us a message, we'd love to hear from you! Email is thegmspod at gmailLeave us a rating and review if you want to!Thanks for listening!

Pat and Lisa rattle on about accents, The Beach Boys, the people on the bicycle trail in front of Pat’s place and bad kissers. Songs in this episode: “The Shortest Song in the World” Kenny Price (1970) “Gonzo” James Booker (1960) “Everyday People” Sly and the Family Stone (1968) “Dance …

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On this week's show, we celebrate Pride Month with the LGBTQ+ icons of queer country & new wave, and pour one out for legends Sly Stone and Brian Wilson as well as the sorely underrated Jill Sobule. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

Welcome back to another edition of the UK's number one and only Memphis wrestling related podcast, Memphis Continental Wrestling Cast. On this week's show we cover June 21st 1986 where we will see:- Akio Sato/Tarzan Goto vs. Tracy Smothers/David Haskins Bam Bam Bigelow vs. Keith Eric and Mike Murphy MOD Squad, Fire and Flame vs. The Beach Boys, Benny Trailer and Jerry Garmen Dutch Mantel/Paul Diamond vs. Rough and Ready The Nightmares vs. Pat Tanaka/Tracy Smothers Follow the show on facebook Memphis Continental Wrestling Cast (facebook.com/memphiscast) Check out Youtube.com/@memphiscast & patreon.com/memphiscast for videos You can watch the show https://youtu.be/zzCHawN3xgc

One of the darkest days for the UBP was in May 1990, when Vic Tayback, a.k.a. Mel on CBS' “Alice”, left this earth; and perhaps others. Despite taking place literal decades before the UBP began, Mr. Tayback's death caused a deep level of pain that has us forever kissing our own grits. Flash forward to June, 2025. Another entertainment hero is gone - one arguably bigger than Mr. Tayback - who helped define American music in the 1960's, and inspired Paul McCartney and The Beatles to reach arguably their greatest artistic heights.* (*Does not include “Now And Then”.) Indeed, the incredibly sad passing of Brian Wilson was felt deeply by the Gab Two; longtime Beach Boys fans who, in this episode, pay tribute to one of Macca's undying inspirations. Along the way, they also ask:

Full disclosure here, and it’s sort of controversial. I’ve never been a Beach Boys fan. It’s just never really worked for me. As a kid, it just seemed to be a parent’s version of what rock and roll is supposed to be. The fact they had a song called “Be True To Your School” was enough evidence for me to not buy that Endless Summer collection that came out around the same time as I was discovering The Ramones and Sex Pistols. That’s not to say that I don’t have respect for the band, especially Brian Wilson, who passed away on June 11. The fact that so many of my favorite bands revered Wilson (including the Ramones) gave me some new insight. In fact, I always have said that I love the bands influenced by The Beach Boys more than the actual band. Plus, I have developed an appreciation for Pet Sunds, although I’m still not prepared to call it the greatest album ever. But I pulled it out after hearing the news of Brian’s death, and I also played the version of Smile that came out in 2011. That may be my favorite album by them, but is it […]

Full disclosure here, and it's sort of controversial. I've never been a Beach Boys fan. It's just never really worked for me. As a kid, it just seemed to be a parent's version of what rock and roll is supposed to be. The fact they had a song called “Be True To Your School” was enough evidence for me to not buy that Endless Summer collection that came out around the same time as I was discovering The Ramones and Sex Pistols. That's not to say that I don't have respect for the band, especially Brian Wilson, who passed away on June 11. The fact that so many of my favorite bands revered Wilson (including the Ramones) gave me some new insight. In fact, I always have said that I love the bands influenced by The Beach Boys more than the actual band. Plus, I have developed an appreciation for Pet Sunds, although I'm still not prepared to call it the greatest album ever. But I pulled it out after hearing the news of Brian's death, and I also played the version of Smile that came out in 2011. That may be my favorite album by them, but is it […]

