Podcasts about Boyd

Your Huckleberry says "NO" to The Great White North. The Artist is in praise of older women. Mex then contemplates whether a sloth can dunk and if he should frag Pvt. Boyd.

Valparaiso women's basketball coach Courtney Boyd sits down with The Victory Bell: The Podcast to discuss her first summer on campus. Boyd walks through how she constructed the 2025-26 roster and discusses her philosophy heading into her first year leading the Beacons. Paul Oren also previews some upcoming coverage and reflects on a weekend spent in Indianapolis surrounding the WNBA All-Star Game and TBT. Host: Paul OrenGuest: Courtney BoydFor more coverage of Valparaiso athletics, visit TheVictoryBell.com Get full access to The Victory Bell at www.thevictorybell.com/subscribe

This Week In Fantasy Baseball - John Ke (@thejohnke) and Patrick Fitzgerald (@PFitzgerald_99) catch you up on everything in "This Week in Fantasy Baseball"! John and Patrick are back after the All-Star Break, covering injury updates and a few deep-league streamers for next week! Plus, who's surging and who's sinking after the first half of the season, and what can we expect to see from a few top-100 draft picks in the next two months?  Timestamps:5:48 - Injury News11:19 - Riley Greene17:41 - Andy Pages24:04 - Willy Adames29:34 - Oneil Cruz35:42 - Kris Bubic40:18 - Matthew Boyd44:59 - Dylan Cease50:39 - Tanner Bibee55:44 - Streamers Subscribe: Apple Podcasts | Spotify | YoutubeConnect: @ThisWeekPL | thisweekplpod@gmail.com Join Our Discord & Support The Show: PL+ | PL Pro - Get 15% off Yearly with code PODCASTProud member of the Pitcher List Fantasy Baseball Podcast Network

This Week In Fantasy Baseball - John Ke (@thejohnke) and Patrick Fitzgerald (@PFitzgerald_99) catch you up on everything in "This Week in Fantasy Baseball"! John and Patrick are back after the All-Star Break, covering injury updates and a few deep-league streamers for next week! Plus, who's surging and who's sinking after the first half of the season, and what can we expect to see from a few top-100 draft picks in the next two months?  Timestamps:5:48 - Injury News11:19 - Riley Greene17:41 - Andy Pages24:04 - Willy Adames29:34 - Oneil Cruz35:42 - Kris Bubic40:18 - Matthew Boyd44:59 - Dylan Cease50:39 - Tanner Bibee55:44 - Streamers  Subscribe: Apple Podcasts | Spotify | YoutubeConnect: @ThisWeekPL | thisweekplpod@gmail.com Join Our Discord & Support The Show: PL+ | PL Pro - Get 15% off Yearly with code PODCASTProud member of the Pitcher List Fantasy Baseball Podcast Network

In 2019, Marcus Lattimore was inducted into the University of South Carolina Athletic Hall of Fame and it looked like one of the happiest moments of his life. Instead, he was at a major life crossroads as he battled the trauma from trying to figure out his identity away from football. Soon thereafter, Lattimore and his wife moved to Oregon and he basically scrubbed every trace of football from his existence. For so long, Lattimore was universally recognized and beloved back in his home state. People felt like they knew him because of what he did in a No. 21 jersey and what he said in press conferences after games. Turned out they didn't know much about him at all. Turned out he didn't even really know himself. Lattimore, who has been in Portland for the last five years, has made a whole new life for himself as a spoken-word poet and a speaker at drug and alcohol rehab centers. He recently published his first book titled "Scream My Name," a story of how one of the most prominent names in Palmetto State sports history found his true self and transformed his life. Lattimore's football career basically ended when he suffered a devastating knee injury in 2012 against Tennessee. "It's been a grueling experience, but it's definitely been worth it," Lattimore said. "I was dealing with a lot of uncertainty and a lot of existential questions that I wanted answers to. Like: Who am I outside of football? And what do I do outside of football? If you keep throwing those questions into the atmosphere, it's going to lead you somewhere." These are the same questions, and the same trauma, that confront high-profile athletes from all over when the cheering stops and they look in the mirror. Former Clemson star Tajh Boyd battled years of depression when his NFL aspirations were cut short and he tried to carve a niche in the real world. Lattimore is speaking for Boyd and many others when he reflects: "From a very early age, I thought that football was who I was as a human being. So when it's stripped away, there's a dying in a sense. Part of you dies. The old me died and I had to figure out how to go about life, how to resurrect as Marcus Lattimore without a football. Those were questions that I couldn't run from. "When you're 18 years old and you hear 60,000 people screaming your name, your brain changes forever. Pleasure was around every corner for me. You need a balance, and I couldn't find that balance at home." Lattimore also shares something that has never been revealed publicly: He committed silently to Clemson assistant Jeff Scott in the summer of 2009 before his senior year at Byrnes High School. He later signed with South Carolina, but he said he has a deep respect for Dabo Swinney and the culture he's built over 16 seasons as the Tigers' head coach.  

What does God see when He looks at you? In this powerful lesson, Brooks Boyd opens Scripture to remind us that our potential in Christ goes far beyond what we often imagine. Through biblical truths and practical encouragement, you'll be challenged to see yourself the way God does—created with purpose, equipped with gifts, and called to grow. If you've ever wondered, “Can God really use me?” or felt limited by your past, this message will inspire you to step forward in faith. Let the Word speak to your heart today and discover the incredible potential God has placed within you.

