Podcasts about Bonham

What happens when rock and roll meets the road to spiritual awakening? On this episode of The CJ Moneyway Show, we welcome Clementine Moss—founder and drummer of Zepparella, solo artist, author of the soul-searching memoir From Bonham to Buddha and Back, and certified Depth Hypnosis practitioner. Clementine's journey takes us behind the drums and deep into the heart. From channeling the thunder of John Bonham on stage to guiding others through spiritual transformation, she's a living example of balance between power and peace. We talk about: • Her path from high-energy stages to quiet introspection • Writing a memoir that merges rock and spirituality • Healing through Depth Hypnosis and inner work • How musicians and creatives can process pain through purpose If you've ever wondered how to honor both your fire and your faith, this episode is your permission slip. clemthegreat.com #CJMoneywayShow #ClementineMoss #Zepparella #BonhamToBuddha #WomenInRock #DepthHypnosis #SpiritualAwakening #MemoirPodcast #MusicAndHealing #BleavNetwork #MindBodySoul #HealingThroughArt #RockDrummerWisdom

Aaron and Bryon tackle a relatively more obscure hair metal classic, the debut album by Bonham! Learn about Jason Bonham's life in drums, his connection to Dokken, what the title The Disregard Of Timekeeping means, and more! Plus: Special Guest Bleujack explains why he hates fadeouts on songs!

Text: Zechariah 8:20-23Missions Month is a time where we revisit and remember the promise and responsibility of the Gospel in the lives of others. The Gospel is a message that is both to be modeled in lifestyle and shared with words. This month we will look at the different ways our church invests itself in missions locally and globally, and spend time growing in our understanding of missions and the Gospel.Come visit us in person! To learn more about our church visit: https://www.wearebethany.comTHIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) July 6, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Send us a textTracy stops by the show to discuss her latest release, Sky Too Wide. We talk about people pleasing, connect over a Helen Reddy song, 'You and Me Against the World', her reimagined song 'Jumping Bean', and so much more.*****Tracy Bonham is a classically trained violinist and pianist turned alternative singer-songwriter who rose to fame in 1996 with her twice GRAMMYTM nominated album, The Burdens of Being Upright (Island Records). This debut album cast Bonham into the global spotlight with MTV fame and major radio airplay with her #1 alternative chart-topping song Mother Mother, an anthem for disgruntled teenagers of all ages. While so many of her songs have been placed in film and tv throughout the decades, you might have most recently heard Mother Mother in Yellow Jackets season 1 episode 2.Over the past 27 years, Bonham's albums and live performances have shown what it is to be an ever- evolving artist. While Bonham sings, she moves from guitar to violin, from violin to piano, and back again. When playing live, her songs from the 90s blend and blur with stylistic changes that she has created over time making her entire repertoire make sense as an entire body of work. She plays the old and new material and even though the songs span thirty years they all continue to be equally relevant.Bonham will be joined by upright bassist Rene Hart (David Amram, James Hunter) and drummer Alvester Garnett (Regina Carter, Abbey Lincoln) and with her new material she connects to something deeper than ever, her true self. Most of the new songs are performed on the piano giving her the chance to lean back to what made her fall in love with music in the first place. Borrowing harmonic structures and beautiful melodies from her favorite classical romantic composers, Bonham stretches herself artistically to combine this rediscovered passion with her unique and quirky songwriting style to create musical alchemy. This purifying process most certainly acts as a vehicle for inner transformation for Bonham. "It's like going back to the spark I had as a very young musician, discovering the beauty of Ravel and DeBussy and reclaiming that spark and everything that has happened after that". Bonham speaks of her current line-up, "Playing with incredible jazz musicians like Rene and Alvester has opened my mind and is now giving me the support I have always needed to spread my wings and fly. I am really enjoying exploring the intersections and overlaps of where classical and jazz meet without excluding my alternative rock sensibilities. These dudes can rock too. The three of us playing together is definitely my happy place".******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

Text: Acts 15:19-35Missions Month is a time where we revisit and remember the promise and responsibility of the Gospel in the lives of others. The Gospel is a message that is both to be modeled in lifestyle and shared with words. This month we will look at the different ways our church invests itself in missions locally and globally, and spend time growing in our understanding of missions and the Gospel.Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) June 29, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Text: Genesis 2:4-7, 15Missions Month is a time where we revisit and remember the promise and responsibility of the Gospel in the lives of others. The Gospel is a message that is both to be modeled in lifestyle and shared with words. This month we will look at the different ways our church invests itself in missions locally and globally, and spend time growing in our understanding of missions and the Gospel.Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) June 22, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

