Podcasts about The Beatles

Pete Best will always be known as the man who was ejected by The Beatles right as they were about to be become globally famous. He has become the analogy for rejection and missed opportunities. However, Pete did create his own music and his recent group, The Pete Best band released some very good music. These are some select tracks from a man that musically has redeemed himself.We will also listen to a man who was influenced by Pete's former band. Emitt Rhodes was a wonderful musician and songwriter, and we'll here a few tracks from is genius.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Also Other Items of Interest:Kathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookEmma Bonner-Morgan Facebook music pageThe Music Of Emma Bonner-Morgan | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at my Venmo account@jessie-DelgadoII

MUSICOzzy Osbourne wants to do a duet with Beatles legend Paul McCartney. In case you haven't heard, LeAnn Rimes had an embarrassing moment Saturday night when her teeth FELL OUT in the middle of her performance of "One Way Ticket".Green Day's Billie Joe Armstrong scolded a fan last weekend during their set at a German festival, threatening to "beat their a**" if they didn't stop shooting him with a water gun. Last year, Sabrina Carpenter teamed up with Dunkin to offer us Sabrina's Brown Sugar Shakin' Espresso. And this summer she's doing it again. Except this time, we're getting Sabrina'sNEW MUSIC OUT TODAY in RECORD STORES AND STREAMING311's 90s Throwback EP: Volume 2 contains vintage live tracks.Awolnation's Run 10th Anniversary Edition adds a bunch of bonus tracks.Lynyrd Skynyrd's Celebrating 50 Years - Live at the Ryman includes a roster of guest stars, including Brent Smith of Shinedown.A Tribute to the King of Zydeco includes a new track from The Rolling Stones.TVThe Jeff Bezos / Lauren Sanchez wedding festivities kicked off yesterday, and the celebrities have been pouring into Venice. MOVING ON INTO MOVIE NEWS: New in Theaters: "F1: The Movie" and "M3GAN 2.0""F1: The Movie" (PG-13) Trailer and Trailer 2: Brad Pitt plays a driver whose promising career was derailed by an accident 30 years ago. He gets a shot at redemption when former teammate Javier Bardem asks him to help save his floundering team, led by rookie driver Damson Idris.Buckle up for the F1 movie … The movie F1, starring Brad Pitt, is now in theaters. Critics suggest that hardcore Formula 1 fans might be distracted because of aspects about the sport that the film gets wrong. But if you can suspend your disbelief – and allow yourself to get swept up by the speed and special effects – it might be a popcorn movie worth watching.2. "M3GAN 2.0" (PG-13) Trailer and Trailer 2: This one takes place two years after the first movie, with M3GAN's creator Gemma (Allison Williams) now an advocate for strict government A.I. oversight.But after a defense contractor steals M3GAN's tech and creates a self-aware killer robot named Amelia, Gemma is forced to resurrect and upgrade M3GAN to prevent Amelia from wiping out the rest of humanity.3. "Ice Road: Vengeance" (Not Yet Rated) Trailer: Liam Neeson stars in this sequel to his 2021 big rig movie "The Ice Road". In this one, he takes on some ruthless mercenaries on the road to Mt. Everest to protect a busload of tourists and save a village they're threatening.Subway was a sponsor for Adam Sandler's character in the original "Happy Gilmore". And now with "Happy Gilmore 2" on the way, they're actually offering a tie-in meal.The original Spider-Man movies are heading back to the big screen.Disney live-action version of Lilo & Stitch was released over Memorial Day weekend and has grossed $910 million worldwide. Disney made the announcement on 6/26 to correspond with the space alien's government name, Experiment 626, that a sequel will be in development, no word on when production will begin. "M3GAN 2.0" hits theaters this weekend . . . but there's an ADULT spinoff on the way called "SOULM8TE". GAMINGEpic Games, maker of Fortnite, has started issuing refunds to Americans who were "tricked" into making unwanted game purchases as part of a $245 million settlement.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I'm very excited to host author Peter Bebergal. His work informed much of The Occult Elvis and is essential to my upcoming Bowie work, specifically his magnificent Season of the Witch: How the Occult Saved Rock and Roll. We'll delve into the nexus of American music and spirituality, including the arcane forces that gave rise to the birth of rock music. We'll certainly cover Hinduism in the Beatles, Thelema in Led Zeppelin, Occultism in Black Sabbath, and Masonry in Hip-Hop. And everything in between, with plenty about those Tricksters, Elvis and Bowie. Join me and either chat your questions or call in. Get The Occult Elvis: https://amzn.to/4jnTjE4 The Gnostic Tarot: https://www.makeplayingcards.com/sell/synkrasis Homepage: https://thegodabovegod.com/ Patreon: https://www.patreon.com/aeonbyte AB Prime: https://thegodabovegod.com/members/subscription-levels/ Virtual Alexandria Academy: https://thegodabovegod.com/virtual-alexandria-academy/ Voice Over services: https://thegodabovegod.com/voice-talent/ Support with donation: https://buy.stripe.com/00g16Q8RK8D93mw288Stream All Astro Gnosis Conferences for the price of one: https://thegodabovegod.com/replay-sophia/

Jeffrey Archer is one of the best-selling writers in the world, and he is our guest today. He talks to Gyles about his childhood in Weston-Super-Mare, his indomitable mother, his wicked granny, and how he was fired from his job at the local cricket ground for his entrepreneurial afternoon tea scheme. He tells Gyles about his university days, about meeting his wife, Mary, and about meeting the Beatles. He talks about his career as an MP, how he almost became bankcrupt and started writing novels. And, of course, he talks about going to prison for perjury and the lessons that experience taught him. Plus he talks about Margaret Thatcher and the qualities that made her such a successful politician. This is a fascinating interview about a truly fascinating life. Jeffrey's new book, An Eye for an Eye, is out now. Hosted on Acast. See acast.com/privacy for more information.

Oggi a Cult: Marco D'Eramo sulla riedizione di "Io sono un'aliena" (Feltrinelli) di Luce D'Eramo; la mostra alle Gallerie d'Italia di Milano "Tutti pazzi per i Beatles"; a Trieste il Short Film Festival; la rubrica di fumetti di Antonio Serra con la celebre lista di fumetti per sopravvivere all'estate...