Sly & The Family Stone's frontman Sly Stone (Sylvester Stewart), died 6/9 from COPD. Hulu premiered his Sly Lives documentary in February for Black History Month. Going from church, radio, producing, fame, and downfall, he innovated multiple genre's future sounds. I discuss Sly's bio and created a playlist for you to hear his influential sounds by other artists. Theme Song: "Dance Track", composed by Jessica Ann CatenaMusic Catalog / YouTube ChannelEpisode PlaylistMedia Mentioned: Uncle Buck Dance Scene (1989), Summer of Soul, 50 Years of SNL Music,Rock Talk StudioSongs Mentioned: "Laugh, Laugh" - The Beau Brummels (1965)"Somebody to Love" - Jefferson Airplane! (1967)"Hot Fun in the Summertime" - David T. Walker (1971), The Beach Boys (1992), The Manhattan Transfer & Chaka Khan (1995)"People Everyday" - Arrested Development (1992)"Stand" - Lenny Kravitz (2011) - live"Rhythm Nation" (1989-1990), "And On And On" (1993-1994) - Janet Jackson"Mama Said Knock You Out" - LL Cool J (1990-1991)"Fight the Power" - Public Enemy (1989)"Star/Pointro" - The Roots (2004)"Boogie Shoes" - KC and the Sunshine Band (1975)"Shadrach" - Beastie Boys (1989)"Weapon of Choice" - Fatboy Slim & Bootsy Collins (2000)"No One to Depend On" - Santana (1971)"Rocky Mountain Way" - Joe Walsh (1973)"X-tasy" - Missy Elliott (2001)"Love and Happiness" - Al Green (1972, 1977); BET Awards 2008Related Episodes: Ep. 37 - 20 Summer Songs CountdownEp. 120 - That's My Jam - Game ShowEp. 154 - Janet Jackson's Rhythm NationEp. 220 - Top 40 Songs of 2023 (Part 1)Ep. 241 - The Beach Boys Rare 10Ep. 272 - Top 40 Songs of 2024 (Part 1)

Danny Polishchuk and Zahid Dewji join Zac Amico and discuss Prince William's friend Sunjay Kapur dying by swallowing a bee, Zac getting stung in the eye as a kid, getting Botox in your testicles, the English teenager suing his parents for sending him to boarding school, Charles Manson and the Beach Boys, does Kanye West have an Oedipal complex, the first porn they've ever seen, the man with the longest penis in the world, the woman who used an electric toothbrush to catch her husband cheating and so much more!(Air Date: June 16th, 2025)Support our sponsors!SmallBatchCigar.com - Use promo code: GAS10 for 10% off plus 5% bonus points!YoKratom.com - Check out Yo Kratom (the home of the $60 kilo) for all your kratom needs!BodyBrainCoffee.com - Use promo code: ZOO15 to get 15% off!Help Replace Shannon's Cannons - https://www.gofundme.com/f/help-shannon-lee-replace-her-boobsZac Amico's Morning Zoo plug music can be found here: https://www.youtube.com/watch?v=oMgQJEcVToY&list=PLzjkiYUjXuevVG0fTOX4GCTzbU0ooHQ-O&ab_channel=BulbyTo advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!Submit your artwork via postal mail to:GaS Digital Networkc/o Zac's Morning Zoo151 1st Ave, #311New York, NY 10003You can sign up at GaSDigital.com with promo code: ZOO for a discount of $1.50 on your subscription and access to every Zac Amico's Morning Zoo show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Danny PolishchukTwitter: https://twitter.com/dannyjokesInstagram: https://instagram.com/dannyjokesZahid DewjiTwitter: https://twitter.com/ZahidDewjiInstagram: https://instagram.com/ZahidDewjiZac AmicoTwitter: https://twitter.com/ZASpookShowInstagram: https://instagram.com/zacisnotfunnySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hosts Jim DeRogatis and Greg Kot pay tribute to the late musical genius Brian Wilson, who died at age 82. They'll discuss Wilson's transcendent music, including doing a deep dive on his masterpiece, Pet Sounds.