In 1949, film star William Boyd brought his most famous character, cowboy hero Hopalong Cassidy (based on a literary character), to television. The series was initially presented in the form of edited versions of the original films, then as a series of half-hour episodes from 1952 to 1954.

Investigative journalists and True Sunlight Podcast co-hosts Mandy  Matney and Liz Farrell — and attorney Eric Bland — are back at it, discussing the latest in crime, corruption and the courts.    In today's episode Mandy and Eric share an update in the Stephen Smith case, plus their stories from the very successful walk held over the weekend in Hampton, South Carolina, after the 10th anniversary of Stephen's death.  The event gathered over 120 people to walk in person and virtually raising over $12,000 for Stephen Smith's scholarship and investigation funds.  Seeing Sandy happy and meeting the new Agent in charge of Stephen's case is entirely encouraging.  Also on the show, we're looking at what went down last week in the Scott Spivey wrongful death case.  Plus Mandy and Liz ask Eric to explain South Carolina's citizens' arrest law, which is what Attorney General Alan Wilson's office used to as an argument against charging Weldon and Bradley.  And finally, Russell Laffitte and Alex Murdaugh will be celebrating a reunion this fall. Find out why to today's jam-packed show! ☕ Cups Up! ⚖️ Episode References Beth Braden's FB Post about “Walking with Stephen” Event

James Neveau joins Jeremy & Pat this week.  We recap a 3-3 week for the Cubs.  Boyd remains great! We head into the All Star break and preview the upcoming schedule. We speculate on the upcoming trade deadline.  Enjoy....and Go Cubs!

Episode Info Mary Boyd is a seasoned senior executive with over 30 years of experience leading businesses through transformative phases in their history that span invention, renovation, integration and rebuilding. Beyond her reputation for building, revitalizing, and integrating businesses, Mary has a proven track record of successfully translating strategic vision into reality. Her career is distinguished by spearheading large-scale operational, technological, and team transformations, driving significant growth and innovation across organizations. Mary's success lies in her ability to blend innovation with an agile approach, excelling at both seeing the big picture and identifying strategic opportunities in the finer details. Since 2006, Mary has held CEO, President and division leadership roles, consistently improving net income by optimizing channel economics, fostering best-in-class partnerships, building high-performance teams, and advancing operational excellence.  Mary currently serves as Chief Executive Officer of Hiscox USA, leading the business through its next phase of growth and commitment to supporting the small business landscape. In her role, Mary oversees the financial operations of Hiscox USA's nearly $1 billion commercial property and casualty business. She collaborates closely with her teams to drive near-term profitable growth while implementing a strategic vision that will markedly expand their reach to more of America's entrepreneurs. Mary joined Hiscox from Plymouth Rock Assurance Corporation, where she served as President and CEO of their Independent Agency Group, overseeing personal insurance and commercial auto businesses. Before that, she led Hartford's personal lines Direct-to-Consumer and Agency channels, following 15 years in high-net-worth personal lines. Mary began her insurance career at Chubb as an actuarial trainee, progressing through roles in Product and Pricing. She ultimately launched the Predictive Analytics practice for Chubb's Personal Lines division and later spent five years at ACE (now Chubb), where she served as President of their Private Risk Services division.  Mary earned her Bachelor of Arts degree in Applied Mathematics and Economics from Rutgers University. As a coach of youth sports, ambitious professionals, and entrepreneurs  Episode Highlights Introduction and Background Mary shares her experience and background in the insurance industry, highlighting her 30-year career and her role at Hiscox USA. Hiscox USA, part of a long-standing London-based company, started its operations in the US in 2006. Business Model and Growth Hiscox USA has transformed the small commercial business sector by offering online binding and digital partnerships, expanding its business to nearly a billion dollars. The company operates as an omnichannel business, engaging in direct sales, digital partnerships, and wholesale brokerage. Challenges and Opportunities The conversation touches on the challenges small business owners face, such as being underinsured, and how Hiscox aims to support them through education and tailored insurance solutions. The company is focused on being a leading insurer for entrepreneurs, emphasizing the need for holistic support beyond just sales. Innovation The discussion emphasizes the importance of AI and advanced tools in improving underwriting and efficiency across the insurance value chain. Hiscox has partnered with Google to leverage AI for better underwriting and insights. Future Outlook Mary discusses the future of Hiscox, highlighting the integration of data and analytics to enhance product offerings and maintain competitivenes. The company aims to continue its growth by being a better partner and protector for businesses, focusing on insights and protection rather than just speed. This episode is brought to you by The Future of Insurance book series (future-of-insurance.com) from Bryan Falchuk. Follow the podcast at future-of-insurance.com/podcast for more details and other episodes. Music courtesy of Hyperbeat Music, available to stream or download on Spotify, Apple Music, and Amazon Music and more.

i get together with my players to discuss the year of our Hyperborea campaign. It was really fun. Thank you to B.J. Boyd of the Arcane Alienist (https://creators.spotify.com/pod/profile/arcanealienist/), Dark Fluid of The Silver Key (https://darkfluid.substack.com/), Tim & Joe for joining me to discuss our thoughts. The game Hyperborea, created by Jeff Talanian can be found here -- https://www.hyperborea.tv/Today's art is the banner of my roll20 game -- stock art with added text from paint 3D . TJ does intro/outro music. You can send me a message (voice or text) via a DM on Discord, as an attachment to my email (gmologist@gmail.com) or to my Speakpipe account: ⁠⁠⁠⁠⁠⁠https://www.speakpipe.com/TheGmologistPresents⁠

In this episode, Kaavya sits down with Nicki Boyd, founder and managing partner of Sphera Partners, who shares her unique journey from a lifelong athlete to a seasoned investor now dedicated to the women's sports ecosystem. Nicki explains why investing in women's sports has transitioned from a DEI initiative to a compelling commercial opportunity, fully justified on an ROI basis, driven by a "flywheel" effect increasing fandom, production quality, and all three key revenue streams. They delve into Sphera Partners' "double bottom line" philosophy, their first investment in Upshot, a developmental women's basketball league in the US, and Nicki's long-term vision for both commercial success and societal impact in women's sports, focusing on community access, athlete well-being, and career transition.