Chef extraordinaire Maggie Beer phoned in from the Barossa Valley (lucky her). She chatted to the guys about the rockstar feeling she gets on the MasterChef set, unknowingly flying on the same plane as The Beatles and her mission to raise the standard of food in aged care. Catch Maggie on MasterChef at 7pm this Sunday on Ten.See omnystudio.com/listener for privacy information.

Welcome! Our Beatles Series continues with the the band's second feature: Help! This is one is in living color, and features a much more absurd storyline. Roger Ebert famously said the band had four seasons. This film captures them in spring. We have some strong opinions. To pair, we enjoy some lagers and limes. #Beatles #Help #Music #60sBe sure and subscribe, and check out my full reviews of every movie we cover:https://podcasts.apple.com/us/podcast/cinemavino/id1443636422https://open.spotify.com/show/3F2TZMa7gawXwY86syEZa6?si=74a4650f88cb48c7https://toddwoffordmovies.comAlso check out our cool sponsor! Use promo code CINEMAVINO and you'll get a huge 30% discount on your purchase. Plus, we'll receive a small commission. Win, win!https://rsrvcollective.com

Music journalist and broadcaster, Jude Rogers, joins Jack and Robin this week to unveil her Personal Beatles. Jude is a fabulous writer known for her work at The Word, Q Magazine and the BBC, and her recent memoir The Sound of Being Human, is a beautifully written look at the way music shapes our lives. In this week's Pick a Song, we discuss Fixing a Hole form SP'sLHCB. Subscribe on Apple Podcasts or on Patreon to gain access to this and all the other extended version of the podcast. Links of Note:The Sound of Being Human: https://www.dropbox.com/scl/fo/ps3awhe37yqhk748dcre7/AMJIZRPJgch4Ho3kmwpbKTo?rlkey=niehfdravxe48s56m6r8rmscn&dl=0Jude's open letter to Paul McCartney: https://www.thetimes.com/culture/music/article/paul-mccartney-at-80-you-were-with-me-when-i-last-saw-my-dad-39tdlfs0pDavid Bennett on God Only Knows: https://www.youtube.com/watch?v=-NaJsJfPD0k Hosted on Acast. See acast.com/privacy for more information.

May Pang was John Lennon's companion for the late-1973-to-early-1975 period that has become known as Lennon's “lost weekend.” Although Pang has used that phrase for her documentary and photo exhibition, she doesn't see this time as “lost” for Lennon. Not only did he record two albums (Walls and Bridges and Rock ‘n' Roll) and produce another (Harry Nilsson's Pussy Cats), but Pang reunited him with his son Julian and was there when he reconnected with Paul McCartney and considered writing with him again. She puts Lennon's Los Angeles nightclub antics in context, describes Rock ‘n' Roll producer Phil Spector's crazed behavior and details the night she and Lennon saw a UFO from their New York City balcony. She also recounts interactions with Yoko Ono, who set her up with her husband when Pang was the couple's assistant, and offers a surprising take on the recent Beatles release “Now and Then.” And she explains why George Harrison ripped Lennon's glasses off his face. (Photo by Scott Segelbaum.)

Jonathan Gould's latest book is "Burning Down the House: Talking Heads and the New York Scene That Transformed Rock" (Meridian Books 2025). Gould has previously written books about The Beatles and Otis Redding -- his shorter works appear in The New Yorker. Gould is a New York City native; he attended ballgames at The Polo Grounds as a child and is a Mets fan.Jonathan Gould's Website -  https://www.jonathangouldauthor.com/You can support Hooks & Runs by purchasing books, including those featured in this episode (if any were), through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandruns Hooks & Runs - https://hooksandruns.buzzsprout.comEmail: hooksandruns@protonmail.com Craig on Bluesky (@craigest.bsky.social)Rex (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Hosts Emeriti:Andrew Eckhoff on Tik TokEric on FacebookMusic: "Warrior of Light" by ikolics (via Premium Beat)     This podcast and this episode are copyright Craig Estlinbaum, 2025.    

An interview about Corey Feldman's 2025 single "Characters." He talks about how the song was written and recorded, his upcoming music projects, Beatles influences and his favorite Beatle moment, the most underrated aspect of "The Goonies" (upon the movie's 40th anniversary), and more.See omnystudio.com/listener for privacy information.

S8E26 went out live from the TSORR Studio on Myoli Beach on 26 June 2025 at 19h00 on Rebel Rock Radio.   We are halfway through 2025!, hard to believe.   Running order of artists featured: Slade, Massive Wagons, Guns N' Roses, Metallica, Aerosmith, Motörhead, ACDC, Buckcherry, Volbeat, Scorpions, Foo Fighters, The Clash, UK Subs, The Jam, Soundgarden, The Pretty Reckless, The Beatles, Alice in Chains, Black Sabbath, The Rolling Stones, Linkin Park, Bruce Springsteen, Iron Maiden, Skid Row, Tom Waits, Marilyn Manson, Wasp, Tool, Van Halen, Grand Funk Railroad, Deep Purple, Tom Petty and the Heartbreakers, The Halo Effect, In Flames, Bleed From Within.The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

With callers bringing up everything from secular music’s potential spiritual risks to the struggles and meaning of being “a man after God’s own heart,” Patrick’s insights zigzag between humor, candor, and heartfelt encouragement. Unexpected stories, references to timely Vatican II documents, and sharp observations keep every answer fresh and unvarnished. Marie (email) – How do I get Relevant Radio prayer cards? (01:51) Yvonne - What Bible do you pray with? (08:17) Angie - Talking with an Evangelical friend about John. She takes John 6 symbolically. Are we supposed to take this literally? (10:11) June – What does it mean when in scripture it says that God calls David a man after His own heart? (20:29) Nancy (email) - If someone has never been a Catholic, or hasn't ever been taught/studied the Catholic faith, is Heaven impossible? (26:46) Eric – Yesterday, a caller was complaining about you listening to the Beatles. I do enjoy secular music too. What does the Church teach on this? (34:11)