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Beach Boys, "I Just Wasn't Made For These Times," Pet Sounds, Capitol, 1966The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Beach Boys, "In My Room," Surfer Girl, Capitol, 1963The Beach Boys, "Lonely Sea," Surfin' USA, Capitol, 1963The Beach Boys, "Don't Worry Baby," Shut Down Volume 2, Capitol, 1964The Beach Boys, "Surf's Up," Surf's Up, Brother/Reprise, 1971The Beach Boys, "Still I Dream of It (Original Home Demo, 1976)," Good Vibrations:Thirty Years of the Beach Boys, Capitol, 1993The Beach Boys, "Sloop John B," Pet Sounds, Capitol, 1966The Four Freshman, "I Remember You," Four Freshmen and 5 Trombones, Capitol, 1955The Gamblers, "LSD-25," Moon Dawg!/LSD-25, World Pacific, 1960The Beach Boys, "I'm Waiting for the Day," Pet Sounds, Capitol, 1966The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)," Pet Sounds, Capitol, 1966The Beach Boys, "Let's Go Away for Awhile," Pet Sounds, Capitol, 1966The Beach Boys, "Caroline No," Pet Sounds, Capitol, 1966The Beach Boys, "You Still Believe in Me," Pet Sounds, Capitol, 1966The Beach Boys, "Pet Sounds," Pet Sounds, Capitol, 1966The Beach Boys, "Hang On to Your Ego," Pet Sounds, Capitol, 1966The Beach Boys, "That's Not Me," Pet Sounds, Capitol, 1966The Beach Boys, "God Only Knows," Pet Sounds, Capitol, 1966The Beach Boys, "Little Deuce Coupe," Pet Sounds, Capitol, 1966The Beatles, "Nowhere Man," Rubber Soul, Parlophone, 1965The Beatles, "She's Leaving Home," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Horsegirl, "2468," Phonetics On and On, Matador, 2025See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ben Kweller's excellent new record COVER THE MIRRORS comes with a heartbreaking back-story —it was borne out of the tragic death of his teenage son Dorian— but in typical Kweller fashion, the album is an inspirational and life affirming collection  that also happens to be the best thing he's ever recorded. On this episode we talk to “the kid” about producing himself, growing up in Texas with a drummer dad, Face Time collaborations, his first slug-bugging meeting with Scott, Jewish rockers, Nirvana and Garth Brooks, why you'll never make it through his new song “Letter To Agony” with dry eyes, and we pick the best(!?!) Beach Boys songs.  Upcoming Ben Kweller Tour Dates: Tickets at benkweller.com Follow BK's socials @benkweller July 9, 2025 Wednesday Aspen, CO Belly Up July 11, 2025 Friday Denver, CO Bluebird Theater July 12, 2025 Saturday Fort Collins, CO Aggie July 14, 2025 Monday Salt Lake City, UT Urban Lounge July 17, 2025 Thursday Seattle, WA Neumos July 18, 2025 Friday Vancouver, BC Biltmore Cabaret July 19, 2025 Saturday Portland, OR Mississippi Studios July 21, 2025 Monday San Francisco, CA Independent July 22, 2025 Tuesday Venice, CA The Venice West July 23, 2025 Wednesday Los Angeles, CA Troubadour July 25, 2025 Friday San Diego, CA Casbah July 26, 2025 Saturday Phoenix, AZ Crescent Ballroom