Yucky, Stinky, Motives | Pastor Colton Boyd | Refuge City ChurchSupport the show

For the second hour of Terry Wickstrom Outdoors, Terry is joined by Nate Zelinsky from Tightline Outdoors, Jess Conley from JAX Outdoor Gear, and Brad Peterson of Brad Peterson Outdoors.  .  They talk about Fish Sonar and when it is and isn’t effective, smoking and grilling meats, and They give a fishing update on Union, Boyd, and Horsetooth reservoirs and talk about changing your presentation for the “dog days” of summer.

Chicago Cubs vs. NY Yankees MLB Pick Prediction by Tony T. Cubs at Yankees 1PM ET—Matthew Boyd will start for Chicago. Boyd has eighteen starts with an ERA of 2.52 and WHIP of 1.07. The left hander strikes out 23.2% with 5.6% walks. Ground balls are 36.6% with 0.87 home runs per nine innings. Max Fried gets the start for NYY. Fried got nineteen starts delivering an ERA of 2.27 with WHIP of 0.96. The lefty fans 23.6% with 5.1% walks. Ground balls sit at 51.8% with 0.68 home runs per nine innings.

Why is strength important for basketball players? And are the ways we currently evaluate strength relevant to the sport? As a coach or clinician, how do you toe that line between optimizing and improving movement, while still getting REAL training adaptations? And what's the difference between kinetic and regional interdependence, and why should you care? […] The post Jarred Boyd on Adaptive Intent, Mental Models, and Building Elite Basketball Players appeared first on Robertson Training Systems.

PARANORMAL ENCOUNTERS: Be Careful What You Wish For.  This episode will run on the PARAFlixx streaming network, TV Talk Show as hosted by Dr. Kelly on "Disembodied Voices", on Sunday, September 14, 2025 around 9:00 PM EST (Season 18, Episode 2).  Educational. Entertaining. Intriguing.Jill Shelley has always been interested in the paranormal as a young child.  Her first experience early on fueled her passion for the paranormal.   In 2010, she met a great group of people with the same passion for the paranormal and formed a team called St. Croix Paranormal.  The group traveled all over the US to well-known haunted locations in search of answers.  They were featured on a television biography channel, called, "MY GHOST STORY", and from this, produced their own local cable show called Paranormal Patrol.  It was in their travels that she realized she wanted to have her own haunted location to research and allow others to do the same.  In 2018, she was able to fulfill her dream by purchasing the Boyd House, Boyd, Minnesota and in 2023, in Keithsburg, Illinois, a Masonic Lodge.  Both buildings are highly active.WEBSITESwww.boydhouse217.comwww.haunted1861masonic.comCONTACTFACEBOOK or on her WebsitesEVENT - September 27, 2025Boyd Paranormal Convention, Boyd, MinnesotaContact her or look on her website for tickets.To learn more about me, read my biography at www.paranormaluniversalpress.com.  Click on the upper right Podomatic button to go into my podcast site to hear my guests.  View my books on my website or go to Amazon.com.  Copyrighted. Go to Amazon.com, Kindle, Barnes & Noble to purchase. PLAY, LIKE, FOLLOW, and SUBSCRIBE to this program to be notified of future episodes. Doing so is FREE.TO WATCH GUESTS ON "DISEMBODIED VOICES" TV TALK SHOWTake a moment to WATCH my guests visually in a personal interview.  Jill Shelley can be visually seen on PARAFlixx (www.paraflixx.com) on September 14, 2025, Season 18, Episode 2.  Shows are scheduled to launch at 8/7 Central (USA time).  Shows remain on PARAFlixx indefinitely until changes to remove are made.  Please allow an additional day in the event the show does not get launched as scheduled due to unforeseen circumstances "by the network."DETAILS FOR 3-DAY FREE TRIAL and SUBSCRIBING to PARAFLIXXON INITIAL PAGE - Go To The Bottom (see free trial box)IF SUBSCRIBINGEnter into your search bar this campaign link:  https://bit.ly/3FGvQuYDiscount Code = DV10$4.99/month (U.S.); discount is 10% off first three monthsCancel AnytimeWAYS TO ACCESS SHOWS - go to www.paraflixx.com.  Find my show by going to the upper left corner, click on BROWSE.  Scroll down to TALK SHOWS.  "Disembodied Voices."  

In this mini-episode, I sit down with Jáiz Boyd of Birds In The Coast to talk about Patio Theory — a summer event series that's all about good music, good people, and bringing West Coast backyard vibes to the heart of Spokane. We dive into the origin of the event, the vision behind it, and how it's creating space for community, collaboration, and culture to thrive in the Lilac City.Whether you're into G-Funk, 90s hip hop, or just want to be part of something authentic and local, Patio Theory is a vibe you don't want to miss. Catch the next one this Saturday at The Chameleon. Doors at 7PM. 21+. $10/$12 cover.