“I said, ‘Well, uh, my team and I would love to see the video,' and the woman at Lost Highway said, ‘All right, let me pop a VHS in FedEx, it'll be there tomorrow morning.' So, we watched the Johnny Cash Hurt music video and once we'd wiped a tear out of our eyes, I got on the phone. I said, ‘Retta, put us in, coach. We want to play.' And the rest is history. It was and remains still the most iconic music video of an artist doing a cover to date.” – Andy Gesner This episode's guest is the owner and president of HIP, one of the most trusted names in music marketing. He's been releasing records since 1979, giving him firsthand insight into the complexities of the music industry, and he's channeled his expertise and passion for music into uplifting fellow artists over the past twenty-four years. He and his team have promoted over 4,800 music videos, championing some of the most renowned artists and best indie talent from all corners of the globe.His name is Andy Gesner, and if you're a musician, this is a conversation you don't want to miss. I know how hard it can be these days to make a living from your art, and it can be even harder if you don't pay attention to marketing. If you're creative, you have to wear a lot of hats, and if you're looking for tips, Andy has some great ones to share in this two-part discussion.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that. (0:00:00) - From Sound to PromotionOur conversation starts off with Andy's very first memory of sound, which just happens to be the Beatles' historic performance on The Ed Sullivan Show. “Well, my sister starts screaming like a banshee and she starts twirling around like a whirling dervish,” he recalls. “And I look over at my brother, and his jaw hits the floor. And I look at this little black and white TV and there are these four guys with what at the time was considerably long hair.” He tells us about how his career shifted from performance to promotion, and what his work on Johnny Cash's classic “Hurt” video taught him about taking creative risks. “It was like, ‘We can't play a Johnny Cash video on MTV, no way,'" he remembers producers saying at the time. “People thought Johnny's version of Hurt was a bit too out there. But you and I both know, as a marketing person, you present, and the public decides.”(0:19:46) - The Importance of Music VideosOur discussion turns to how the digital era has reshaped music promotion and how the music videos of the ‘80s paved the way for today's influencer culture. “Now more than ever,” he explains, “artists, independent creatives, are public figures, and you can't just sit on the couch and say, ‘Hey, I'm not going to do any of that public figure stuff, I just want the world to love me for my music.' Those days are over.” We talk about the bands that, starting around the turn of the 21st century, have had to rely on video and online marketing instead of radio airplay, and he shares a memorable example. “I remember in 2007,” Andy says, “sending...

Todd's back from vacation, and the morning starts with a discussion about which producer plays the best music! They also reminisce about color TV and the Beatles. They reflect on two years of broadcasting, sprinkled with humorous banter about Wisconsin's cultural quirks, from bratwurst to sporting triumphs. Amidst the jokes and local flavor, they tackle civic lessons, revealing their own quirky takes on history and government. The guys also celebrate their 2nd anniversary of the show. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor!

It's this Friday!  Ringo Starr and his All-Star Band headline the Memorial Park free concert and fireworks show.  Want to go?  Here are the details.

Marta Sanz y Manuel Delgado nos proponen en 'El Rincón y la Esquina' hablar de cosas y personas cutres. Roberto Villar nos trae la biografía no autorizada de Greta Thunberg. En el Pretérito Pluscuamperfecto recordamos los dos conciertos que los Beatles dieron en España hace 60 años. Y conocemos de cerca a Alba Carrillo, una mujer con más fondo y recorrido de lo que cuenta la prensa del corazón.

No se promocionaron, se les llamó melenudos, degenerados, hubo más policía que público, las entradas eran carísimas. Ana Uslé nos hace viajar casi 60 años atrás, 1 de Julio de 1965, cuando los Beatles pisaron España para dar dos conciertos, uno en Madrid y otro en Barcelona. En una estancia histórica que tal sólo duró 70 horas. Nos ayuda a saber más sobre estos conciertos Magí Crussels, profesor de Historia contemporánea de la Universidad de Barcelona, especialista en cultura popular y en los Beatles. 

The legendary Don Barnes, co-founder and frontman of 38 Special, takes us on a riveting journey through five decades of rock and roll stardom. With his signature raspy voice and warm storytelling style, Barnes reveals the fascinating origin of the band's name—a police standoff where an officer threatened to "shoot the lock off" their rehearsal space with his 38 Special revolver.Growing up in Jacksonville, Florida—what Barnes calls "the Liverpool of the South"—shaped the band's musical foundation as teenagers playing sailors' clubs alongside future members of Lynyrd Skynyrd and The Allman Brothers. This naval town connection forged their musical DNA and taught them the fundamentals of songwriting by covering popular hits.Barnes shares a surprising revelation about 38 Special's true influences. Despite being categorized as Southern rock, the band drew heavy inspiration from British Invasion artists like The Beatles and Jeff Beck. After their first three albums "went straight over the cliff," they discovered their winning formula: stripping songs down to what Barnes calls "muscle and melody"—powerful guitar work paired with strong melodies and relatable stories drawn from real-life experiences.Don also shares other passions with Lindsay and Bruce that include keeping sets of golf clubs on the tour bus. And speaking of that bus, it rolls into Dublin as 38 Special and Kansas headline another rockin' Independence Day celebration at Coffman Stadium!

No falla a su visita anual el gran Julio Ruiz para hablar de su banda favorita, The Beatles. Escuchamos una selección de versiones realizadas en 'Disco Grande' (Radio3) de la banda de Liverpool. Suenan: 01. Lucy in the Sky with Diamonds - Rufus T. Firefly 02. A Day In The Life - Anni B Sweet 03. Golden Slumbers - Verona 04. Happiness Is a Warm Gun - Tulsa 05. When I´m 64 - The Dowtown Alligators 06. Oh Darling - Marta Tachai 07. Happiness Is a Warm Gun - The Low Flying Panic Attack 08. Come Together - Lazaro 09. With a Little Help from My Friends - Helena Goch 10. Here Comes the Sun - Moses Rubin 11. Sgt. Pepper's Lonely Hearts Club Band - The Grooves + información - https://linktr.ee/b90podcast Espacio patrocinado por: Javier CM - Próxima Estación Okinawa - AlberStorm - Rosa Rivas - estebansantosjuanesbosch - Achtungivoox - jvcliment - Jaume Solivelles - Dreifor- Javier Alcalde - jmgomez - Jorge - Chisco Fernández Sainz - Ana Isabel Miguélez Domínguez - Pablo Carrasco Santos - Iñigo Albizu - Rachael - utxi73 - Jorge Sánchez - Naïa - Dani GO - kharhan - garageinc78 - Juan Carlos Acero Linares - Jaime Cruz Flórez - DOMINGO SANTABÁRBARA - faeminoandtired - Jose Manuel Valera - Ivan Castro - Javi Portas - Belén Vaca - Ana FM - tueresgeorge - Boldano - Eduardo Mayordomo Muñoz - Barrax de Pump - PDR - Fernando - QUIROGEA - J. Gutiérrez - Gabriel Vicente - Carlos Conseglieri - Miguel - Isabel Luengo - Franc Puerto - gritando - HugoBR - angelmedano - Vicente DC - Alvaro Gomez Marin - Alvaro Perez - Sergio Serrano - Antuan Clamarán - Isranet - Paco Gandia - ok_pablopg - Crisele - David Reig - Wasabi Segovia - Dani RM - Fernando Masero - María Garrido - RafaGP - Macu Chaleka - laura - davidgonsan - Juan Carlos Mazas - Bassman Mugre - SrLara - Próxima Estación Okinawa - Barullo - Francisco Javier Indignado Hin - Unai Elordui - carmenlimbostar - Piri - Miguel Ángel Tinte - Jon Perez Nubla - Raul Sánchez - Nuria Sonabé - Pere Pasqual - Juanmi - JulMorGon - blinddogs - JM MORENTE - Alfonso Moya - Rubio Carbón - LaRubiaProducciones - cesmunsal - Marcos - jocio - Norberto Blanquer Solar - Tolo Sent - Carmen Ventura - Jordi y varias personas anónimas.