Brian Wilson was a singer, songwriter, record producer, and a founding member of The Beach Boys. He’s thought of as one of the great geniuses of pop music, and he’s been called the poet laureate of summer. Wilson died June 11 at 82. On February 1, 2017, we went to Watkinson School in Hartford and put on a show, on stage in front of a live audience, on Brian Wilson’s music and legacy. We’ve never reaired that show. This hour, to celebrate and remember Wilson and his work, a brand new edit — from the original, full-length, 75-minute live show — of our hour on Brian Wilson. GUEST: Steve Metcalf: Founder and director of the Garmany concert series at the University of Hartford’s Hartt School Jordan Quisno: A singer and actor Matt Sargent: A composer, guitarist, recording engineer, and assistant professor of music at Bard College Teri Schrader: Head of school at Watkinson School in Hartford, Connecticut The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe contributed to this show, parts of which originally aired February 17, 2017, in a different form.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Today, the Sun’s Kevin Simpson chats with G. Brown, director of the Colorado Music Experience, about the legacy of the visionary but often troubled leader of the Beach Boys.See omnystudio.com/listener for privacy information.

Jason Fraley interviews Mike Love, who fronts The Beach Boys at the Virginia Arts Festival this Sunday, a week after his induction into the Songwriters Hall of Fame. You'll hear their pair of conversations from the Kennedy Center in 2016 and "A Capitol Fourth" in 2018. This episode is labeled "Part 2" because "Part 1" featured the late great Brian Wilson, who died last week at age 82. Listen in our archives at BeyondTheFamePodcast.com. (Theme Music: Scott Buckley's "Clarion")

Radio legend Ron Bennington joins Bobby to mourn the passing of Brian Wilson of The Beach Boys. Ron claims that he died as a newborn and went to baby heaven where he spoke Portuguese. He accuses Bob of not having spirituality or music in his life. Ron gets vulnerable and opens up about his addiction. Bob's son Max burns himself at a camping sleepover. After someone puts a tomato on the burn as first aid, he then escapes from the campsite. Ron gives advice on whether to punish Max or not. The Bennington Show can be heard weekdays at noon eastern on Faction Talk SiriusXM 103. *To hear the full show to go www.siriusxm.com/bonfire to learn more FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolfSubscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early.  Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Sarah had a run-in at Home Depot where she was offered free plants, and she said no! And now she has regrets for being so honest and having integrity. Susie gives a tribute to her beloved Brian Wilson. We find out why Amelia Earhart wasn't actually a great pilot (seems like the disappearance should've tipped us off), but instead was just ahead of her time in...influencing. Susie explains how Amelia's famous flight has disturbing similarities to the Titan submersible tragedy. We learn about a woman who donated her body to science, but ended up blown to bits by the military. We hear why a funeral home was sending people remains of the strangers instead of their loved ones. We discuss an Olympian who has been kicked off the canoeing team for having an OnlyFans account and Susie thinks she should start an account for people whose kink is being insulted.Our Favorite Picks10:37 - Susie shares her love for the amazing Brian Wilson.18:58 - New Yorker article about Amelia Earhart30:11 - Man donated his mother's body to alzheimer's research, only to find out it was later sold on, and blown up!39:13 - Sarah's airfryer analogy45:15 - Olympic canoer pays for training by showing off his skin-paddle on Only Fans50:13 - Gen-Z and their dislike for opening a tab at the bar54:24 - Susie considers starting an Only Fans accountThe End... You're welcome.Connect with us on social media:BCP Instagram: https://www.instagram.com/braincandypodcastSusie's Instagram: https://www.instagram.com/susiemeisterSarah's Instagram: https://www.instagram.com/imsarahriceBCP on X: https://www.x.com/braincandypodSponsors:Go to https://cozyearth.com and use code BRAINCANDY for 40% off best-selling temperature-regulating sheets, apparel, and more.Save 20% Off Honeylove by going to https://www.honeylove.com/braincandy #honeylovepodSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is a free preview of a paid episode. To hear more, visit www.wethefifth.comLook, you people (OK, like five of you) demanded it, so now yer gonna get it, good and Californian: A cassingle on the late, great Brian Wilson of the Beach Boys, and some perhaps under-known ways in which he and they shaped the music industry and culture that we continue to live in today. Along the way we get into garages, punk rock, 12-strings, the be…

Ira and Louis discuss Celine Song's new romantic film Materialists, the best protest films, rude Emmy rules, new Grammys country music categories, Ryan Tedder's tribute to the U.S. Army, and the passings of Brian Wilson, Sly Stone, and Ananda Lewis. Danielle Deadwyler joins to discuss her new film 40 Acres and the art that inspires her creative process. Plus, an announcement about the future of Keep It. 

INTRO (00:23): Kathleen opens the show drinking a Lager For The Lakes American Lager from Bell's Brewing in Kalamazoo, MI. She reviews her weekend with family in Missouri, playing with her sister's dog and grilling for her brother-in-law on Father's Day.    TOUR NEWS: See Kathleen live on her “Day Drinking Tour.”   COURT NEWS (18:13): Kathleen shares news announcing that Dolly's new Nashville hotel will open Spring 2026, Post Malone & Jelly Roll cause a giant traffic jam in Southern Missouri, Stevie Nicks releases new Fall concert dates, and Cher's son Eligah is hospitalized again.    TASTING MENU (2:33): Kathleen samples Lesser Evil Organic Cheddar Popcorn, Lay's Wavy Magic Masala chips, Hidden Valley Jalapeno Ranch dressing, and Weber Grilling Fireball whiskey flavored seasoning.    UPDATES (23:44): Kathleen shares updates on Baby Reindeer's Fiona Harvey, the Florida Panthers win the 2025 Stanley Cup, the first Millennial saint gets his canonization date, Brooke Shields' podcast interview criticizing Meghan Markle quietly disappears, a Kentucky man is arrested for releasing a raccoon in a bar, and the 2025 NBA Finals ratings are the lowest in 27 years.   HOLY SHIT THEY FOUND IT (42:43): Kathleen reveals that Oklahoma is now producing Mountain Lions, and Captain James Cook's lost ship “The Endeavor” has been found in a Rhode Island harbor.    FRONT PAGE PUB NEWS (57:13) : Kathleen shares articles on the Louvre staff shutting the museum to protest overuse, the Bonnaroo Music Festival is cancelled due to extreme weather, Anderson Cooper's CNN contract is up for renewal, the 10,000-step exercise concept is derived from “Japanese Walking,” Red Lobster unveils a new menu, the Beach Boys' Brian Wilson dies aged 82, Country Music just got a Grammy update, Atlanta could get another NHL team, and the best fast food French fries are revealed.   STUPID TOURIST STORIES (46:25): Kathleen reads about a New Jersey tourist who is gored by a bison in Yellowstone, and a tourist crushes a priceless Van Gogh chair while taking a photo.    SAINT OF THE WEEK (1:19:22): Kathleen reads about Saint Fiacre.     WHAT ARE WE WATCHING (37:13): Kathleen recommends skipping “The Mortician” on Max, and “Titan: The OceanGate Disaster” on Netflix.   