In this episode of Recycled Content, host Kara Pochiro is joined by Meredith Boyd, Executive Vice President and Chief Product Officer at Unifi, to discuss the innovation behind REPREVE®, which received the APR Recycling Technology Innovation Award. Together, they explore how REPREVE® has transformed textile recycling by leveraging multiple sources into different sustainable fibers. Meredith shares insights on the importance of transparency, sustainability, and market diversity in building a true circular economy, as well as why textile recycling is about longevity, rather than “downcycling.” The conversation highlights how policy and mindset shifts drive change, the challenges of the recycling industry, and offers insights into what the future holds for textile recycling. Tune in!

Laurence Holmes & Matt Spiegel play some of their interview from earlier this year where he discussed what it means for him to be a Cub.

Episode 250 - The Thinklings Podcast Welcome to Episode 250 of The Thinklings Podcast! It's a special one—our 250th episode! We continue the summer style with books, laughter, and Scripture. Thinkling Little and Boyd each share a book they've been reading, and Thinkling Carter brings us home with a devotional from James 1. Thanks for joining us for this milestone episode!

You might be surprised to learn what the biggest challenge manufacturers say they're facing right now. The talent gap comes up a lot on this podcast, but early survey findings from the New American Industrial Alliance (NAIA), show that “access to capital” is really what holds most mid-market manufacturers back.In this episode, we sit down with the CEO and Co-Founder of Sustainment, a software company that helps manufacturers manage supplier data, sourcing, and procurement in one centralized platform. As someone partnered with NAIA, Bret takes us through what the findings reveal about procurement and supplier challenges, technology adoption, and plans for the future.In a previous life, Bret was an Army infantry officer and served four tours in Iraq, which taught him a surprising amount about leadership and business. He shares his unique perspective on running a mission-oriented business that aims to support the resurgence of American manufacturing.In this episode, find out:Bret shares a little background on his military career and why he eventually wound up in the technology and defense manufacturing spaceThe biggest lessons Bret learned in the military about business leadership, creativity, initiative, and problem-solvingWhat led Bret to build Sustainment and how it solves wider problems facing American manufacturersWhy manufacturing and supplier relationship management is a team sport between procurement, suppliers, supply chains, and manufacturersBret explains why he partnered with the New American Industrial Alliance (NAIA) to help support a community of manufacturersWhy mid-market manufacturers are the backbone of the industry – plus how the industry is facing a resurgenceWhat the early findings of NAIA's survey reveal and why the workforce may not be the number one challenge we thought it wasHow manufacturing's success ties into the capacity and availability of materials and equipment, with a story of how COVID affected manufacturingWhat the survey tells us about manufacturing and new technology adoptionHow manufacturing leaders can tell their story and change the general public's view on what this industry is like todayWhat the survey shows about manufacturing's procurement outlook on tariffs, supply chains, and reshoringWhat manufacturers can do to prepare for the next 20-30 years and the tools they need to succeedEnjoying the show? Please leave us a review here. Even one sentence helps. It's feedback from Manufacturing All-Stars like you that keeps us going! Tweetable Quotes:"The combat power in American manufacturing is in entrepreneurial, small businesses spread throughout middle America... 70% of manufacturing employees work in the small business segment.""Manufacturing in this day and age is a high-tech industry... these are super high- paying jobs, working in high tech that allow you to build a great depth of knowledge and great skills.""Manufacturing gets done in a community. Every single OEM relies upon a trusted network of contract manufacturers and suppliers and people that are essential to what they sell to their customers."Links & mentions:Sustainment, an SRM for improving your sourcing and procurement efforts with tools built specifically for managing suppliers within manufacturingNAIA, New American Industrial...

Karen Boyd and I talk about how to use AI ethically and effectively. Here's a link to her websites: https://www.linkedin.com/in/drkarenboyd/https://drkarenboyd.com/bloghttps://drkarenboyd.com/missionfirstThinkpic.org

Dr Liberty Boyd (pronouns: she/her) is a conservation biologist and ocean adventurer, working with sea turtles in South Florida, USA for her post-doc research project. She brings her energy and enthusiasm to the #itsawildlifepod and we talk about – ·      Her journey to work with wildlife·      Transitioning from your PhD into a post-doc and careers in academia·      Her advice for aspiring conservationists and biology students#ITSAWILDLIFE#itsawildlifeis a platform supporting you to start and sustain your career with wildlife. Whether you're just starting out or you've been about the traps for a while, you're in the right place! Tune in each week to talk all things wildlife conservation work - amazing projects to expand your experience, inspiring ecologists to grow your network, and step-by-step advice to magnify your impact and land your dream job with wildlife! FREE RESOURCES:Feel like you've tried everything to land your dream job in wildlife conservation? We got you!struggling to get your foot in the door and find paid work with wildlife? or searching for strategies to battle burnout, maintain your momentum, magnify your impact – and create a more sustainable and successful career?so, what's the next step?✨⁠⁠⁠⁠⁠Book a free clarity call⁠⁠⁠⁠⁠ for personalized career pointers- DM me on ⁠⁠⁠⁠⁠Instagram @itisawildlife⁠⁠⁠⁠⁠ or email itsawildlife3@gmail.com✨Head to the⁠⁠Linktr.ee website⁠⁠ to find career advice from wildlifers on⁠⁠Conservation Careers⁠⁠ and funding opportunities in conservation on⁠⁠environmentalgrants.org⁠⁠✨Check out our free resources on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pinterest @itisawildlife⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SUPPORT & CONNECT:Want to hear more from Liberty? Follow her on Instagram @libertyology or TikTok @libertyology, or email her here: libertyology@gmail.comIf you like what you hear, please subscribe, rate and review to support the show and share the love with your network.We'd love to hear from ya! Get in touch by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠email⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ itsawildlife3@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram @itisawildlife⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ DMCan't wait to connect!