This photo of four U.S. presidents is from the Nov. 28, 1963, San Antonio News, less than a week after President John F. Kennedy's assassination. Found in scrapbooks that belong to the Stockdale Museum, the photo depicts (l-r) Kennedy, Lyndon B. Johnson, and former presidents Dwight Eisenhower and Harry Truman. Johnson was the vice president when the photo was taken on Nov. 18, 1961, at the funeral of former Speaker of the U.S. House of Representatives Sam Rayburn in Bonham, Texas. Johnson became the 36th U.S. president when Kennedy was assassinated Nov. 22, 1963, in Dallas.Article Link

Alfie and Neige creep deeper into the conspiracy which binds together Casper, Henri and Bonham. It leads them to something familiar.Transcript with CWs: https://docs.google.com/document/d/1ppIk-g6HXSZ1tl8mZqwDUmMDe_-mewDI8APlukgWotM/edit?usp=sharingTranscript: https://hangingslothstudios.com/nqd-51/Patreon: https://www.patreon.com/hangingslothstudiosEpisode Content WarningsPlease bear in mind that this show is a work of horror fiction and frequently places characters in situations which jeopardise their psychological and physical health. This episode contains: Mentions of bloodMentions of corpsesImplications of unethical medical experimentationImplications of gaslightingDepiction of distress (mild)Depiction of extreme fear response Not Quite Dead is written, created and performed by Eira Major, under a creative commons 4.0 attribution license, with Kickstarter Vampire Producers Aster and Ted. Live, laugh, bite. Hosted on Acast. See acast.com/privacy for more information.

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

“B” is for Bonham, Milledge Luke (1813-1890). Soldier, congressman, governor.

In this throwback episode from the early days of the Rich Redmond Show, Rich and Jim dive deep into the world of all things Chris McHugh! Chris's incredible career spans contemporary Christian music, country, and beyond. From Nashville's early days to modern recording techniques, this episode offers an intimate look at a legendary session drummer's life, challenges, and evolution.   Timed Highlights: [0:00-15:00] Nashville's Musical Roots: Chris discusses arriving in Nashville in 1985 and his early days with WhiteHeart   [15:00-30:00] Session Musician Life: Insights into recording techniques, working with artists like Keith Urban, and the challenges of studio work   [30:00-45:00] Drumming Influences: Chris shares his musical heroes, including Bruford, Bonham, and Phil Collins   [45:00-60:00] Personal Growth: Reflections on life changes, reinventing his drumming style, and working with coach Dave Elitch   [60:00-75:00] Future Plans: Discussing current projects, family life, and the ongoing evolution of a professional musician   A must-listen for musicians, music fans, and anyone interested in the behind-the-scenes world of professional drumming.   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co

Spring 2025 Season Finale Host Ted Asregadoo closes out the spring season by shining a spotlight on the most essential—yet often overlooked—members of any great band: the drummers. Reuniting with John Young (John was a co-host during the first year of Planet LP's existence in 2021), this episode serves as both a musical celebration and a reminder that creativity and joy persist even in the darkest of times. Or, to quote Sting, "When the world is running down, you make the best of what's still around." Rhythm Masters Featured:

Text: Mark 1:9-15Missions Month is a time where we revisit and remember the promise and responsibility of the Gospel in the lives of others. The Gospel is a message that is both to be modeled in lifestyle and shared with words. This month we will look at the different ways our church invests itself in missions locally and globally, and spend time growing in our understanding of missions and the Gospel.Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) June 15, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Text: Mark 9:35-37Ministry to kids and teens matters because it mattered to Jesus. Today we explore the importance and need for healthy NextGen ministries and leaders. We also introduce our candidate to be our new NextGen Pastor: Nate Drake.Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) June 8, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

California Department of Fish and Wildlife Director Charlton H. Bonham says the program will foster cooperation between the state and impacted ranchers to effectively and safely manage California's growing gray wolf population.