Patrick grapples with Catholic family dilemmas—invalid weddings, wavering faith, and heartbreaking decisions—infusing each topic with honesty and empathy. He reads a raw, moving letter from a grandmother to her granddaughter, triggering a chorus of calls from listeners struggling with love, truth, and family bonds, while weaving in lively debates, flashes of humor, and even fiery opinions on the Beatles and politics. No topic is off-limits or too sensitive as Patrick brings unpredictable candor and humanity to every moment. Patrick reads a letter from a grandmother writing a letter to her granddaughter about why she will not be able to attend her non-valid wedding (06:12) Brian (email) – Is it a lie to tell someone you like something about them, like a haircut, that you don’t actually like? (19:50) Kristy – My daughter is gay and it’s important for me to keep my relationship with her healthy (23:36) John - Fear of Hell and the devil keeps us from avoiding mortal sin. I think people today are too soft with their rhetoric (31:43) Ron - Why are you always promoting Beatles? Beatles were druggies! I never liked them. (37:51) Karen - I listen to Relevant Radio all the time and you guys promote Trump. If you look at what he is like as a person, he doesn’t live as a Catholic. This bothers me. (39:18) Cindy – At the end of the day, Relevant Radio is called Relevant for a reason. You always keep us informed. (48:09)

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/

Sogni e incubi in mezzo al ciclone Pluto! 60 anni fa i Beatles arrivavano a Milano. I BTS hanno finalmente finito il militare!

¿Y si te dijéramos que Paul McCartney murió en 1966 y fue reemplazado por un doble? En este episodio de Academia de Conspiraciones nos acompaña Richie O'Farrill para analizar la mítica teoría de “Paul Is Dead”. Desde portadas crípticas hasta mensajes ocultos en canciones, lo exploramos TODO.

We know her name, but the story of Yoko Ono has been largely ignored or told only as a footnote in the story of John Lennon and The Beatles. Music journalist David Sheff was the last person to interview Lennon and Ono just before Lennon was murdered in 1980. He's maintained a friendship with Ono over all these years. She's now 92, and Sheff's new book 'Yoko: A Biography' spans her life as the child of wealthy parents in pre-war Tokyo to the avant-garde art world. Jesse asks David the question, did she break up The Beatles.

Was haben Friends, Britney Spears und die Beatles gemeinsam? Richtig: legendäre Liebesdramen. In dieser Folge nehmen wir die großen Liebesdramen der Popkultur unter die Lupe und finden heraus, welche Lektionen wir für unser eigenes Liebesleben daraus ziehen können. Am Ende nimmst du nicht nur jede Menge Spaß und Nostalgie mit, sondern auch wertvolle Tipps, wie du typische Liebesfehler vermeiden kannst! Ein Podcast aus den Wake Word StudiosHost: Corinna Theil & Christin BaloghExecutive Producer: Christoph Falke & Ruben Schulze-FröhlichProducer: Josephine AleytRedaktion: Corinna Theil & Christin BaloghSounddesign & Produktion: Fabian Schäffle Hosted on Acast. See acast.com/privacy for more information.

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

Septuagenarian pop thrills, 1970s tower block school spying, a Beatles haul, a wetlands visit, and The Sweeney. Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine and on Apple Podcast Subscriptions Hosted on Acast. See acast.com/privacy for more information.