Kyle Stanley, from The Setup Man Podcast, joins Jeremy & Pat this week.  We recap a 5-1 homestand for the Cubs, winning series against Cleveland and St Louis.  Amazing week for Boyd, PCA,  and Michael Busch.  Cubs All Star selections and snubs. Stan Hack profile & More.  Enjoy....and Go Cubs!

St Louis Cardinals vs. Chicago Cubs MLB Pick Prediction by Tony T. Cardinals at Cubs 6PM ET—Erick Fedde is starting for St Louis. Fedde in seventeen starts delivers an ERA of 4.56 with WHIP of 1.42. The right hander fans 14.3% with 10.3% walks. Ground balls dished at 38.5% with 0.97 home runs per nine innings. Matthew Boyd starts for Chicago. Boyd has seventeen stats with an ERA of 2.65 and WHIP of 1.08. The left hander strikes out 22.1% with 5.6% walks. Ground ball rate of 36% with 0.91 home runs per nine innings.

Investigative journalists Mandy Matney and Liz Farrell continue their in-depth, real-time reporting on the Scott Spivey shooting case (aka the Horry County Police Department public corruption case).  On this week's episode: Was Heather Weisz from South Carolina Attorney General Alan Wilson's office working as a prosecutor or Weldon Boyd and Bradley William's free defense attorney?  Also on the show, the first part of True Sunlight's deep dive into the so-called star witness for Weldon and Bradley. Other than Weldon, Witness No. 1 is the only other person who called 911 to report Scott for driving erratically and allegedly pointing a gun at people. Does Witness No. 1's account hold up after looking at the evidence? Photos taken by the shooters, surveillance footage, Weldon's recorded calls, body camera footage and a second by second breakdown of what happened on Camp Swamp Road tell a different story.  Plus! We're sharing part of our Premium Dive on Jury Duty from LUNASHARK Librarian Kate Thomas. Kate's episode is chock-full of info on why Jury Duty is so important, though flawed at times, and also features an interview with Jim and Meredith Bannon from the Bannon Law Group - our first advertisers and our besties.   Learn more about Premium Membership at lunashark.supercast.com to get more Premium bonus episodes like the Corruption Watchlist, Girl Talk, and Soundbites that help you Stay Pesky and Stay in the Sunlight.  Let's dive in!

Longwood Lancer's assistant coach, Ivana Boyd, shares her insights on how players can truly elevate their game during the offseason. We break down the power of 1v1 situations for honing individual skills, explore effective drills that translate directly to game performance, and discuss the immense benefits of small-sided games for developing basketball IQ and individual skills.This episode is sponsored by the Dr. Dish Basketball Shooting Machine, the #1 shooting machine in the world! Mention "Quick Timeout" and receive $300 off on the Dr. Dish Rebel, All-Star, and CT models.If you're already using tools like FastDraw, FastScout, or FastRecruit—you know how essential they are to your workflows. And now that they're fully part of the Hudl ecosystem, they're more powerful than ever. From film and play diagrams to scouting reports and custom recruiting boards, everything flows together. One system. Built for high-performance programs. Learn more at hudl.com/aquicktimeout.

Episode 249 - The Thinklings Podcast Welcome to Episode 249 of The Thinklings Podcast! This week's summer-style episode continues the fun, books, and Scripture rhythm! Thinkling Boyd and Carter each bring a book to discuss, and Thinkling Stearns wraps things up with a devotional from 1 Timothy 3. Thanks for listening to this week's episode!

We're sitting down with Malcolm Boyd, the new Head Coach of the Woodmont Wildcats, for a can't-miss conversation about the future of the program and the journey that led him here.A Dorman alum and former Liberty University standout, Coach Boyd brings energy, experience, and a clear vision to Woodmont. In this exclusive interview, we talk:

Kay is still on her terribly important work assignment to Rimini this week, so beams into the studio on the airwaves as she, James and Boyd discuss everything from Boyd's new foray into the world of video influencers to Kay's poolside celebrity encounters. We're also joined on the show by Such Brave Girls creator/star Kat Sadler (31:25-50:35), as we tackle that show's second season (1:20:18), plus in a bumper review episode, we dive back into Squid Game on Netflix (1:14:26), The Bear on Disney+ (1:00:44) and Aussie crime thriller Scrublands on BBC2 (1:28:56).(Episode 343)Note: time stamps are approximate as the ads throw them out, so are only meant as a guide. If you want to avoid this and would like the podcast entirely ad-free (as well as 17 hours early, with a second weekly show and spoiler specials) then sign up to Pilot+!