Adam talks with British writer, actor and comedian Jonny Sweet about class, shame, not feeling at home in your own skin and other themes in his debut novel The Kellerby Code, as well as how promoting a book encourages authors to make up a load of bullshit about the themes in their books. Adam and Jonny also swap news of ailments and an unsettling Shiatsu experience, and in the outro, Adam talks in a queasily sincere way about what the late Beach Boys mastermind Brian Wilson meant to him.Conversations recorded in London on 12th November, 2024 and 29th April, 2025Thanks to Séamus Murphy-Mitchell for production support and additional conversation editing.Podcast illustration by Helen GreenPICS AND RELATED LINKS ON ADAM'S WEBSITE Hosted on Acast. See acast.com/privacy for more information.

On this week's show, Steve and Dana are joined by guest host Dan Kois to weigh the suitability of Materialists as a rom-com for our transactional age. In choosing between suitors played by Pedro Pascal and Chris Evans, matchmaker Dakota Johnson must choose between love and money— but is there a soul beneath all this romantic calculation? They debate. Next, they return to the depths of a billionaire-backed fiasco in the new documentary Titan: The OceanGate Submersible Disaster about the jaw-dropping 2023 submarine implosion. Finally, they remember and appreciate the life and ineffable, enduring work of pop music auteur, and Beach Boys, frontman Brian Wilson.  In the exclusive Slate Plus segment, Steve, Dana, and Dan discuss Lauren Michelle Jackson's New Yorker essay about “P.O.V.” videos and what they say about how we see the world. Want more Culture Gabfest? Subscribe to Slate Plus to unlock weekly bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Culture Gabfest show page. Or, visit slate.com/cultureplus to get access wherever you listen. Endorsements: Dana - The intimate and revealing 2021 documentary about Brian Wilson, Long Promised Road.   Carl - Seeing the singular and surreal British musician Robyn Hitchcock live. And if he's not coming to city near you, catching his performance in the Jonathan Demme-directed documentary Storefront Hitchcock.   Dan -  For deeper exploration of his body of work, Brian Wilson's 1988 self-titled solo album. For an innovative portrayal of another eccentric musical genius the film Thirty Two Short Films About Glenn Gould.  Steve -  Roberto Bolaño's posthumous masterwork 2066, Netflix's new mystery thriller Dept Q, and sticking with works of art beyond their initial chapters. Learn more about your ad choices. Visit megaphone.fm/adchoices

Email Us:dbahnsen@thebahnsengroup.comwill@calpolicycenter.orgFollow Us:@DavidBahnsen@WillSwaim@TheRadioFreeCAShow Notes:Before Juneteenth was widely known, here's how Black Angelenos celebrated emancipationBrian Wilson, Pop Auteur and Leader of the Beach Boys, Dies at 82Inside Trump's Extraordinary Turnaround on Immigration RaidsThe Padilla Incident and the Greater PerilGavin's Last GaspPresident Trump Has Legal Authority to Suppress the Siege in L.A.How Trump Is Bypassing Los Angeles's Sanctuary City HurdlesThe Public-Sector Union Behind L.A.'s Immigration AgitationNewsom's Speech: It's About The 2028 Democratic Presidential PrimaryNEW DATA: California's $20 Wage Law Cost Restaurant Workers 7 Weeks Worth of WorkHow Chinese Intel Infiltrated LA Mayor Karen Bass' CampOakland Mayor Barbara Lee's new staff may receive budget increase amid city's financial woesWhy do so many people outside California hate the Golden State?2 ex-Caltrain employees sentenced to jail for building secret apartments inside train stationsLance Christensen:California lawmakers approve $325 billion budget ‘passed on hope'Lance's favorite budget document: Schedule 6Julie Hamill:Julie's X thread on Newsom v Trump on boys in girls sportsTeen athlete targeted by Trump's anti-trans attacks: ‘I know how hard I've worked. That's what matters'