This is a SPECIAL EPISODE. After 500+ interviews over 4+ years it's now Robert's turn to be interviewed. And by none other than Ivor Davis, the renowned Journalist, Investigative Reporter and Author. Over a 60 year career Ivor has covered stories involving music, murder, politics and Hollywood. He traveled with The Beatles on their 1964 American tour and 50 years later he wrote a book about it.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Surprisingly, America was formed in London.  The trio of Gerry Beckley, Dewey Bunnell, and Dan Peek met in London where their fathers were stationed at the United States Air Force base at RAF South Ruislip.  The three attended London Central High School and began playing together on borrowed acoustic guitars.  The name came from the Americana jukebox in the mess hall, and a desire to distinguish themselves from the British musicians around them who were trying to sound more American.America is also their self-titled debut album released in the States in January 1972.  The album originally was released without “A Horse With No Name,” but when that single garnered significant commercial success it was added to a re-release of the album in early 1972.  The re-released album would top the US album charts and produce two top-10 singles.The band would be a force in the folk-rock and soft rock genres for a generation.  With close harmonies similar to Crosby, Stills & Nash, and complex acoustic guitar arrangements, their first seven albums would be in the top 50 on the album charts, though this first debut would be their lone chart topper to date.  Their compilation album “History:  America's Greatest Hits” was released at the end of 1975.America produced albums of original material up through 2015.  In 1977 Dan Peek left the group to pursue music in the Contemporary Christian genre.  Speculation regarding a reunion of the original members continued through the years until Peeks death in 2011.Rob brings us a great debut folk rock album in this week's podcast.RiversideThe lead off track is a good example of the original America sound.  It has a laid back message:  I don't want to take anything from you, and I don't want you to take anything from me.  It is a “live and let live” message using a metaphor of life on two sides of the river.A Horse with No NameThis is the track that put the band on the map.  Originally entitled “Desert Song” the track takes inspiration from a Salvador Dali painting and an M.C. Escher painting.  Writer Dewey Bunnell created lyrics loosely based on his travels as a child with family through the deserts of Arizona and New Mexico.  Three RosesBunnell paints a picture of both a quiet life and romantic uncertainty in this song inspired by his girlfriend, soon to be wife.  “Three roses were bought with you in mind.”  Dan Peek takes lead vocal duties on this one with subdued but complex chords and harmonies.I Need YouThe second single from the album was written by Gerry Beckley when he was 16 years old.  Beckley also takes lead vocals on this ballad which went to number 9 on the Billboard Hot 100.  You can sense the similarity to bands like the Beatles and Alan Parsons in this track. ENTERTAINMENT TRACK:Main theme from the television series “Emergency!”This first responder action series focused on Squad 51 in Los Angeles saw its debut in January 1972.  STAFF PICKS:Family Affair by Sly & the Family StoneBruce begins the staff picks with the most successful hit from Sly & the Family Stone.  This song topped the Billboard Hot 100 for three weeks and the R&B Singles chart for five.  This track is a little different for the group, as the guitars are toned down, and the electric piano (with Billy Preston on keyboard) is brought up.  The lyrics talk about the ways a family can go wrong.Roundabout by YesLynch brings us a song written by singer Jon Anderson and guitarist Steve Howe.  The song originated from a trip the group took in Scotland in which they encountered a number of roundabouts.  The line, “in and around the lake” came from one of the lochs they passed.  This opening track from Fragile was drastically edited to produce a single coming in at 3:27 rather than the over 8-minute original.  It reached number 13 on the Billboard Hot 100, the group's highest charting single until 1983's “Owner of a Lonely Heart.”Doctor My Eyes by Jackson BrowneWayne's staff pick is a single off Browne's debut and self-titled album.  The lyrics discuss the feeling that the singer is becoming jaded about life by seeing all the wrong in the world, and now being unable to cry about it.  David Crosby and Graham Nash provide backing vocals to this song which went to number 8 on the Billboard Hot 100.  Misty Mountain Hop by Led ZeppelinRob features a song which was the B-side to Zeppelin's “Black Dog.”  The lyrics take their inspiration from the work of J.R.R. Tolkien, as well as the “Legalize Pot Rally” held in Hyde Park in July 1968.  It appeared on the massive Led Zeppelin IV album.  As Rob says, it is a “mixture of stoner idealism and Tolkien nerdery.” COMEDY TRACK:Pigeon Song by AmericaWe exit with a little double dipping, and with gratefulness that none of us is a pigeon named Fred.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

On this dazzling episode of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd put on their tap shoes and warm up their vocal cords for a deep dive into the world of musicals—both on stage and on screen. From Golden Age classics to rock operas and cult comedy gems, the duo shares their personal favorites and discusses what makes each musical special to them.The conversation opens with a look at the glitz and glam of Gentlemen Prefer Blondes, and the iconic performances of Marilyn Monroe and Jane Russell, before taking a hard left into irreverent territory with Trey Parker and Matt Stone's Cannibal! The Musical and South Park: Bigger, Longer, and Uncut, celebrating their unique ability to blend satire with catchy tunes.The pair reflects on the cultural impact and rebellious spirit of Hair, the groundbreaking score of Jesus Christ Superstar, and the emotional gravitas of Les Misérables. They also take time to honor musical legends with There's No Business Like Show Business and Singin' in the Rain, breaking down the artistry and historical significance of these silver screen staples.And of course, no musical conversation is complete without a nod to rock, as Tim the Nerd and Professor Aubrey discuss the stylized storytelling and sound of The Who's Tommy, as well as the Beatles' innovative entry into film musicals with A Hard Day's Night.Whether you're a die-hard musical theater fan or just dipping your toes into showtunes, this episode offers laughs, insights, and a playlist-worthy celebration of one of entertainment's most expressive art forms. Curtain up—tune in and sing along!As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms.Head to Friends Talking Nerdy's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

REO Speedwagon singer Terry Luttrell miraculously survives a car crash after falling asleep at the wheel, Hatebreed guitarist Wayne Lozinak diagnosed with a brain tumor while on tour in the UK, and the three sons of the Beatles join together on a new collaborative track & more!  PLUS ‘This Week in Rock & Roll History Trivia', Rock Birthdays, ‘The Best & Worst Rock Album Artwork of the Week' & so much more!Everything is up at www.rocknewsweekly.com / All socials & TikTok @rocknewsweekly Watch us LIVE, chat with us & more…Every Sunday around 2pm PST @ https://www.twitch.tv/rocknewsweeklyWatch all of our videos, interviews & subscribe at Youtube.com/@rocknewsweeklyFollow us online:Instagram.com/rocknewsweeklyFacebook.com/rocknewsweeklyTwitter.com/rocknewsweeklyTikTok.com/@rocknewsweeklyAll of our links are up at www.rocknewsweekly.com every Monday, where you canCheck it out on 8 different platforms (including Amazon Audible & Apple/Google Podcasts) #Rock #News #RockNews #RockNewsWeekly #RockNewsWeeklyPodcast #Podcast #Podcasts #Metal #HeavyMetal #Alt #Alternative #ClassicRock #70s #80s #90s #Indie #Indie #Trivia #RockBirthdays  #BestAndWorstAlbumCovers #AlbumCovers #BadAlbumCovers #Hatebreed #WayneLozinack #REOSpeedwagon #TerryLattrell #TheBeatles #SeanLennon #ZakStarkey #JamesHarrison #Oasis #JillianLauren #CarolKaye #B52s #Devo #BruceSpringsteen

Your two men on the internet telling you useless information supposed to fire your imagination are back with their 60th anniversary deep-dive into this deathless rock anthem. After a heated Beatles vs Stones debate, the TMI guys explain how the classic riff came to Keith Richards in a dream — and run down a list of other great art that came to people while they slept. They’ll explain the song’s unexpected connection to unexplained Scientology deaths, and the role it played in inadvertently breaking up the Beatles. You’ll also learn how the success of “Satisfaction” lead to a schism within the Stones themselves, which ultimately lead to the death of their founder and long-time leader, Brian Jones. Heigl delivers a stunning history of guitar distortion while Jordan explains how the Beatles delighted in trolling their friendly rivals. It’s a story of ego, electricity, obsession, and the song that turned the Rolling Stones into the most dangerous band in the world. For those interested in learning more about The Rolling Stones, here’s the podcast Jordan worked on about the sessions for ‘Exile on Main Street’ and their groundbreaking American tour in the summer of 1972: https://podcasts.apple.com/us/podcast/stones-touring-party/id1698938627 Support your friendly neighborhood TMI Guys here! https://ko-fi.com/toomuchinformationpodcastSee omnystudio.com/listener for privacy information.