Caffeinators, this is a HEAVY episode. But it is one you ABSOLUTELY need to tune in to. You may remember our episode with Kelly Foltz from 2023 where she touched on the idea of futile care and has since been involved in researching this topic (link below). In this most recent discussion we try to define and label this idea, which proves to be very tricky and as yet is still undecided. But the fact remains, as evidenced by her research, we all have, or will, experience futile care in veterinary medicine. That "why are we doing this" patient. This episode starts that discussion and hopefully many more because we need to be preparing all future veterinarians and credentialed technicians for this. We need to learn to identify it, talk about it, and develop steps to mitigate it because it is not going away. DO NOT miss this episode. Show Links: The first paper by Peterson et al focused on clinicians: https://avmajournals.avma.org/view/journals/javma/260/12/javma.22.01.0033.xml   The paper I co-authored focused on technicians: https://avmajournals.avma.org/view/journals/javma/263/4/javma.24.10.0659.xml; published this year.   Today's Veterinary Practice article, may be more accessible than the research papers: https://todaysveterinarypractice.com/practice-management/recognizing-futile-care-in-veterinary-medicine/   Hastings Center For Bioethics article by Dr. Peterson and Dr. Boyd: https://www.thehastingscenter.org/veterinarians-often-provide-futile-care-doing-so-comes-at-a-cost/   Marie Holowaychuk blog post: https://marieholowaychuk.com/2022/08/03/futile-care-and-the-impact-on-wellbeing-in-veterinary-medicine/   Practical Bioethics from 2023: https://www.practicalbioethics.org/whats-new/three-definitions-of-medical-futility-and-how-to-balance-them/   Human paper from 2005: https://pubmed.ncbi.nlm.nih.gov/16159066/   AMA paper from 2007: https://journalofethics.ama-assn.org/article/medical-futility-legal-and-ethical-analysis/2007-05 Our Links: Check out our sponsor https://betterhelp.com/vettechcafe for 10% off your first month of therapy Follow us on Facebook: https://www.facebook.com/vettechcafe Follow us on Instagram: https://www.instagram.com/vettechcafepodcast Follow us on LinkedIn: https://www.linkedin.com/company/vet-tech-cafe Like and Subscribe on YouTube: https://www.youtube.com/channel/UCMDTKdfOaqSW0Mv3Uoi33qg Our website: https://www.vettechcafe.com/ Vet Tech Cafe Merch: https://www.vettechcafe.com/merch If you would like to help us cover our podcast expenses, we'd appreciate any support you give through Patreon. We do this podcast and our YouTube channel content to support the veterinary technicians out there and do not expect anything in return! We thank you for all you do.

Would you like to learn how to motivate, elevate and activate Success Principles in Youth. Join special guest Stephen Boyd–Author, Pastor, Motivational Speaker and Educational Consulting and Leadership Trainer. Mr. Boyd shares Spiritual Principles that you can use personally but also share with Youth to help them navigate and elevate their lives. You will also learn how to have “Contagious conversations, connections and communications” with Youth. As a parent, teacher or mentor, you will be given specific strategies that will help you to coach, empower and teach Youth. Lastly, Mr. Boyd shares his expertise with educators on how to implement transformative teaching and leadership in the classroom. https://www.loaradionetwork.com/constance-arnold

“Can we go back to some place that resembles civilisation?” Boyd Stevens is the Sheriff of a small American town. It's a simple life for the town's folk, there's a diner, a nearby farm, a clinic for any ailments and a house up on a hill. Everything is perfect…until the Sun goes down and monsters come out of the woods. The Matthews family are embarking on a camping trip in their trusty RV, but their travel plans are scuppered when they come across a fallen tree. Seeking a route back to the highway, they come across Boyd and the town's people and look to them for help & directions. As they go round in circles, a near miss with another vehicle changes everything. Also on this episode: Harold Perrineau's long overdue Introduction Biography, TV driving pet peeves, future bonus episodes? Where to find ‘Fromville', The Shining references? I flip flop on the pronunciation of one of the character's names while also busting out a little bit of Latin and why the hell don't the town's people just move away? All of this and more on this special bonus episode, Outside Oz #6 Follow the show on Instagram, Threads & (ugh) Twitter - @insideozpodcast Follow the show on Bluesky - @insideozpodcast.bsky.social Email the show – insideozpodcast@gmail.com #InsideOz

Investigative journalists Mandy Matney and Liz Farrell have had enough with mainstream media. After a South Carolina judge dismissed Michael Colucci's murder charge last week in the strangulation death of his wife in 2015, Mandy and Liz noticed a trend … members of the media seemed to be deviating from the facts of the case in favor of carefully coddling Michael by pushing his narrative for him.  But for Sara-Lynn Colucci, they did no such thing. Instead they were careless with their words and grossly mischaracterized what her state of mind was in the weeks leading up to her death. After a special episode of Cup of Justice this week with Sara-Lynn's daughter, Bishop Venters, in her first public interview, the mission became clear. Bishop is ready to fight for justice for her mom. And she's going to need an army behind her to get S.C Attorney General Alan Wilson to focus on his job and present Michael's case to the grand jury again for a reindictment.  Also on today's show, we found YET ANOTHER moment on Horry County Police Department body cameras where Weldon Boyd got help from an officer at the crime scene with Scott Spivey's body sitting 30 yards away, shot to death by Weldon and his buddy Bradley Williams.  We're diving deep into assembling the timeline… Lots to cover so let's dive in!

While recently attending the Magic Collectors Expo in Las Vegas, we sat down with Connie Boyd to talk about her career as a successful magician on the Las Vegas Strip. But since semi-retiring from stage performing life, Connie has been the biggest advocate of spotlighting magical women both from our rich heritage as well as current and up and comers. During COVID she developed a YouTube channel that features performance reels of over 100 women that she has researched from our annals of history plus many whom she personally knows today. View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize Today Connie consults on magic acts with some magical women. She is a caring, giving, knowledgeable magician who is willing to pass on the skills and talents she has learned through the “school of had knocks” in life. She was trained for the ballet and performed with the circus until she fell during one of her aerialist performances in Houston, Texas. She tells us how she pivoted from dance to magic and made it a successful career. Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.