Welcome to an all-new and LIVE Carolina Reeper show! In this jam packed episode, Jon and the Gang talk Beach Boys after the passing of musical genius Brian Wilson—RIP to a legend who influenced everyone from the Beatles to modern-day Yacht Rockers. The crew debates their favorite songs while reading live comments and catching up with fans. From there, things take a wild turn as Jon and the gang try the viral TikTok trend of mustard on watermelon (verdict: weird, but not awful). Jack Attack returns from Myrtle Beach with tales of porch falls, party houses, and a mugshot-worthy night. Plus, idiotic TikToks, foodie calls, and a fresh round of How Much Is That Screen Actors Guild Residual Check? This episode has everything—mustard, music, mayhem, and the best fans on the planet. All this and more on this week's Carolina Reeper!   Jon Reep Social Media: Facebook Twitter Instagram TikTok   For gifts and more in the Hickory, NC area check out Goodwill Northwest NC!    Go try the Jon Un-REEP-eatable Burger at the Hickory Social House!   Get you a Honda and a Hotdog at Hendrick Honda of Hickory!   Buy South in Ya Mouth BBQ Sauce here!   #CarolinaReeper #BrianWilson #BeachBoysForever #MustardOnWatermelon #FoodieCall #IdioticTikToks #JackAttackIsBack #LiveFromHickory 

On this week's show, Steve and Dana are joined by guest host Dan Kois to weigh the suitability of Materialists as a rom-com for our transactional age. In choosing between suitors played by Pedro Pascal and Chris Evans, matchmaker Dakota Johnson must choose between love and money— but is there a soul beneath all this romantic calculation? They debate. Next, they return to the depths of a billionaire-backed fiasco in the new documentary Titan: The OceanGate Submersible Disaster about the jaw-dropping 2023 submarine implosion. Finally, they remember and appreciate the life and ineffable, enduring work of pop music auteur, and Beach Boys, frontman Brian Wilson.  In the exclusive Slate Plus segment, Steve, Dana, and Dan discuss Lauren Michelle Jackson's New Yorker essay about “P.O.V.” videos and what they say about how we see the world. Want more Culture Gabfest? Subscribe to Slate Plus to unlock weekly bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Culture Gabfest show page. Or, visit slate.com/cultureplus to get access wherever you listen. Endorsements: Dana - The intimate and revealing 2021 documentary about Brian Wilson, Long Promised Road.   Carl - Seeing the singular and surreal British musician Robyn Hitchcock live. And if he's not coming to city near you, catching his performance in the Jonathan Demme-directed documentary Storefront Hitchcock.   Dan -  For deeper exploration of his body of work, Brian Wilson's 1988 self-titled solo album. For an innovative portrayal of another eccentric musical genius the film Thirty Two Short Films About Glenn Gould.  Steve -  Roberto Bolaño's posthumous masterwork 2066, Netflix's new mystery thriller Dept Q, and sticking with works of art beyond their initial chapters. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode #263Pat Badger the bassist for Extreme returns to the show to talk touring, and his summer plans with his other project the Dark Desert Eagles. He also talks festivals, AC/DC, Sly Stone, the Beach Boys, Romania, Boston, Duck Boats, Rome, and so much more!Check out the custom playlist for Episode #263 here!Hear Pat Badger on Episode #107 here!Hear Pat Badger on Bonus Episode  here!Find Pat Badger Online:FacebookTwitterFind Extreme Online:WebsiteInstagramFacebookTwitterYoutubeFind Dark Desert Eagles Online:Website Find Mistress Carrie Online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramBlueskyThreadsYouTubeTikTokCameoPantheon Podcast NetworkFind The Mistress Carrie Podcast online:InstagramThreads Learn more about your ad choices. Visit megaphone.fm/adchoices