This week we're tackling the wonderfully niche concept of anti-rock. Or more specifically, we're trying to work out what the hell it actually is, why Google doesn't seem to know either, and how it connects to everything from Frank Zappa taking the piss out of The Beatles to bands who are so talented they deliberately make themselves sound rubbish. Chris has dragged poor Mark and our resident punk professor Ferro down a rabbit hole that starts with French composers banging bits of concrete in the 1940s and somehow ends up at US Maple, a band that sounds like they're actively trying to annoy you. Along the way we encounter Captain Beefheart's deliberately mental Trout Mask Replica, The Residents being mysterious weirdos in eyeball masks, and Suicide essentially inventing electronic music with what amounts to a homemade fuzz box. We get properly stuck into the prehistory of experimental music, from Pierre Schaeffer's musique concrète through to the New York art scene of the 1970s. Our main thesis is that anti-rock isn't just noise for the sake of it - it's what happens when genuinely skilled musicians decide to systematically tear apart rock conventions from the inside. Think of it as punk's more cerebral, art school cousin who's read too much Derrida. This is part one of three. Next week we'll tackle the No Wave explosion in late 70s New York, and part three will finally explain why US Maple exist and why anyone would voluntarily listen to them. We also touch on Glenn Branca's guitar symphonies, Pere Ubu's Cleveland weirdness, and try to work out why some of the most influential experimental music came from artists who could absolutely play it straight if they wanted to. Spoiler: they definitely didn't want to. Timestamps: Episode Highlights: 00:00 Introduction and Initial Banter 00:51 Meet the Guest: Ferro (Not Pharaoh) 01:47 Ferro's Musical Journey and PhD in Punk 04:16 What the Hell Is Anti-Rock? 09:37 French Blokes Banging Concrete: The Birth of Musique Concrète 22:01 When Classical Composers Lost Their Minds 27:48 Moondog: The Homeless Viking of Sixth Avenue 28:25 How American Music Got Properly Weird 29:15 Snake Time Rhythms and Native American Influences 30:04 From Experimental Composers to Rock Subversion 30:36 Captain Beefheart's Deliberately Mental Masterpiece 35:05 Red Crayola: Texan Psychedelic Deconstructionists 40:42 The Residents: Eyeball Masks and Musical Terrorism 47:09 Suicide: Two Blokes and a Homemade Fuzz Box 52:06 Pere Ubu: Cleveland's Contribution to Musical Chaos 55:38 Setting Up the No Wave Explosion

US strikes Iran nuclear sites, Karen Read jurors speak, Antonio Brown's never coming back, Meghan Markle “sells out”, Chip Carey flag flub, and Corey Feldman's new Beatles-esque song. Antonio Brown never has and never will take any accountability, but his Twitter can make us laugh sometimes. Jim's Picks from last week are catching hell. Operation Midnight Hammer bombed the hell out of Iran nuclear facilities. Whoopi Goldberg has Iran's back. Sunny Hostin defends them as well. Americans tend to not want any involvement. Selena Gomez is still sad about ICE raids. MAGA Vice is destined to be a hit. Karen Read's acquittal still muffs Drew. Jurors are speaking out now about their belief that the cops conspired to frame her. The Call Sam Chopper Shop is back! Some 80-year-old man took a wrong turn in Rome and drove down the Spanish Steps. Justin Baldoni has the texts between Taylor Swift and Blake Lively. Meghan Markle remains the most insufferable woman on the Earth. She dropped some more jam and wine recently that sold out immediately. Tyler Perry may be on the down low as he's accused of financial misconduct. Lizzo is not as fat as she used to be thanks to Ozempic. Drew's still not over Brian Wilson and introduces us to Blondie Chaplin. Glenn Danzig gets some love from Drew. He was homies with Roy Orbison. Marc saw Jack White at the Detroit Tigers game. Chip Caray made an error in the broadcast booth. The New York Mets went full pride and started losing games. Fat Joe was allegedly a sexual deviant… 4,000 times. The Diddy case should be wrapping up soon. JorDon Hudson posts a thirst trap. Bill Belichick is a sweaty mess. Bill's ex HATES JorDon. Sports: Shedeur Sanders is a dangerous driver. Henry Ruggs is sorry and wants to play in the NFL again. Tyreek Hill has found a new woman to knock up. We check out some high school cheerleaders and their 9/11 tribute. Michelle Obama hate Barack so much she never wanted a son. Dean Torrence, of Dead Man's Curve fame, is complicit in Frank Sinatra Jr's kidnapping. There was an attempted mass shooting in Wayne today. A baby Black Bear gets his lid blown off (in a good way). 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).

Live, from Springfield, it's Yesterday & Today's fabulous 211th episode - 1991 pt2! Well, maybe not LIVE, exactly, but certainly from Springfield, as this episode features the first of the Beatle cameos on the iconic cartoon primetime staple The Simpsons. When Homer stumbles upon Marge's old portrait tribute to Ringo Starr, The Simpsons re-enter the art scene to dramatic results. Even more dramatic, perhaps, is the cutaway scenes featuring none other than Ringo Starr himself, who is STILL responding to his 1960's fan mail when he too stumbles upon Marge's portrait. This iconic appearance will herald many more on the show - and also coincides with another as-yet-to-be iconic appearance by a former Beatle on a different TV channel. MTV's new Unplugged series has just debuted, and Paul McCartney's live LP of the recorded performance is out in the world! Hosted on Acast. See acast.com/privacy for more information.

A few minutes from the episode 'What is Life: a Beatle with the Wall of Sound'.