On today's program, Brady Boyd resigns from New Life Church. Boyd was on staff at Gateway during Robert Morris' tenure, and Elders now believe he misled the congregation about his knowledge of Morris's alleged abuse. We'll have details. Also, a court ruled that a lawsuit filed against Dave Ramsey can move forward. A former employee who was fired for being pregnant while unmarried is suing Ramsey for religious discrimination. We'll take a look. And, the sale of St. Louis FM radio station resulted in a standoff between two giants in Christian radio—K-LOVE and Joy FM Radio—and an almost $9 million price tag. But first, Christian YouTuber Kris ‘Kdub' Williams responds to rebuke following revelations of an affair. The producer for today's program is Jeff McIntosh. We get database and other technical support from Stephen DuBarry, Rod Pitzer, and Casey Sudduth. Writers who contributed to today's program include Jessica Eturralde, Kim Roberts, Bob Smietana, Kristen Parker, Shannon Cuthrell, Paul Clolery,  Brittany Smith, and Christina Darnell. A special thanks to The Banner and The NonProfit Times for contributing material for this week's podcast. Until next time, may God bless you.

Susan Ryan welcomes three trailblazers in the eldercare culture change movement to this week's episode: Joanne Rader, Charlene Boyd, and Rose Marie Fagan. Each guest has a distinct and storied history within the culture change movement, and each has taken an interesting and unique journey built on their pioneering experiences. Joanne Rader recounts her shift from rehab nursing to transforming geriatric mental health—moving away from restraints and toward truly personcentered care. Charlene Boyd shares how she led organizational change in longterm care settings, dismantling outdated practices to put residents first. Rose Marie Fagan reflects on her journey from teaching to eldercare advocacy, culminating in the formation of the national Pioneer Network. Together, they explore past challenges, celebrate hardwon successes, and cast a vision for continued communitydriven reform. Collectively, they recount the wins they have accomplished along the in transforming eldercare and improving quality, including the following: eliminating restraints and realityorientation protocols transforms quality of life; perspective shifts that views elders as full participants, not passive recipients in their care; the creation of grassroots forums and persistent advocacy that gave birth to the Pioneer Network and a national movement; and change that now demands risktaking, intergenerational partnerships, and amplifying elders' voices. In addition, they discuss their work in making “good trouble” that champions bold, disruptive ideas that advance personcentered care. Their call to action is to join them at the Center for Innovation conference this Aug. 11 to 14 in St. Louis, Mo. Don't miss the preconference session featuring Boyd, Rader, and Fagan, as well as many other pioneers who continue to mobilize the culturechange movement: https://cfi2025.org/.

Chelsea welcomes actor and documentarian Nicole Boyd to dig into “Uptown Girl,” the memoir of the supermodel Christie Brinkley. They unpack Christie's supermodel career, plus her 4 marriages and many wild romances. Get ready to jump on a boat with Billy Joel, and run into Whitney Houston, Elle MacPherson, and Muhammad Ali! Plus: magical sand that saves her from a traumatic helicopter crash and what it's like to get negged by Sylvester Stallone's brother. A content warning: This episode contains discussions of sensitive topics, including child abuse, diet culture, body image talk, and substance use. Take care while listening and find helpful resources here. Join the cookie community: Become a member of the Patreon Follow Chelsea: Instagram @chelseadevantez Show Notes: Nicole's Christie Brinkley Spreadsheet / Timeline Where to find our guest Nicole Boyd: Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Thrive Causemetics - Get 20% off your first order at thrivecausemetics.com/glamorous Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

One year ago today, Alex Meruelo walked away from his ownership of the Arizona Coyotes. One year later, the status of the Roadrunners' future in Tucson remains in question and the prospect of the NHL's return to Arizona is still uncertain. What's the latest with hockey in Arizona? Leah Merrall and Steve Peters reunite for a state of the union on all things AZ hockey. Plus, Scott Burnside joins the show to discuss Atlanta's quest for an NHL franchise and how it compares to the Valley's. An ALLCITY Network Production SUBSCRIBE to our YouTube: https://bit.ly/phnx_youtube ALL THINGS PHNX: http://linktr.ee/phnxsports MERCH https://store.allcitynetwork.com/collections/phnx-locker ALLCITY Network, Inc. aka PHNX and PHNX Sports is in no way affiliated with or endorsed by the City of Phoenix PHNX Events: Get your tickets to PHNX events and takeovers here: https://gophnx.com/events/ bet365: https://www.bet365.com/hub/en-us/app-hero-banner-1?utm_source=affiliate&utm_campaign=usapp&utm_medium=affiliate&affiliate=365_03485317 Use the code PHNX365 to sign up, deposit $10 and bet $5 to get $150 in bonus bets! Disclaimer: Must be 21+ and physically located in AZ. If you or someone you know has a gambling problem and wants help, call 1-800-NEXT-STEP, text NEXTSTEP to 53342 or visit https://problemgambling.az.gov/ Branded Bills: Use code BBPHNX at https://www.brandedbills.com/ for 20% off your first order! Gametime: Download the Gametime app, create an account, and use code PHNX for $20 off your first purchase. Circle K: Join Inner Circle for free by downloading the Circle K app today! Head to https://www.circlek.com/store-locator to find Circle Ks near you! When you shop through links in the description, we may earn affiliate commissions. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

Yeah, we'll make the same disclaimer we made the last time we talked about shoegaze. We know the term is polarizing. We realize that it was coined by the press as a term of derision for what had previously been known as "the scene that celebrates itself." Legend has it that writer Andy Ross first used it in a Sounds review to describe how Moose singer/guitarist Russell Yates was constantly looking down at the lyrics he had taped to the floor and/or his guitar pedals. But, face it, you hear the term and you know exactly what it is...ethereal vocals, woozy melodies, ear-piercingly loud, effects-laden guitars, all awash in a psychedelic haze. Nowadays, the bands that play this kind of music wear the "shoegaze" badge with pride. But the O.G.s had to walk so you could run, kids. Hence, this week we are celebrating some of the great shoegaze albums of the 1990s. Joining us is the singer/songwriter/guitarist of '90s Vancouver cult shoegazers Movieland, Alan D. Boyd. Movieland has been honored with the first installment of an archival series from 604 Decades that takes a look back at Vancouver's rich, if unexplored arts history. This rarities and demos collection, Then & Now, proves that they should have been at the top of the marquee during their time. ⁠https://movieland1990.bandcamp.com/album/then-now⁠ After Movieland disbanded in 1994, Alan moved to the UK, and has enjoyed a long career as an acclaimed composer for TV ("Day of the Triffids") and film ("Four Strings Good"), as well performing in the folk trio Little Sparta (also featuring Susie Honeyman from the Mekons). As you would expect during an episode on shoegaze, we divert our attention to Canadian pop stars, the other Movielands, and have a rare (maybe the first time?) double Triple Crossover! Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Geoff is joined by Amir, Allie, Anya, and Casey for the last FREE episode of The Headgum Podcast. They discuss moving to Patreon, play New Joyce, hear a brand new rice song, and Allie has a surprise for Geoff! Join us over on Headgum's Patreon!And tune into our YouTube channel for our livestream celebrating the launch! TODAY, Friday June 20 at 2pm PT / 5pm ET!!» FOLLOW Geoff on Instagram: https://www.instagram.com/geoffreyjames/» FOLLOW Amir on Instagram: https://www.instagram.com/amir/» FOLLOW Allie on Twitch: https://twitch.tv/gluingshitonpaper» FOLLOW Casey on Instagram: https://www.instagram.com/caseydonahue/» FOLLOW Anya on Instagram: https://www.instagram.com/radiofreeanya/Advertise on The Headgum Podcast via Gumball.fmRate The Headgum Podcast 5-stars on Apple PodcastsRate The Headgum Podcast 5-stars on SpotifyJoin the Headgum DiscordSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Is Michael Colucci finally going to trial for allegedly murdering Sara Lynn Colucci in 2015? Why does Weldon Boyd claim witnesses back up his story in the Scott Spivey shooting? Investigative journalists Mandy Matney and Liz Farrell discuss two separate but related cases in South Carolina that highlight obvious systemic failures within the justice system.  First, we focus on the upcoming retrial of Michael Colucci for the murder of his wife, Sara Lynn Moore Colucci, emphasizing red flags in his 911 call, his ‘gathering storm' of financial and stress leading up to her death, and the volatile nature of their relationship.  Then we examine the alleged wrongful death of Scott Spivey, critically analyzing Horry County Police Department's investigation, the inconsistencies in witness testimonies, and the actions of Weldon Boyd, exposing a potential cover-up and lack of thorough inquiry by authorities.  What does it take to achieve greater transparency and accountability in South Carolina's legal processes, particularly in cases involving influential men…? Let's dive in!

Investigative journalists Mandy Matney and Liz Farrell encountered something new on the JP Miller beat over the past week and it might just be his villain origin story. Myrtle Beach churchy-business bro “Pastor” John-Paul Miller — who stands accused of stalking and harassing his estranged wife Mica Francis and allegedly contributing to her death in April 2024 — got married this past weekend to his rumored longtime paramour Suzie Skinner — the widow of a quadriplegic man who was found dead at the bottom of his community pool in September 2021 (two weeks after he allegedly told JP to stay away from his wife and kids). The beach wedding appeared to be hastily pulled together and none of their combined seven children were seen at the wedding, according to sources. The big question everyone has on their minds after Sunday's nuptials: What are these two up to? Also on the show Mandy and Liz share more recordings in the Scott Spivey case (aka the Horry County Police Department corruption case). Turns out North Myrtle Beach businessman Weldon Boyd got even more help from police officers after he and his friend Bradley Williams shot and killed Scott on Sept. 9, 2023. LUNASHARK reporter and researcher Beth Braden discovered that about an hour after Scott was killed, HCPD Officer Kerry Higgs advised Weldon to stop talking because he might have to walk his story back later. Higgs told Weldon to wait for detectives to get to the scene because they would give him the timeline and chronology of events (presumably so Weldon could shape his narrative around it).  Meanwhile a detective with HCPD — the one who interviewed the only witness to see what Scott did (didn't do) in the very last moments of his life — filed a report mixing up the order of events in a way that only served to help corroborate Weldon's account … directly contradicting the witness' 911 call and his video interview.  Plus, we'll give an update on surprising news out of Houston, TX connected to the (2:32) Christa Bauer Gilley case. Let's dive in!