Call Her Daddy Alex Cooper's abuse claims questioned, WATP Karl with Stuttering John & Woke Dad cringe, Trump warns Iran, R. Kelly's prison overdose, The Beach Boys abused Jan & Dean, and lesbians assaulted by a fart. Meghan Markle appeared on another podcast and remains annoying and elitist. A lesbian vs a fart… who ya got? A hangry 69-year-old was gunned down at In-N-Out Burger. Donald Trump issues a warning to Iran. He totally bailed on the G7 summit. New York Mayoral candidate Brad Lander vs I.C.E. This is great news for his candidacy. My Pillow Mike Lindell loses in court and owes $2.3M. The NAACP hates Donald Trump. The Sunset Strip is a dud now. R. Kelly overdosed on his own meds in prison. He claims people are trying to kill him. The jury in the Diddy trial had a movie day. Their choice of film: Freak Off Videos. Karen Read trial will thankfully conclude soon. Conor McGregor is beating on people in night clubs. Antonio Brown is in hiding, but Tweeting his ass off. OKC takes the lead in the NBA Finals over the Indiana Pacers. Shaq settles his FTX case, Tom Brady and others are fighting it. Karl Hamburger of WATP drops by to promote the upcoming live show at The Magic Bag, Stuttering John back in the spotlight, rip apart Alex Cooper's latest endeavor with Hulu, slam Paris Hilton in the process, push more Woke Dad at us and more. US Homeland Security Secretary Kristi Noem rushed to the hospital. Arnold Schwarzenegger didn't give Joy Behar the answer she wanted. Matthew Perry's doctor is screwed. Barbara Streisand can't remember nailing Warren Beatty. Just so you know, the little girl from Modern Family is bisexual. 3 nepo-babies releasing a song soon. Dhani Harrison gets snubbed. The Rolling Stones are looking to make another album. Jack White dropped a new video. Valerie Bertinelli won't go away. Jimmy Swaggart is going to die soon. The Beach Boys once hosted Jan & Dean to monstrous results. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Our struggles often feel isolating. But talking about them, even when it's uncomfortable, can be the key to growth and healing. Today's guest, Carnie Wilson, co-founder of the world famous musical group Wilson Phillips, understands the importance of vulnerability. From navigating fame and a multigenerational legacy in music (including her legendary late father, Brian Wilson, co-founder of The Beach Boys) to overcoming addiction, shame, and postpartum depression... Carnie's willingness to share her struggles is a testament to the power of connection and self-compassion. We explore how opening up about challenges can build mental strength, the importance of community, and the small steps you can take to find healing. Some of the things we discuss are: How vulnerability can become a superpower for growth and healing What led to her becoming a mental health advocate The role of connection in staying resilient and fostering mental strength The challenges and triumphs of battling addiction and recovering from postpartum depression Why shame and stigma hold us back, and how sharing your story can set you free The importance of mental health advocacy and raising awareness for conditions like tardive dyskinesia (TD) Practical steps to move past perfectionism and focus on progress in your mental health Want more tips for building mental strength? Subscribe to ⁠Mentally Stronger Premium⁠ and get weekly AMA episodes and monthly bonuses to help you grow mentally stronger! Links & Resources Connectingwithcarnie.com⁠ Follow Carnie on Instagram — @Carnie68 Connect with the Show Buy Amy's ⁠⁠books on mental strength⁠⁠ Connect with Amy on Instagram — ⁠⁠@AmyMorinAuthor⁠⁠ ⁠AmyMorinLCSW.com ⁠ Sponsors OneSkin — Get 15% off OneSkin with the code STRONGER at ⁠⁠⁠⁠https://www.oneskin.co/⁠⁠⁠⁠ #oneskinpod Calm — Get 40% off a Calm Premium Subscription at ⁠⁠⁠⁠calm.com/STRONGER⁠⁠⁠⁠ AirDoctor — Head to ⁠⁠⁠⁠AirDoctorPro.com⁠⁠⁠⁠ and use promo code STRONGER to get UP TO $300 off today! Shopify — Sign up for your one-dollar-per-month trial period at ⁠⁠⁠⁠Shopify.com/mentallystronger⁠⁠⁠⁠ Mentally Strong — Sign up for your free 7-day trial at ⁠MentallyStrong.Downpait.Ai Learn more about your ad choices. Visit megaphone.fm/adchoices