Listeners of The Wolf know that despite the fact that The Wolf lived mere yards (or meters) from Abbey Road, he and Action Jackson aren't huge Beatles fans. While he did go through a Beatles stage in high school, it was really an education on how the band evolved and created some amazing music which is still enjoyed and studied today. However, thanks to a run of 60s rock related movies that ran on Cinemax one night in the 80s, The Wolf became very familiar with Help! as he recorded the movie on VHS and watched it over and over. It was in technicolor, unlike A Hard Day's Night, and showed the boys having fun in exotic locales like Switzerland, The Bahamas, Stonehenge and Buckingham Palace. The seven tunes on the album that were included in the movie all hold up well and are fun to sing along with while you're watching. But the album is the first step moving from being bubble gum pop stars into more respected recording artists. We review the UK version of the album as the US version is shorter with orchestrated score tunes from the movie. The whole first side of the UK album features beloved songs from the movie like the title track, Ticket To Ride, You've Got To Hide Your Love Away and The Night Before. But the second side also features some Beatles classics like Ringo singing Act Naturally, I've Just Seen A Face and the all-time classic Yesterday. It's amazing that the boys were all so young (21-24) and were maturing before our eyes as they were now able to write more robust tunes with more mature themes. Bob Dylan had introduced them to marijuana by now and they'd done their first LSD trips which would show up more on an album from later in 1965, Rubber Soul (and after). But this one has one foot in the old, teenage dream Beatles phase and one in the more mature and experimental Beatles. We can't believe it's turning 60 but we went track x track to celebrate. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

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:

Steven and Ian open this week's episode by hashing out the new trailer for Springsteen: Deliver Me From Nowhere, the upcoming film about the making of Nebraska starring Jeremy Allen White from The Bear. Does the movie look any good? Does Jeremy have the proper level of rasp? (1:19) The guys also talk about a (terrible) new song featuring three sons of The Beatles. (10:13) Then, after Steven officially concedes defeat in the latest Fantasy Albums Draft (15:43), they review new albums by Haim (18:18) and Hotline TNT (33:40).In the mailbag, they contemplate the AI versions of themselves as determined by ChatGPT (43:08). In Recommendation Corner, Ian talks about the rave-inspired Real Lies and Steven goes for the Kentucky songwriter S.G. Goodman. (50:25)New episodes of Indiecast drop every Friday. Listen to Episode 244 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at indiecastmailbag@gmail.com, and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textIntro song: Magical Mystery Tour by Chicago5. Here Comes the SunCover 1: Nina SimoneCover 2: Colbie CaillatCover 3: Ghost4. BlackbirdCover 1: Bobby McFerrinCover 2: Sarah McLachlanCover 3: Boyce Avenue3. Come TogetherCover 1: The MetersCover 2: Michael JacksonCover 3: Gary Clark Jr. 2. Ob-La-Di Ob-La-DaCover 1: Peter BelliCover 2: House of HeroesCover 3: Himesh Patel1. Eleanor RigbyCover 1: Aretha FranklinCover 2: Chandler LeightonCover 3: Cody FryOutro song: Let It Be by Dolly Parton (feat. Paul McCartney & Ringo Starr)Link to Take Cover!! episode with "Let It Be"

In a heartfelt conversation, Def Leppard guitarist Vivian Campbell reveals his remarkable path to beating cancer through a successful bone marrow transplant. He discusses his 13-year battle with Hodgkin's Lymphoma, the emotional impact of finding a perfect donor match, and his unwavering determination to keep performing throughout treatment. Campbell also shares updates on Def Leppard's upcoming album, his side project Last in Line, and his newfound passion for rally racing. Also on the podcast, from writing 'New York Groove' on a flight to NYC to seeing The Beatles adopt his tailor recommendations, Russ Ballard opens up about his remarkable 60-year career crafting hits for rock's biggest names. He reveals the origins of classics like 'Since You've Been Gone' and 'God Gave Rock and Roll to You,' while discussing his latest double album and philosophy that keeping active in music helps maintain youthful energy.  Catch Eddie Trunk every M-F from 3:00-5:00pm ET on Trunk Nation on SiriusXM Faction Talk Channel 103.And don't forget to follow Eddie on Twitter and Instagram!Follow the link to get your free 3-month trial of SiriusXM: http://siriusxm.com/eddietrunk Find all episodes of Trunk Nation: https://siriusxm.com/trunknation

Confidence Round! Fact of the Day: Orange Chicken was invented at a Hawaiian Panda Express in 1987. Triple Connections: Jail, Big, Blue THE FIRST TRIVIA QUESTION STARTS AT 01:08 SUPPORT THE SHOW MONTHLY, LISTEN AD-FREE FOR JUST $1 A MONTH: www.Patreon.com/TriviaWithBudds INSTANT DOWNLOAD DIGITAL TRIVIA GAMES ON ETSY, GRAB ONE NOW!  GET A CUSTOM EPISODE FOR YOUR LOVED ONES:  Email ryanbudds@gmail.com Theme song by www.soundcloud.com/Frawsty Bed Music:  "EDM Detection Mode" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ http://TriviaWithBudds.com http://Facebook.com/TriviaWithBudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SPECIAL THANKS TO ALL MY AMAZING PATREON SUBSCRIBERS INCLUDING:   Mollie Dominic Vernon Heagy Brian Clough Nathalie Avelar Natasha raina leslie gerhardt Skilletbrew Brooks Martin Yves Bouyssounouse Diane White Youngblood Evan Lemons Trophy Husband Trivia Rye Josloff Lynnette Keel Nathan Stenstrom Lillian Campbell Jerry Loven Ansley Bennett Gee Jamie Greig Jeremy Yoder Adam Jacoby rondell Adam Suzan Chelsea Walker Tiffany Poplin Bill Bavar Sarah Dan  Katelyn Turner Keiva Brannigan Keith Martin Sue First Steve Hoeker Jessica Allen Michael Anthony White Lauren Glassman Brian Williams Henry Wagner Brett Livaudais Linda Elswick Carter A. Fourqurean KC Khoury Tonya Charles  Justly Maya Brandon Lavin Kathy McHale Chuck Nealen Courtney French Nikki Long Mark Zarate Laura Palmer  JT Dean Bratton Kristy Erin Burgess Chris Arneson Trenton Sullivan Jen and Nic Michele Lindemann Ben Stitzel Michael Redman Timothy Heavner Jeff Foust Richard Lefdal Myles Bagby Jenna Leatherman Albert Thomas Kimberly Brown Tracy Oldaker Sara Zimmerman Madeleine Garvey Jenni Yetter JohnB Patrick Leahy Dillon Enderby James Brown Christy Shipley Alexander Calder Ricky Carney Paul McLaughlin Casey OConnor Willy Powell Robert Casey Rich Hyjack Matthew Frost Brian Salyer Greg Bristow Megan Donnelly Jim Fields Mo Martinez Luke Mckay Simon Time Feana Nevel