Erica Bonham is passionate about walking with clients through the messy but beautiful process of healing and remembering their true nature, which is that they are always and already enough, loveable, worthy and connected to every living thing on this planet.She is a certified EMDR clinician, consultant and trainer and a licensed professional counselor in the state of Colorado specializing in serving the LGBTQ community, abuse recovery, and trauma related to social and racial injustice and spiritual abuse. She incorporates her training as a yoga instructor and polyvagal expert to deepen clients' healing of their bodies and specializes in somatic and attachment EMDR, Ketamine Assisted Psychotherapy, and ego state work. She is a nationally sought-after speaker, creator of multiple online courses, and published author. Her new book, Always Enough, Never Done: Volume I: Heal Your Nervous System, Turn Wounds Into Wisdom, and Cultivate Your Inner Badass is out!She seeks to get into good trouble to dismantle systems of oppression and aspires to be part of the emergent reimagining of a world rooted in the values of beauty, equity, nonviolence, compassion, and empowerment of all beings. In This EpisodeErica's websiteErica on Social:IGFBTTYTThe Trauma Therapist PodcastJoin my email list and receive podcast updates and other news: https://bit.ly/3LuAG2iListen to all Trauma Therapist Podcast episodes here: https://bit.ly/3VRNy8zBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-trauma-therapist--5739761/support.

On this episode of Spotlight Now, we're joined by U.S. Sen. Brian Schatz, D-Hawaii, for the latest out of Washington, D.C. Then we sit down with Carl Bonham, University of Hawaii Economic Research Organization executive director, for a check on Hawaii's economic outlook.See omnystudio.com/listener for privacy information.

On today's show, we're chatting with Marissa, the Head of Designer Handbags & Fashion in the U.S. at Bonhams Auction House. If you've listened to the episode we did with Bonham's UK-based counterpart, Meg Randell, Bonhams is building on its success in offering handbags & fashion by introducing the category to the US market. Marissa bring twenty-years experience to this position, previously she worked at Resurrection Vintage, where she learned to source, date, and place exquisite antique and couture pieces with the world's most renowned fashion houses, museums, stylists. Then, she worked at the world's largest consignment company, The RealReal, where she specialized in authentication and valuation and had a 0% authenticity error rate. What happens when a Dior newspaper dress (yes, THAT Sex and the City dress) goes from an $800 estimate to selling for $23,000? Or when a 90-year-old yacht mechanic decides it's time to auction Jackie Kennedy's wedding dress he's kept wrapped in tissue paper since the 1960s? On this episode we talk about all this & more – the absolute treasures that fall under Marissa's specialty for auctions at Bonhams –  let's dive right in! DISCUSSED IN THE EPISODE: [2:39] A child of the 90s, Marissa grew up loving a Delia's catalog. [10:20] How she was recruited to start the Fashion & Handbags department at Bonham's U.S. division. [14:16] Why building relationships is so important in a client-driven business like vintage dealing or auctions. [14:46] Selling Jackie Kennedy's 1968 Valentino wedding dress, which had been stored on a yacht. [20:59] Inside the most impressive collection of never-worn Margiela Marissa has ever seen. [23:53] The heritage brands and couture designs Marissa works on at Bonhams, and how to value them. [27:02] - How a Sex and the City reference turned an $800 Dior dress into a $23,000 auction moment. [28:50] Working on the first-ever Carolyn Bessette-Kennedy fashion auction. [30:28] How an auction house assesses trends and demand to best time the market value. [31:25] Why it's time to pull out your Y2K Louis Vuitton and your Dior saddlebags, plus other trending items. EPISODE MENTIONS:  Bonhams @bonhams1793 @bonhamsbags Pre-Loved Podcast with Meg Randell at Bonhams Resurrection Vintage The RealReal Jacqueline Kennedy's Wedding Dress Carolyn Bessette-Kennedy auction Vintage-lovers on LV x Murakami Tom Ford Gucci beaded python print dress Gwynth Paltrow and Kate Moss wearing this Tom Ford dress LET'S CONNECT: 

Text: 2 Timothy 4:6-8Faith rarely falls apart for us because of tragic circumstances. It usually comes from a slow, steady, unassuming fade. Today we look at Paul's last letter for a glimpse at what it takes to build an enduring faith. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) May 11, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Joined by accomplished musicians Rene Hart and Alvester Garnett, Bonham's latest material draws from the romanticism of classical composers, merging lush harmonies and emotive melodies with her signature quirky songwriting. The result is a captivating blend of genres that feels both nostalgic and refreshingly original, proving that Bonham's music-old and new-remains as relevant and resonant as ever. Her dynamic stage presence and willingness to explore new musical intersections make each performance a celebration of her journey as an ever-evolving artist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Text: Luke 5:27-39Easter is the biggest holiday and festival in all of Christendom. But what do we celebrate exactly? Is the Cross really that important? Can we have Easter without a resurrection? Should my life look different because of Easter? Join us for this series as dive into the truth of Easter and how it impacts every aspect of our lives. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) April 27, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

This is Play That Rock n' Roll's interview with author C.M. Kushins about his book "BEAST: John Bonham and The Rise of Led Zeppelin". In this conversation, we talk about why he wanted to write about John Bonham, how Chad navigated the myths and legends that surround Led Zeppelin, and what sets this book apart from all the other biographies about this band. We also discuss the new documentary “Becoming Led Zeppelin” and Chad shares his thoughts about what Zeppelin might have done if Bonham had not tragically passed away when he did. Also, Chad has a new book that will be released later this year called “COOLER THAN COOL: The Life and Work of Elmore Leonard”. We talk a bit about this one as well. Learn more at https://www.harperacademic.com/book/9780063306868/cooler-than-cool/ Our Links: https://linktr.ee/playthatpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Text: Luke 24:1-12Easter is the biggest holiday and festival in all of Christendom. But what do we celebrate exactly? Is the Cross really that important? Can we have Easter without a resurrection? Should my life look different because of Easter? Join us for this series as dive into the truth of Easter and how it impacts every aspect of our lives. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) April 20, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Trey discusses the NIT Championship run. See omnystudio.com/listener for privacy information.

When 28-year-old Jennifer Harris went missing on Mother's Day in 2002, rumors swirled in the small town of Bonham, Texas. All eyes were on two men…one was her ex-boyfriend and business partner, and the other was her ex-husband, who she'd recently started seeing again.   But nearly 23 years later, between odd witness statements, missing evidence, and a pretty strong conflict of interest, Bonham residents and Jennifer's family are left baffled and frustrated by her case. Anyone with information about Jennifer's case is asked to contact the Fannin County Sheriff's Office at 903-583-2143 or her family's teams at reward@redrabbitjustice.com. For more information about the podcast and the cases discussed, visit VoicesforJusticePodcast.com   Follow us on social media: Twitter: @VFJPod Instagram: @VoicesforJusticePodcast TikTok: @VoicesforJusticePodcast Facebook: @VoicesforJusticePodcast   Voices for Justice is hosted by Sarah Turney Twitter: @SarahETurney Instagram: @SarahETurney TikTok: @SarahETurney Facebook: @SarahETurney YouTube: @SarahTurney   The introduction music used in Voices for Justice is Thread of Clouds by Blue Dot Sessions. Outro music is Melancholic Ending by Soft and Furious. The track used for ad transitions is Pinky by Blue Dot Sessions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send me a Text Message!Years ago, when speaker of the house Sam Rayburn heard he had terminal cancer, he shocked everyone when he announced he was going back to his small town in Bonham, Texas. People said to him: "We've got the finest facilities here in D.C., why go back to that little town?" Rayburn's response came from his deep desire for community. He said, "Because in Bonham, Texas, they know if you're sick, and they care when you die." Perhaps some things are even more important than the finest medical facilities. If no one cares, you're truly alone. So who cares?In this episode we'll start where most good things start, with Jesus. Because the  more we get to know Jesus...the more our hearts get saturated with the undying reality that Jesus Cares. In fact, Jesus not only cares for us, he cares that we care. 

Text: Isaiah 50:5-7; 52:13-53:12Easter is the biggest holiday and festival in all of Christendom. But what do we celebrate exactly? Is the Cross really that important? Can we have Easter without a resurrection? Should my life look different because of Easter? Join us for this series as dive into the truth of Easter and how it impacts every aspect of our lives. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) April 6, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

In this episode:This episode features a Medical Mailbag segment that tackles the latest in sports technology, specifically lactate sensors. Are they the holy grail of performance metrics or just another shiny gadget? Jeff and Juliet break it down with their usual wit and sarcasm, dissecting whether these sensors provide meaningful insights for age-group athletes or if they're just fancy toys to make us feel better about our training. Spoiler alert: the answer isn't as clear-cut as you might hope. Then, the podcast dives into an unexpected yet fascinating realm of sports: pole vaulting, as seen through the eyes of David Bonham, a former high school pole vaulter turned masters athlete. It's wild to think that after years away from the sport, an impromptu return was spurred on by his daughter's passion for vaulting. David's journey is not just about jumping over a bar; it's a rollercoaster of life experiences, including a near-fatal heart attack and a major knee injury that would make anyone else reconsider their athletic aspirations. But not David. Oh no, he saw that heart attack as a wake-up call—an invitation to reclaim his athletic past and, quite literally, jump back into the fray.In this episode, we get a front-row seat to David's world of pole vaulting, where he humorously recounts the absurdity of being the 'old guy' among teenagers at practice. His story is sprinkled with moments of irony, especially when he mentions how he was once self-taught, only to find himself once again under the watchful eye of coaches who actually know what they're doing. It's an inspiring tale of resilience; after a year of recovery from a devastating ACL tear, David not only returns to pole vaulting but also competes at a master's level, proving that age is just a number when you're having this much fun. Trust me, you'll want to hear how he navigates the perils of high school competition and the joy of setting personal records in his mid-fifties—it's a story about passion, persistence, and the occasional ridiculousness that comes with chasing your dreams at any age.Segments:[06:10]- Medical Mailbag: Lactate sensors[36:13]- Interview: David Bonham LinksThe TriDoc Podcast in Supplement Form (newsletter)@flying_higher2022 on Instagram David's Facebook page

Welcome to the new edition of the show and today we feature one of the cult classic bands of the 1970's Gentle Giant who are back with a new live album "Playing The Fool" founder member Derek Shulman joins us to look back at the history of the band who still carry heavy influence to this day, we also talk about Dereks time as an industry head and his talent for spotting bands that went on to sell millions of albums, he signed Bon Jovi, Nickleback, Pantera and Dream Theatre to name just a few and was also responsible for taking a flagging AC/DC who were about to be dropped by Atlantic and re-established them as a global act when they re-appeared with The Razors Edge.Also on the show Deborah Bonham talking about Robert Plants influence and The Damn truth describing what it was like from day one working with grammy winning producer Bob Rock.

Text: Matthew 21:1-11Easter is the biggest holiday and festival in all of Christendom. But what do we celebrate exactly? Is the Cross really that important? Can we have Easter without a resurrection? Should my life look different because of Easter? Join us for this series as dive into the truth of Easter and how it impacts every aspect of our lives. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) March 30, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Simon Kirke of Bad Company celebrates 50 years of the band's groundbreaking debut and Straight Shooter albums. As the only member featured on every Bad Company record, Kirke shares the stories behind classic tracks like “Feel Like Makin' Love,” “Shooting Star,” and “All Right Now.” He reflects on the band's formation, recording in Chepstow Castle, working with Peter Grant of Led Zeppelin, and performing “Whole Lotta Love” live with John Bonham just weeks before Bonham's passing. From rock radio dominance to personal recovery, it's a raw, insightful look into one of classic rock's most enduring legacies. ✅ Call to Action If you're a fan of classic rock history, songwriting legends, and epic rock 'n' roll storytelling, don't miss this one. Subscribe to Metal Mayhem ROC on YouTube, Spotify, Apple Podcasts, or wherever you listen. Leave a review, drop a comment, and share this episode to support the legacy of rock legends. ✅ Metal Mayhem ROC Links

Simon Kirke of Bad Company celebrates 50 years of the band's groundbreaking debut and Straight Shooter albums. As the only member featured on every Bad Company record, Kirke shares the stories behind classic tracks like “Feel Like Makin' Love,” “Shooting Star,” and “All Right Now.” He reflects on the band's formation, recording in Chepstow Castle, working with Peter Grant of Led Zeppelin, and performing “Whole Lotta Love” live with John Bonham just weeks before Bonham's passing. From rock radio dominance to personal recovery, it's a raw, insightful look into one of classic rock's most enduring legacies. ✅ Call to Action Don't miss this one if you're a fan of classic rock history, songwriting legends, and epic rock 'n' roll storytelling. Subscribe to Metal Mayhem ROC on YouTube, Spotify, Apple Podcasts, or wherever you listen. Leave a review, drop a comment, and share this episode to support the legacy of rock legends. ✅ Metal Mayhem ROC Links

Text: Psalm 95The Book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom, and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.  Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) March 23, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Deborah Bonham: A Life in Music – From Shadows to SpotlightFew artists can claim a journey as rich and dynamic as Deborah Bonham. Growing up in the shadow of one of rock's greatest legacies, she forged her own path, showing early promise as an opera singer before stepping into the world of blues, rock, and soul. From the success of her 1980s debut For You and The Moon to the latest Bonham Bullick album, Deborah's career has been one of passion, evolution, and authenticity.In this special feature, we take a deep dive into her life in music—exploring the highs, the challenges, and what the future holds. A captivating and all-encompassing conversation with an artist whose voice and spirit continue to shine.

Text: Psalm 51The Book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom, and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.  Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) March 16, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Preview from the upcoming show with Deborah Bonham and here she talks about the new Led Zeppelin biopic "Becoming Led Zeppelin" Full show coming soon ...

Come join us for a great time of coffee and music on coffee with the kayes. In this episode we will discuss "Becoming Led Zeppelin" along with the movie "A Complete Unknown" about Bob Dylan,Where were the Kayes Lately,Rebel Dog Coffee,Grounds and Hounds "The Beast" coffee,Our Florida snow,The influence of John Bonham,Jimmy Page,Constant practice and passion,student expectations,we are not a talent agency,life long learning,mastering an instrument,you don't know what you don't know,Bonham techniques,practice,gifted students,developing that gift,John Paul Jones,Zeppelni reads music,Paul McCartney's approach,musical theft,the drummers for James Brown,Little Richard's influence,who's the King of Rock and Roll?,the influence of Black music,a complete unknownKyle's childhood connection to the movie,amazing acting,learning to play the guitar,what's up in Football?,was the superbowl rigged?'the Chiefs slipping by,Saquon Barkley,Jalen Hurts,refereeing in the NFL,Tom Brady,Miles Garrett's trade request,and The Cleveland Browns rank 30th in player perspective

Text: Psalm 19The Book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom, and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.  Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) March 9, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Bonham, Joe Perry Project and Savatage plus new Robin McAuley and more! 

Rich and Jim talk with Sugarland's Travis McNabb for an epic conversation diving deep into the world of professional drumming, music scenes, and a life dedicated to rhythm.    Highlights include:   [0:05:00] Travis's Musical Origins: Growing up in a musical family and discovering drums [0:25:00] Drumming Philosophy: The importance of feel, groove, and professionalism [0:48:00] Career Lessons: Humility, relationships, and never burning bridges [1:00:00] Recording Insights: Working with artists like Megan Maroney and Christian Bucha [1:25:00] Sugar Land and Jennifer Nettles: Behind-the-scenes stories [1:40:00] Favorite Drummers: Discussion on Ringo Starr, John Bonham, and Zigaboo Modeliste [1:49:00] The Beatles Conversation: Influences and musical impact   Special moments include Travis's vintage drum collection, studio setup, and candid stories from decades in the music industry. A must-listen for drummers, musicians, and music lovers!   Travis McNabb (born November 18, 1969) is an American drummer and percussionist. McNabb is perhaps best known as a longtime member of the band Better Than Ezra, although he has performed session and touring work with many acts during his career. Prior to joining Better Than Ezra in January 1996, McNabb toured with acts such as Vigilantes of Love, Beggars, and seminal Oregon-based punk rock band The Wipers. Since mid-2007, he has been the full-time touring drummer with Grammy-award winning Country/Bluegrass act Sugarland.     Some Things That Came Up:    -8:00 The home studio -13:14 Dave Elitch and burying the beater  -15:00 Bonham! -16:00 Bass Drum Sizes -19:15 Big Fat Snare Drum's “The Shining” snare muffler -23:00 The oddity of A+F Drums  -25:30 Travis is NOT afraid to DRESS  -28:40 Travis' musical family  -37:30 The Alex Van Halen Tribute Show 2015 -35:50 The Better Than Ezra “China Lick” manifests  -43:40 The Police Duran Duran…the band mentality! -45:00 Megan Moroney -48:00 Read The Room! Two Ears/One Mouth! -49:00 Kenny Aronoff vs. Jim Keltner. TWO methods, BOTH work  -60:00 The Nashville Number System in ACTION!  -67:00 The credits thing… -76:00 David Bowie Tribute Show  -78:00 Wikipedia -83:00 Jennifer Nettles -85:00 The Cliques? -89:00 Travis McNabb Drum Clinics?  -94:15 The Fave 5 -112:00 The Ludwig Club Date Series  -114:00 Hard Rock Cafes!     Follow:  www.travismcnabb.com IG: @travnabb   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.itsyourshow.co

Text: Psalm 130The Book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom, and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.  Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) March 2, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Text: Psalm 23The Book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom, and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.  Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) February 23, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Text: Psalm 100The Book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom, and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.  Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) February 16, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

In this episode of Health Coach Conversations, Cathy Sykora speaks with Erica Bonham, a certified EMDR clinician, consultant, and trainer. Erica discusses the misconceptions around self-affirmations in trauma healing and the importance of nervous system regulation, somatic therapy, and EMDR for deep, lasting recovery. In this episode, you'll discover: How Trauma Gets Stored in the Body: Why trauma doesn't respond to logic and reasoning and how it manifests in different ways. The Role of Nervous System Regulation in Healing: Why regulating the vagus nerve is essential for trauma recovery. Why Self-Affirmations Alone Don't Work: The science behind why trauma isn't stored in the logical part of the brain. The Power of Somatic Therapy & EMDR: How eye movement desensitization and reprocessing (EMDR) and parts work help release stored trauma. Practical Tools for Trauma Healing: Simple body-based exercises for regulating the nervous system and creating a sense of safety. Memorable Quotes “Trauma happens and is stored in the body. If we don't bring in nervous system regulation, we're just stewing in our thinking.” “You can't self-affirmation yourself out of trauma. It's a top-down process. Trauma needs a bottom-up approach, engaging the nervous system and body.” “If you actually give yourself just a few seconds, even that literal pause, you can calm yourself down, be emotionally centered, and stop choosing quick solutions or reacting.” Bio Erica Bonham is a certified EMDR clinician, consultant, and trainer, as well as a licensed professional counselor in Colorado. She specializes in working with the LGBTQ community, abuse recovery, and trauma related to social and racial injustice and spiritual abuse. She incorporates yoga, mindfulness, somatic therapy, attachment-based EMDR, ketamine-assisted psychotherapy, and ego state work to deepen healing. Erica is a published author and speaker, and she is the creator of the courses Cultivate Your Inner Badass and Healthy Hope: EMDR Best Practices for Healing Spiritual Trauma. She co-created Healing Racial Trauma with Somatic Therapy with Dr. Chinwe Williams. Mentioned in This Episode: Erica Bonham's Website: Avos Counseling Cultivate a Badass Nervous System (Webinar): Sign up here Free Polyvagal Resources & Audio Meditations: Get them here Links to Resources: Health Coach Group Website: thehealthcoachgroup.com Special Offer: Use code HCC50 to save $50 on the Health Coach Group website. Leave a Review: If you enjoyed the podcast, please consider leaving a five-star rating or review on Apple Podcasts.

Text: Psalms 1The book of Psalms is a rich and thought-provoking book that has inspired believers for generations. More than a book of lamenting, Psalms has songs and poems full of rich calls to worship, repentance, wisdom and reflection. This series we will learn about some practical applications to worship and spiritual growth by gleaning from the Psalms.. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) February 9, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

Send us a textAhh, Paris! Every February, the classic and collector car world converges on the City of Lights for Rétromobile- a massive assemblage of the best offerings in every category of automobilia. It's also the site of Bonhams Cars Grand Palais auction, which has something for every taste, from the horseless carriages of the 19th Century to the supercars of today. In this episode, Eric Minoff of Bonhams Cars joins us with a bevy of selections from this year's catalogue. Some of the picks may surprise you, from vintage racers to turbo titans. You're sure to find a favorite, so listen and bid accordingly.VISIT BONHAMS CARS and follow along:https://cars.bonhams.com/auction/30406/les-grandes-marques-du-monde-and-224-paris/BONUS LISTEN! Maurice Merrick and Michael Emery on the SLOW BAJA Podcast:https://podcasts.apple.com/us/podcast/slow-baja/id1511808843?i=1000678950029BECOME A PATRON:https://www.buymeacoffee.com/hpheritageSUBSCRIBE to Horsepower Heritage on YouTube:https://www.youtube.com/@horsepowerheritageFIND US ON THE WEB:https://www.horsepowerheritage.comINSTAGRAM: @horsepowerheritageHORSEPOWER HERITAGE is created, produced and hosted by Maurice Merrick.Get in touch with Maurice:https://horsepowerheritage.com/contactSupport the showHELP us grow the audience! SHARE the Podcast with your friends!

Text: Habakkuk 3Everywhere we look there's injustice, brokenness, pain, and suffering. It's hard to see good and harder to imagine there's a good God who loves and cares for people when we see all the injustice that we do. There was a prophet in the Old Testament named Habakkuk that had a hard time seeing God's goodness in the midst of evil, too. This series looks at his life and ministry and helps us to see how God is still working in this world and how He plans to bring healing. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) February 2, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

In this episode, we sit down with drummer Hubert Payne, who shares his remarkable journey from a promising football career to becoming a sought-after session musician and the drummer for the Grammy-winning band Little Big Town. Hubert opens up about the gut-wrenching transition from sports to music, the humility he found in drumming, and how he's leveraged his diverse skills to build a multifaceted career. Hubert Payne, Nashville based drummer. Currently the drummer for Grammy Award Winning artist's Little Big Town. Has worked with David Nail, Casey James, Josh Gracin, Keb Mo', Jana Kramer, The Oak Ridge Boys, Love and Theft, Hunter Hayes and more. From dirty grooves to train beats I'd love to make as much music as possible! You will receive the isolated unmixed multitrack wav files for 1 song via dropbox upon completion of the session. Any revision requests will be made happily! Pro gear, kits from Bonham to Questlove available recorded in top notch Nashville studio.    -Some Things That Came Up:  -2:30 Hubert and Rich met when he was playing with Katie Armiger in the early 2000's -3:30 Hubert played football at Saginaw Valley State University and had his sights set on going pro. -4:20 Transferred and played football at MTSU -5:00 Detroit Lions -7:30 Identity was wrapped up in football -8:45 Hubert's Dad was a pro drummer with The Dramatics, Dr. Dre and Snoop Dogg  -11:40 Rich made Hubert dangerous? -14:10 Little Big Town has been very supportive and helpful to Hubert's other goals -18:00 Director of Sports Performance at a facility in Orlando -19:00 Musicians are so creative and resourceful. No limiting mindsets -20:30 Throw your hat in the ring! Why Not me? -21:30 On Site Workshops. Connecting to our authentic self -26:00 Protecting ourselves from trauma -27:00 Transactional Analysis (The Parent-The Child-The Adult) -28:00 Playing on Lower Broadway in Nashville helped with skill acquisition -30:15 The Little Big Town audition came through Seth Rausch -33:40 Take responsibility for your inspiration  -38:30 Hubert's family drives him -40:20 Hubert speaks to college athletic organizations highlighting transferable skills -45:15 Hubert has spoken at Universal Studios in Florida on mental health and high performance -51:15 Hubert's own project as a leader is called The Network -54:40 Playing with Keb Mo, Oak Ridge Boys, etc. -56:40 Playing with Hunter Hayes -1:01:45 Hubert wants to be Christ-like. That's the highest level of performance    Follow:  Airgigs.com soundbetter.com   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Produced by Jim McCarthy and It's Your Show dot Co:   www.jmvos.com www.itsyourshow.co  

Text: Habakkuk 2:2-20Everywhere we look there's injustice, brokenness, pain, and suffering. It's hard to see good and harder to imagine there's a good God who loves and cares for people when we see all the injustice that we do. There was a prophet in the Old Testament named Habakkuk that had a hard time seeing God's goodness in the midst of evil, too. This series looks at his life and ministry and helps us to see how God is still working in this world and how He plans to bring healing. Come visit us in person! To learn more about our church visit: https://www.wearebethany.com THIS SERMON CAN BE VIEWED ON OUR YOUTUBE CHANNEL:https://www.youtube.com/channel/UCqmshgH0JLqxzRXiEr2QktQ Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) January 26, 2025Worship Service of Bethany Baptist Church (Wendell, NC/Raleigh, NC) Come visit us in person! To learn more about our church visit: https://www.wearebethany.comFollow us on Facebook and Instagram

"Up in Oregon, sixty miles from that old dam site, adult Chinook salmon were swimming in the Klamath River. It happened in ten days, when our scientists were saying it might take ten years." The largest dam removals in history just took place on California's Klamath River. In the latest episode of Rewilding the World Ben Goldsmith talks with Chuck Bonham, Director of California Fish and Wildlife, about this iconic moment, and about the recovery of salmon, beavers, wolves and other wildlife in the Golden State.This podcast was recorded before the wildfires happened in California. Our thoughts are with all the victims of these tragic events.Ben Goldsmith is a British financier and rewilding enthusiast. Join him as he speaks to people from all over the world who champion nature and are helping to restore habitats and wildlife to some of the most nature depleted parts of our planet.This podcast is produced by The Podcast Coach. Text Rewilding the World here. Let us know what you think of the podcast and if there are any rewilding projects you would love Ben to feature in future episodes. The Conservation Collective support locally-led environmental Foundations around the world. Together we'll protect and restore the wild places we know and love.