(00:00-11:38) "I Agree, Dumbass." Free Parking in 9-2. Clearing the deck, with Jackie B. Papers logistics questions. Doug doesn't like question three. Doug doesn't want starting pitchers taking naps before the game. Vibes are pretty good out in the "Arm Barn."(11:46-25:19) What's the song "Blackbird" about? Chairman won't listen to the Beatles. What say you, bro? Adam Schefter stepping into a new role this weekend for the Travelers Championship. Best Beatles song as ranked by fans. Best Michael Jackson songs.(25:29-36:18) Smooth Criminal. Big wedding weekend for this show. Doug doesn't trust AI. Audio of Ryan Whitney on Spittin' Chiclets talking about the dominant Florida Panthers. More audio of Whitney talking about Connor McDavid and the possibility of him leaving Edmonton. Bleacher Report's 7 likely landing spots for Connor McDavid.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this series, Jeff and Andy look at historical events that took place on this day.Today in history, the first woman flies across the Atlantic Ocean, the “ Say Hey Kid passes away, and a member of the Beatles is born.This series is brought to you by the great Boss Shot Shells.

MUSIC The Muny opened its 107th season this week with Bring It On: The Musical, which stars Kennedy Holmes, a Florissant native who rose to fame on NBC's The Voice in 2018, where she finished as a finalist in fourth place. This new season opened despite the tornadoes that Forest Park endured, where a tree crushed the venue's pre-show stage, and luckily No major structural harm was reported, and thanks to an enormous citywide effort, opening night never had to be postponed. For the first time ever, three of the Beatles' offspring have collaborated on a song. Sean Lennon, James McCartney, and Zak Starkey posted part of their song, "Rip Off". From Starkey's band Mantra of the Cosmos titled "Rip Off" featuring Paul McCartney's son James and John Lennon's son Sean on vocals. TV Eric Dane from "Grey's Anatomy" sat for an interview with Diane Sawyer to discuss his battle with ALS . . . also known as Lou Gehrig's disease. Eric revealed that he has only "one functioning arm." Quote, "My left side is functioning, my right side has completely stopped working. Martha Stewart recently rescued three orphaned squirrels. “They were inside a fallen tree,” Stewart said of how she discovered them. MOVING ON INTO MOVIE NEWS: Al Pacino met Pope Leo at the Vatican, as Pacino was a part of a delegation from the film Maserati: The Brothers.Will Smith turned down Christopher Nolan's offer to be in the blockbuster film, Inception. The first full trailer for the "Naked Gun" remake with Liam Neeson is out. Pamela Anderson is featured in a couple sight gags. Here's a quick example of the puns to come.· Here are 10 famous people who have, or had, unusual animal companions:1. Kristen Stewart: She grew up raising wolf-hybrids. a. In 2013, she had to go to court with a neighbor who wasn't cool with the two that she had on her property. She said, quote, "They're loyal, they're big, they're completely socialized, they're licensed, they're legal for me to have them, and I love them!"2. Kirstie Alley: Before she died, she owned 14 lemurs . . . which she fell in love with while doing conservation work in Madagascar.3. Salma Hayek: She adopted a rescue owl in 2019. Her name is Kering, after a company Salma's husband owns. She says, quote, "[She's often] on my head or my shoulder, my arms. Sometimes, when she is really close to me, I can feel her rubbing against me, which is really nice. And I feel so blessed."4. Paris Hilton: Years ago, she got herself a little rainforest mammal called a kinkajou. She named it Baby Luv. In 2006, she had to get a tetanus shot after it bit her. At one point she actually owned two of them.5. Leonardo DiCaprio: In 2010, he attended the North American Reptile Breeders Conference and Trade Show . . . and left with a 10-year-old tortoise. There's no word if he still has it, but they can live to be 80 years old.6. Tyga: He owned an actual tiger, even though they're illegal in California. When the cops came after him, he gave it to an animal shelter.7. Ice-T: He had a shark tank in his home recording studio, but that's gone now. He still has a regular aquarium, though.8. Tracy Morgan: He had to spend $400,000 on a 2,700-gallon tank for his giant Pacific octopus named Bwyadette.9. Nicolas Cage: Where do you start? He's owned sharks, an octopus, a 5-foot monitor lizard, and two venomous albino king cobras named Moby and Sheba. He had them locked behind bulletproof glass and kept antivenom handy. He once said, quote, "If they bite me . . . I have 15 minutes to live."10. Vanilla Ice: He once owned a wallaroo, which is a cross between a wallaby and a kangaroo. He sent it to a farm in Florida after it got too big for his property. AND FINALLY As Marvel prepares for an 'X-Men' reboot, these actors have been rumored to star in the mutant franchise: 'Breaking Bad' star Bryan Cranston as Mister SinisterDenzel Washington as MagnetoAnya Taylor-Joy as MagikHarris Dickinson as CyclopsMargaret Qualley as RogueColman Domingo as Professor XHunter Schafer as MystiqueNathalie Emmanuel as StormSadie Sink as Jean GreyHugh Jackman as WolverineAND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

To celebrate Sir Paul's 83rd birthday June 18th we are reprising a wonderful conversation recorded five years ago. Alan and Paul exchange their experiences writing and performing; and McCartney demonstrates how some of the Beatles' greatest hits began with what he calls “oobley” chords on the piano.

Do you recognize the name, Owsley Stanley? If you're not a devoted Dead Head, probably not. But he's the guy who met the Dead when they had just formed, supplied them with LSD, and helped them form their psychedelic, jam band sound. He also supplied LSD to hundreds of thousands, if not millions of others hippies. It was his LSD that would truly fuel the counterculture movement of the late 1960s. The Summer of Love wouldn't have been nearly as magical as it was without Owsley's mind-expanding psychedelics. He was one-of-a-kind, and I hope you enjoy learning about his life as much as I did.  Merch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious PrivateFacebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch.