Podcast appearances and mentions of Brenda Lee

Con Edith Piaf, Julieta Laso, Danakil, Leo Dan, Francisco Heredero, Brenda Lee, Piero De Benedictis, Cocco Lexa, Andrés Do Barro, Juan Pardo, Joan Manuel Serrat, Kiko Veneno, Elsa Baeza, Angelillo, Imperio de Triana, Conchita Piquer, Federico García Lorca ft la Argentinita, Miguel de Molina y Alfonso Santiesteba.

Sintonía: "Indian Summer" - Bud Freeman"You Always Hurt The One You Love" - Connie Francis; "Crying In The Chapel" - Ella Fitzgerald; "My Boy Elvis" - Janis Martin; "Mambo Bacan" - Sophia Loren; "Lipstick On Your Collar" - Connie Francis; "Dynamite" - Brenda Lee; "Music! Music! Music!" - Teresa Brewer; "C´est si bon" - Eartha Kitt; "I Hear You Knocking" - Gale Storm; "Come On-A My House" - Rosemary Clooney; "I Cried A Tear" - LaVern Baker; "The Deadwood Stage (Whip-Crack-Away!)" - Doris Day; "Billy" - Kathy Linden; "Whatever Lola Wants (Lola Gets)" - Sarah Vaughan; "Cracker Jack" - Janis Martin; "Good Rockin´ Daddy" - Etta James; "Rockin´ The Blues" - Peggi Griffith; "(Mama) He Treats Your Daughter Mean" - Ruth Brown; "A Kiss And A Cuddle" - Diana DorsTodas las canciones extraídas de la recopilación (3xCD) "Fifties Girls - 75 Original Recordings On 3CDs" (Not Now Music, 2014).La primera parte de esta recopilación se emitió el 21/05/2025.Escuchar audio

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

Flesh & Blood, the third studio album by Poison, finds the group at the top of their form.  The team of Bret Michaels on lead vocals, C.C. DeVille on lead guitar, Bobby Doll on bass, and Rikki Rockett on drums had been quite successful in the glam metal genre of the mid-80's, and had developed a reputation for a "work hard, play hard" mentality.  While they had a legendary stage presence, they also were plagued with fights both within and outside of the band.  A number of lawsuits in various cities were predicated on Michaels' tendency to get into fights at parties and other events.  Despite these issues - or perhaps because of them - their reputation only grew over time. Flesh & Blood is an album that is more challenging musically than the earlier ones.  The band is toning down their glam metal persona and taking on more serious lyrical themes.  Songs cover a wide range from sex and motorcycles, to struggles with long term relationships, to frustration with the struggles seen in society.  The band would drop the excessive makeup of their earlier career, and found the songs on a more blues-oriented rock.  More piano work is included, with keyboardist John Webster contributing to the album sessions.The result was a success, reaching triple platinum status by 1991.  The album peaked at number 2 on the Billboard 200 chart and number 3 on the UK albums chart. This album would be a kind of high water mark for the group, as the industry was moving away from the metal sound of the late 80's and into the grunge sound of the mid-1990's.  However, the group would go on to record and tour into the new millennium, and Bret Michaels would become both a solo act and a celebrity with his MTV reality show "Rock of Love with Bret Michaels."Lynch brings us a look at a somewhat more mature Poison on this week's for today's podcast. Unskinny BopNot every song has deep or significant lyrics.  This hit single from the album started as a nonsense lyric, a placeholder that stuck.  The catchy repetition would make it a crowd favorite at concerts, and it was a top 10, going to number 3 on the Billboard Hot 100.Valley of Lost SoulsA deeper cut, this song lyrics talk about the life of a rock artist struggling to make it in a place without compassion.  It is a slower piece, but definitely not a ballad.  Life Goes OnC.C. DeVille brought the original draft of this song to the band.  The lyrics were inspired by a girlfriend of DeVille who was shot and killed in a California bar fight, and describe the quest for light at the end of a dark period in life.Something to Believe InThis ballad was the second single released from the album, and went to number 4 on the Billboard Hot 100.  Bret Michaels dedicated this song to his friend and bodyguard James Kimo Maano who had died previously.  The lyrics reflect the frustration in the failures of society, from poverty, to the treatment of Vietnam veterans, to the hypocrisy of televangelists. ENTERTAINMENT TRACK:You're In the Doghouse Now by Brenda Lee (from the motion picture “Dick Tracy”)This action movie based on the comic series from the 1930's starred Warren Beatty in the title role, along with Al Pacino and Madonna. STAFF PICKS:Ball and Chain by Social DistortionWayne kicks off the staff picks with a more alternative rock song penned by a punk rock band from their third and self-titled album.  The lyrics describe a hard luck story of a man who can't escape his difficulties.  It could be about a relationship, a rut in life, or about any vice that holds you down.Way Down Now by World PartyRob's staff pick is the first single from World Party's second studio album, "Goodbye Jumbo."  If you hear echoes of "Sympathy for the Devil," that is deliberate - though the song is much more upbeat.  It reached number 1 on the U.S. Modern Rock Tracks chart.  World Party is primarily a one-man project from multi-instrumentalist Karl Wallinger from the Waterboys.Tie Dye on the Highway by Robert PlantBruce brings us a song off plant's fifth studio album "Manic Nirvana."  The spoken line, "What we have in mind is breakfast in bed for 400,000." is from Wavy Gravy and the Hog Farm Collective, delivered at the Woodstock festival in 1969 announcing the intention to provide free breakfast to the crowd.  Kool Thing by Sonic YouthLynch closes out the staff picks with a song critical of the over-the-top masculinity of LL Cool J.  It was the first single from their sixth studio album, "Goo."  The track never mentions LL Cool J personally, but references a number of his works.  Chuck D. of Public Enemy provides the spoken vocals to the song.INSTRUMENTAL TRACK:Mildred Pierce by Sonic YouthWe double up on Sonic Youth as we end today's podcast with their instrumental based on a 1945 film noir starring Joan Crawford.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Sintonía: "Follow That Arab" - Corduroy "Sweet Nothin´s" - Brenda Lee; "Pink Shoe Laces" - Dodie Stevens; "Lucky Lips" - Ruth Brown; "I´ll Be True" - Faye Adams; "Broken Hearted Melody" - Sarah Vaughan; "Where Will The Dimple Be" - Rosemary Clooney; "I Can See An Angel" - Patsy Cline; "Tennessee Wig Walk" - Bonnie Lou; "Dreamboat" - Alma Cogan; "Kiss Me, Honey Honey, Kiss Me" - Shirley Bassey; "Memories Are Made Of This" - Gale Storm; "Walkin´ After Midnight" - Patsy Cline; "I Wanna Be Loved By You" - Marilyn Monroe; "This Ole House" - Rosemary Clooney; "Jim Dandy" - LaVern Baker; "Love and Marriage" - Dinah Shore; "You Always Hurt The One You Love" - Connie FrancisTodas las músicas extraídas de la recopilación (3xCD) "Fifties Girls: 75 Original Recordings on 3CDs" (Not Now Music, 2014)Escuchar audio

Send us a textOn this Episode Tom and Bert introduce "The Spotlight Series" on entertainment influencers thru the decades!There are Stories to tell and the Guys will cover and discuss the beginnings and the careers of some of the greatest influencers throughout ALL of the entertainment industry.Today's Podcast will cover 3 Legends of the Music scene from the early rock n roll and country music genres. These female artists are 3 icons from the 1950's and 1960's era. Patsy Cline, Brenda Lee and Connie Francis!Listen in as we cover these Ladies!CHAPTERS:(1:08) Patsy Cline- "The most popular Female Country Singer in recording History!"(9:23) Brenda Lee- "Little Miss Dynamite"(22:23) Connie Francis- "The Queen of Song"Enjoy the Show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

In this episode, Brenda shares her journey from heartbreak to healing — and how she turned her pain into unstoppable power. After a divorce, a career she didn't love, and years of battling fear and limiting beliefs, Brenda discovered her true calling: helping others step into who they were created to be, not who they were conditioned to be.She reveals how emotional intelligence unlocks freedom, why mastering your thoughts is the first step to change, and why imposter syndrome is a lie. Brenda opens up about overcoming fear, healing from a narcissist relationship, and reclaiming her worth — and she shares the tools that helped her (and can help you) flip the switch and finally live free.If you're ready to stop doubting yourself, silence comparison, and rise into the life you were made for — this conversation is for you. Get ready to unpack, level up, and step into unlimited power with Brenda!***If this episode helped you, or you think it will help someone else, please share and a 5 star review is much appreciated ⭐️⭐️⭐️⭐️⭐️

Aus der neuen «Rolling Stone»-Liste mit den angeblich 200 schönsten und wichtigsten Countryhits hören wir Perlen wie «I'm sorry» von Brenda Lee oder Alan Jacksons gefühlvolles «Drive (for Daddy Gene)». Ebenfalls dabei Willie Nelson mit seinem Durchbruchshit von 1975: «Blue Eyes Crying in the Rain».

Brenda-Lee Smith, BSN, CSA, CDP, CADDT, empowers San Diego seniors through Oasis Senior Advisors, offering personalized aging services. With a Bachelor of Science in Nursing focused on mental health care, she utilizes her extensive network to provide sustainable support solutions. Brenda-Lee's personal relationships with clients ensure respectful life transitions. An expert in creative problem-solving, intuition, and communication, she excels in client satisfaction. A confident public speaker, she shares her expertise as a compassionate leader in senior care. Website: www.oasissenioradvisors.com/local-advisors/coastal-san-diego Social media handles: LinkedIn: www.linkedin.com/in/brenda-lee-smith Facebook: www.facebook.com/OasisSanDiego

MUSICTool's first-ever destination festival took placeover the weekend in the Dominican Republic, and it appears that the band was Mastodon co-founder Brent Hinds hasleft the band after 25 years. “We're deeply proud of and beyond grateful forthe music and history we've shared and we wish him nothing but success andhappiness in his future endeavors,” Hinds' now-former bandmates wroteThe Sphere in Vegas hasrevolutionized the concert experience, but is facing financial problems afteropening its doors less than two years ago. FasterPussycat singer Taime Downe has been cleared of any wrongdoingin his fiancée Kimberly Burch's death.  You can be GeneSimmons's "Personal Assistant and Band Roadiefor the Day" TVTonight: The special Ringoand Friends at the Ryman airs on CBS. Guests include: SherylCrow, Jack White, Brenda Lee, Mickey Guyton, EmmylouHarris After its theatricalpremiere back in October, Cameron Crowe's 1983 directorial debut, 'Tom Petty:Heartbreakers Beach Party', is coming to Paramount Plus! Vanna White works34 days a year.  Lady Gaga hosted and wasthe musical guest on "SNL" this weekend.  She took shots at some of the things she's done in thepast like "Joker: Folie à Deux" and R. Kelly.  Martin Short and Meryl Streep attended thisweekend's "Saturday Night Live" together . . . soobviously they're doing it.   MOVING ON INTO MOVIENEWS:Gene Hackman died on February 18th, a full week afterhis wife Betsy Arakawa died, according to New Mexico's ChiefMedical Examiner.  Robert Pattinson's'Mickey 17' has dethroned Marvel's 'Captain America: Brave New World'three-week run at the top of the box office.  James Cameron says the next "Avatar" willbe longer than the last one, which was 3 hours and 12 minutes. AND FINALLYWith baseball seasonjust weeks away, the "Hollywood Reporter" put together a list of the 10 best baseball movies.  Andsomehow, "Major League" ISN'T on it.  Neitheris "The Sandlot".  Or "The NakedGun", which would be on EVERY best baseball movie list I wouldever, ever make.  AND THAT IS YOUR CRAP ONCELEBRITIES! Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC Tool's first-ever destination festival took place over the weekend in the Dominican Republic, and it appears that the band was   Mastodon co-founder Brent Hinds has left the band after 25 years. “We're deeply proud of and beyond grateful for the music and history we've shared and we wish him nothing but success and happiness in his future endeavors,” Hinds' now-former bandmates wrote The Sphere in Vegas has revolutionized the concert experience, but is facing financial problems after opening its doors less than two years ago.   Faster Pussycat singer Taime Downe has been cleared of any wrongdoing in his fiancée Kimberly Burch's death.   You can be Gene Simmons's "Personal Assistant and Band Roadie for the Day"   TV Tonight: The special Ringo and Friends at the Ryman airs on CBS. Guests include: Sheryl Crow, Jack White, Brenda Lee, Mickey Guyton, Emmylou Harris   After its theatrical premiere back in October, Cameron Crowe's 1983 directorial debut, 'Tom Petty: Heartbreakers Beach Party', is coming to Paramount Plus! Vanna White works 34 days a year.   Lady Gaga hosted and was the musical guest on "SNL" this weekend.  She took shots at some of the things she's done in the past like "Joker: Folie à Deux" and R. Kelly.   Martin Short and Meryl Streep attended this weekend's "Saturday Night Live" together . . . so obviously they're doing it.    MOVING ON INTO MOVIE NEWS: Gene Hackman died on February 18th, a full week after his wife Betsy Arakawa died, according to New Mexico's Chief Medical Examiner.   Robert Pattinson's 'Mickey 17' has dethroned Marvel's 'Captain America: Brave New World' three-week run at the top of the box office.   James Cameron says the next "Avatar" will be longer than the last one, which was 3 hours and 12 minutes.   AND FINALLY With baseball season just weeks away, the "Hollywood Reporter" put together a list of the 10 best baseball movies.  And somehow, "Major League" ISN'T on it.  Neither is "The Sandlot".  Or "The Naked Gun", which would be on EVERY best baseball movie list I would ever, ever make.   AND THAT IS YOUR CRAP ON CELEBRITIES! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Miss Heard celebrates Season 6, Episode 287 with Benny Mardones' yacht rock signature song “Into the Night”. You will learn he began his career as a songwriter for people like Brenda Lee and Chubby Checker and why this hit has something in common with Chubby Checker. This must be one of the creepiest music videos that Miss Heard has covered and she will share the common theme with this song and other songs by Kiss, Winger, Ted Nugent, and even Neil Diamond. You will learn who Heidi is and how she has been doing since then.   You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #IntotheNight #BennyMardones #Heidi #Shesjust16yearsold https://www.youtube.com/watch?v=zWHjJt4833I https://en.wikipedia.org/wiki/Into_the_Night_(Benny_Mardones_song) https://en.wikipedia.org/wiki/Benny_Mardones

Today on Bud's #WeeklyGeekOut . . . Brenda Lee's 1958 song Rockin' Around the Christmas Tree has been rereleased in Spanish, in her own voice, thanks to responsibly-trained AI. =O webmeister Bud Listen and get more details at TheZone.fm/geekout

Nuevo episodio de esta serie en donde rescatamos singles que llegaron a su puesto más alto en las listas pop de EEUU en este mismo mes de hace 60 años.Playlist;(sintonía) THE VENTURES “Diamond head” (top 70)THE RIGHTEOUS BROTHERS “You’ve lost that lovin feelin” (top 1)GARY LEWIS and THE PLAYBOYS “The diamond ring” (top 1)THE KINKS “All day and all of the night” (top 7)THE ROLLING STONES “Heart of Stone” (top 19)ADAM FAITH and THE ROULETTES “It’s alright” (top 31)THE ZOMBIES “Tell her no” (top 6)ALVIN CASH and THE CRAWLERS “Twine time” (top 14)DOBIE GRAY “The “In” Crowd” (top 13)SAM COOKE “Shake” (top 7)OTIS REDDING “That’s how strong my love is” (top 74)THE AD LIBS “The boy from New York City” (top 8)THE DRIFTERS “At the club” (top 43)THE BEAU BRUMMELS “Laugh laugh” (top 15)THE FOUR SEASONS “Bye, Bye, Baby (Baby, Goodbye)” (top 12)SUE THOMPSON “Paper tiger” (top 23)TIMI YURO “You can have him” (top 96)BRENDA LEE “Thanks a lot” (top 45)BOBBY DARIN “Hello Dolly” (top 79)Escuchar audio

On our first Whatcha Heard of the year, we wax poetic about the good old days of the indie music blogosphere and reminisce with some proper chillwave artists. And we bounce from Brenda Lee to to Nu Shooz to Chat Pile in possibly our widest spread of decades and genres yet. Tune in for all that and more for our first monthly mixtape of 2025. Tracklist Whirr - Collect Sadness Chad Valley - Fast Challenges Brenda Lee - Emotions King Biscuit Time - I Love You Film School - Don't You Ever Camera Obscura - Liberty Print Vashti Bunyan - Rose Hip November Small Black - Goons Chat Pile - Anywhere Iniko - Jericho Nu Shooz - Don't Let Me Be The One Nu Shooz - Point of No Return This show is part of the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

On our first Whatcha Heard of the year, we wax poetic about the good old days of the indie music blogosphere and reminisce with some proper chillwave artists. And we bounce from Brenda Lee to to Nu Shooz to Chat Pile in possibly our widest spread of decades and genres yet. Tune in for all that and more for our first monthly mixtape of 2025. Tracklist Whirr - Collect Sadness Chad Valley - Fast Challenges Brenda Lee - Emotions King Biscuit Time - I Love You Film School - Don't You Ever Camera Obscura - Liberty Print Vashti Bunyan - Rose Hip November Small Black - Goons Chat Pile - Anywhere Iniko - Jericho Nu Shooz - Don't Let Me Be The One Nu Shooz - Point of No Return This show is part of the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

The talk runs from musicals to artificial turf. From knee injuries to making a healthy change for the new year. Water consumption and whether or not you weigh yourself every time you pee are also topics that come up in conversation. Then John Miller from NBC26 joins us for Football Friday from Burkel's One Block Over, and Dennis Peters from The Glam joins to talk about the Packers' chances this weekend. Then we feature Lilie Collins in the Heights Pub & Parlor LIVE Music Series! From Appleton, she's living and attending college in Nashville and is already a recording artist. She goes to school at Belmont University, which houses the Columbia Recording Studio A, which was used to record the likes of Patsy Cline, Brenda Lee, and Marty Robbins. Our listeners hear some Joni Mitchell and Nora Jones. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guests: Ashley McDermid, Nikki Zerjav, Dennis Peters, Lilie Collins

Lilie Collins joins the show for our Heights Pub & Parlor Music Series. Originally from Appleton, she lives in Nashville and attends Belmont University, where you'll find Columbia Studio A, a legendary studio that recorded the likes of Patsy Cline, Brenda Lee, and Marty Robbins. Her sound is very unique but think Norah Jones or Joni Mitchell. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guests: Ashley McDermid, Nikki Zerjav, Dennis Peters, Lilie Collins

Brenda Lee joins us in studio to talk about her incredible career and Christmas classic 'Rockin' Around The Christmas Tree' being used in the movie 'Home Alone'. Plus, we all exchange Christmas gifts and Lunchbox hits the bathroom stalls to spread holiday cheer!See omnystudio.com/listener for privacy information.

Last year, Brenda Lee's iconic holiday song “Rockin' Around the Christmas Tree” turned 65. We revisit Tom Power's conversation with Brenda about the song, how she was just 13 when she recorded it, and how the movie “Home Alone” changed its popularity.

Miss Heard celebrates Season 6, Episode 278 with a perfect Christmas classic on Christmas Day! It's Brenda Lee's iconic “Rocking Around the Christmas Tree. You will learn how old she was when she did the original and how AI today is using her talents to introduce this song to a wider audience for the holidays.   You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #BrendaLee #RockingAroundtheChristmasTree #PumpkinPie #HomeAlone https://en.wikipedia.org/wiki/Rockin%27_Around_the_Christmas_Tree https://en.wikipedia.org/wiki/Brenda_Lee https://www.youtube.com/watch?v=TFsZy9t-qDc

The TMI guys ring in the holidays — and Jordan's birthday! – by going deep into 10 of their favorite (or, in some cases, least favorite) Christmas songs. You'll learn how that mind-melting David Bowie-Bing Crosby duet came to be (as well as the morbid events that followed) as well as the hilariously drunken shenanigans that unfolded on the set of Wham!'s "Last Christmas" video — plus the saga of George Michael's hair. Heigl shares his passion for jazz through the Vince Guaraldi 'Charlie Brown Christmas' soundtrack, in addition to the hilariously fast genesis of "Feliz Navidad" and the precocious brilliance of Brenda Lee and her deathless "Rockin' Around the Christmas Tree." And whatever you do, don't miss out on Jordan and Alex's battle over whether or not Paul McCartney's "Wonderful Christmastime" actually sucks. Merry Christmas to all, and to all a good fight! See omnystudio.com/listener for privacy information.

In this special holiday episode, Chris DeMakes and co-host/producer Chris Fafalios discuss the classic 1958 single "Rockin' Around The Christmas Tree." They explore the song's history, from its creation by songwriter Johnny Marks to Brenda Lee's remarkable recording at just 13 years old. They dive into the song's rockabilly influences, its nostalgic holiday lyrics, and the standout saxophone solo that adds to its charm. They also reflect on the song's enduring cultural impact, its resurgence in recent years, and the unique warmth of Lee's voice, which has made this holiday favorite a lasting staple. Chris DeMakes A Podcast is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/demakes  If you love Chris DeMakes A Podcast and you'd like to support the show AND get weekly bonus episodes of The After Party podcast, head to http://www.ChrisDeMakes.com to sign up for the Supporting Cast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Merry Christmas, Happy Holidays, Happy drones and plasmoids. We quickly derail a holiday episode by talking about the drones flying over the country. Mike and his friends take their annual picture with Santa. Erin's friend Amy has the largest tree indoors that we've ever seen. We introduce a potential new segment called "In This Economy". We find out how much it cost to have a stand in Bryant Park NYC to sell for the month of December. What lyrics do you hear when we play Rockin' Around the Christmas Tree by Brenda Lee. We look through some tree lighting disappointments. The Home Alone house has a redecorating. The Vanderbilt house is insane. Charlie Brown Christmas Special should be back on network tv. Tally The Elf from Disney has become so popular that people were worried they'd be fired. We go through our Spotify Wrapped and learn about you wonderful people.

(00:00-20:25) – Query & Company opens on a Hump Day Wednesday with Jake Query, Jimmy Cook, and producer Eddie Garrison shifting their focus to the big game on Friday night between Notre Dame and Indiana. They discuss how under the radar Notre Dame has been treated and highlight what should concern Indiana ahead of Friday’s game. (20:25-42:59) – Colts cornerback Kenny Moore II joins Query & Company to reveal what conversations are like in the locker room from a week-to-week basis about the playoff scenarios, tries to explain what kind of story this season has been for the Colts, assesses where he has seen the cornerbacks around him grow this season, and explains what it’s been like being named the Walter Payton Man of the Year nominee for the Indianapolis Colts. (42:59-43:45) – The first hour of the show concludes with Jake and Jimmy trying to figure out how old Brenda Lee was when she recorded Rockin’ Around The Christmas Tree. (43:45-1:03:56) – The Dean, Mike Chappell, from CBS4 and FOX59 joins the show to recap yesterday’s win, examines if it was a disservice to Anthony Richardson by only throwing the ball eleven times yesterday in the win, admits that he’s more confident in Shane Steichen than Anthony Richardson right now, evaluates what the Colts need to do this offseason, and lists what Richardson needs to do this offseason. (1:10:45-1:20:07) – Don Fischer makes his weekly visit on Query & Company with Jake Query and Jimmy Cook to share his thoughts on the season ending loss to Notre Dame last Friday night, believes that Indiana was just outmatched from a talent perspective and it wasn’t anything they did that lost them the game, and then identifies a couple players that Mike Woodson is wanting to consistent offensive production from that hasn’t done it at this point of the season. (1:20:07-1:26:17) – Hour two of the program concludes with Jake sharing his thoughts on the way Curt Cignetti acted leading up to the College Football Playoff game on the College Gameday set. (1:26:17-1:47:21) – The conversation about Curt Cignetti continues to start the final hour of the show with Jimmy sharing his thoughts on the matter. They focus on the product that all the games where with not a single underdog being competitive in the opening round of the CFP. Also, they have a conversation about the CFP format. (1:47:21-1:58:13) – Jake and Jimmy shift their conversation back to the Indianapolis Colts defeating the Tennessee Titans yesterday. They discuss more how the Colts playing the way they did yesterday did not help Anthony Richardson’s development. (1:58:13-2:05:45) – Today’s show ends with the JCook Plays of the Day and JMV joining the guys in studio to preview his show and shares some of his thoughts on IU football and the Colts game.Support the show: https://1075thefan.com/query-and-company/See omnystudio.com/listener for privacy information.

Deck the halls with beers and Stoli! The nutcracker of scrutiny was applied to this week's noisettes of news and the following discussed over a glass of port …   ... are a lot of new song catalogues just blogs set to music? … can any actor be convincing playing someone really famous? … Robbie Williams' Better Man: it's the way forward! Who can his CGI's monkey play next? … why no-one writes songs with opinions anymore. … Lola Young's ‘charming' press release. ... when Elvis met Nixon (and was “crackling with drugs”).   … why we miss the one pound note! … Dickens, Bing Crosby and why the concept of Christmas is rooted in the past. … is part of the joy of Powerpop that it's doomed to commercial failure? Big Star, the Shoes – perfect; Blondie – too successful! … St James Infirmary, I'll Never Get Out Of This World Alive, Stormy Monday – and other great songs about money - ‘These shabby shoes I'm wearing all the time/ Is full of holes and nails and brother if I stepped on a worn out dime/ I bet a nickel I could tell you if it was heads or tails'. … the return of “a bankroll big enough to choke a donkey”. … plus Hank Williams, Brenda Lee, Tom Waits and birthday guest Kevin Walsh wonders ‘what's the classic Powerpop look and sound and who are its standard-bearers?' Happy Christmas, all! … from us and ‘Bob Dylan':https://x.com/FallonTonight/status/1597460887446900736?lang=enFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Deck the halls with beers and Stoli! The nutcracker of scrutiny was applied to this week's noisettes of news and the following discussed over a glass of port …   ... are a lot of new song catalogues just blogs set to music? … can any actor be convincing playing someone really famous? … Robbie Williams' Better Man: it's the way forward! Who can his CGI's monkey play next? … why no-one writes songs with opinions anymore. … Lola Young's ‘charming' press release. ... when Elvis met Nixon (and was “crackling with drugs”).   … why we miss the one pound note! … Dickens, Bing Crosby and why the concept of Christmas is rooted in the past. … is part of the joy of Powerpop that it's doomed to commercial failure? Big Star, the Shoes – perfect; Blondie – too successful! … St James Infirmary, I'll Never Get Out Of This World Alive, Stormy Monday – and other great songs about money - ‘These shabby shoes I'm wearing all the time/ Is full of holes and nails and brother if I stepped on a worn out dime/ I bet a nickel I could tell you if it was heads or tails'. … the return of “a bankroll big enough to choke a donkey”. … plus Hank Williams, Brenda Lee, Tom Waits and birthday guest Kevin Walsh wonders ‘what's the classic Powerpop look and sound and who are its standard-bearers?' Happy Christmas, all! … from us and ‘Bob Dylan':https://x.com/FallonTonight/status/1597460887446900736?lang=enFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Deck the halls with beers and Stoli! The nutcracker of scrutiny was applied to this week's noisettes of news and the following discussed over a glass of port …   ... are a lot of new song catalogues just blogs set to music? … can any actor be convincing playing someone really famous? … Robbie Williams' Better Man: it's the way forward! Who can his CGI's monkey play next? … why no-one writes songs with opinions anymore. … Lola Young's ‘charming' press release. ... when Elvis met Nixon (and was “crackling with drugs”).   … why we miss the one pound note! … Dickens, Bing Crosby and why the concept of Christmas is rooted in the past. … is part of the joy of Powerpop that it's doomed to commercial failure? Big Star, the Shoes – perfect; Blondie – too successful! … St James Infirmary, I'll Never Get Out Of This World Alive, Stormy Monday – and other great songs about money - ‘These shabby shoes I'm wearing all the time/ Is full of holes and nails and brother if I stepped on a worn out dime/ I bet a nickel I could tell you if it was heads or tails'. … the return of “a bankroll big enough to choke a donkey”. … plus Hank Williams, Brenda Lee, Tom Waits and birthday guest Kevin Walsh wonders ‘what's the classic Powerpop look and sound and who are its standard-bearers?' Happy Christmas, all! … from us and ‘Bob Dylan':https://x.com/FallonTonight/status/1597460887446900736?lang=enFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Today on America in the Morning   House Budget Vote Fails After a vote scuttled a second stopgap spending bill in two days, a government shutdown appears to be more likely than not unless Congress can find common ground. John Stolnis has the latest from Washington.    Mangione's Surprise Day In Court Luigi Mangione, the man suspected in the shooting death of United Healthcare C-E-O Brian Thompson was surprised along with his lawyer when he found himself in in New York with a federal court appearance. Jim Roope has details.     Amazon Workers Strike It's possible that holiday gift will not arrive on time. Workers at several Amazon facilities are going on strike. Correspondent Donna Warder reports - Audio courtesy WABC-TV New York City.    TSA On Gifts As for taking a flight, Washington correspondent Sagar Meghani reports holiday air travelers should beware of what gifts they bring on airplanes.   Senate Social Security Bill Close To Passage The Senate voted overwhelmingly to advance a bill to boost Social Security benefits for more than 2 million Americans by repealing two laws that have limited payouts to state and local public-sector workers and their families.     Fani Willis Out The prosecutor in the Georgia election case against Donald Trump has been removed. Correspondent Mike Hempen tells us why.      House Fails To Pass Budget The US Government will shut down in less than 24 hours unless Congress comes up with a plan and acts on it by tonight. Federal funding expires when the clock strikes 12:01-AM Saturday.   Larger US Troop Presence In Syria There is a larger-than-expected American military presence in Syria. Washington correspondent Sagar Meghani reports the Pentagon says it more than doubled the number of U.S. troops in Syria before the Assad regime's fall.     FAA Closes NJ Drone Airspace Following outcry over mysterious drone sightings, and some being spotted in areas including over Donald Trump's Bedminster home and military facilities, the FAA is stepping in with an order for the skies above New Jersey. Bob Brown reports.    Indictments In New York City The New York City Mayor's former chief adviser, her son and two real estate investors were indicted on bribery and conspiracy charges, the latest in a string of investigations targeting people associated with Mayor Eric Adams. Pamela Furr reports.    DOJ Targets CVS One of the largest drug store chains in the nation is in trouble with the law. The Justice Department is accusing CVS Pharmacy of filling unlawful prescriptions for opioids. Correspondent Donna Warder reports.    Deportations Increase A surprising statistic has been released by the government, as 2024 marks the highest numbers of people being deported from the United States in about a decade. Lisa Dwyer has the story.     Oklahoma Execution A man in Oklahoma was put to death by lethal injection, the last execution in the US this year. Correspondent Haya Panjwani reports.     Home Sales Higher The numbers were good for November home sales, but there's concerns as mortgage rates have been ticking higher. Correspondent Rita Foley reports.    Finally   Cookie Monster, Elmo, and Big Bird are officially on hiatus. Sesame Workshop, the non-profit company that makes the long-running children's show is looking for a new distribution partner after Warner Brothers Discovery decided to not renew its agreement.     You have probably heard that famous holiday favorite, “Rockin' Around The Christmas Tree” sometime this month.  Entertainment correspondent Margie Szaroleta reports on the long history of Brenda Lee's song. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Brenda Lee, the pint-sized powerhouse, has a voice that defined generations. From her humble beginnings in Georgia to becoming a global icon, Brenda's journey is one of resilience, talent, and timeless music. Known for her smash hits like "Rockin' Around the Christmas Tree" and "I'm Sorry," Brenda broke barriers in both country and pop music, earning her place in multiple music halls of fame. But behind the chart-toppers lies a story of determination and a relentless drive to succeed. Join us as we explore her rise to stardom, her impact on the music industry, and the personal challenges she overcame along the way. Whether you're a longtime fan or just discovering her music, this episode is a heartfelt tribute to the enduring legacy of "Little Miss Dynamite." Follow us on IG: @homance_chronicles Connect with us: linktr.ee/homance Send us a Hoe of History request: homancepodcast@gmail.com

Brenda Lee spent the early years of her life in Georgia, and though her family didn't have a lot of money, they always made sure she had batteries to run the radio so she could listen to the Grand Ole Opry. Between that and singing at their Baptist church, her interest in music became clear, and her extraordinary talent became even clearer. She was still a kid when her mother moved the family to Missouri so she could be a part of a TV program called Ozark Jubilee, and she was signed to Decca Records soon after that. Over the next handful of years, she set a record for the number of top 10 hits by a woman, and she also recorded one of the most famous Christmas songs of all time when she was just 13 years old: “Rockin' Around the Christmas Tree.” Sid talks to Brenda about her own Christmas traditions, her friendships with artists like Tanya Tucker and the late Kris Kristofferson, and her thoughts on the increased prominence of women in music over the course of her long career. For more info visit: southernliving.com/biscuitsandjam Biscuits & Jam is produced by: Sid Evans - Editor-in-Chief, Southern Living Krissy Tiglias - GM, Southern Living Lottie Leymarie - Executive Producer Michael Onufrak - Audio Engineer & Editor/Producer Jeremiah McVay - Producer Jennifer Del Sole - Director of Audio Growth Strategy & Operations Learn more about your ad choices. Visit podcastchoices.com/adchoices

To celebrate the festive season, Sam and Max build the ultimate(?) Christmas playlist, bouncing between old favourites, soon-to-be classics, and some out-there options. Happy Holidays, y'all!Listen to the final playlist on Spotify or Apple Music.Discover more new music and hear your favourite artists with 78 Amped on Instagram and TikTok.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Rockin' Around the Christmas Tree by Brenda Lee (1958)Song 1: Silent Night by The Temptations (1980)Song 2: Joy to the World / Sweet Little Baby Boy by Selah (2022)Song 3: Christmas (Baby Please Come Home) by Michael Buble (2011)Song 4: This Christmas by The Philly Specials (2022)Song 5: What Child is This? by Johnny Mathis (1958)Song 6: Christmas Don't Be Late by Kacey Musgraves (2016)Song 7: Baby, It's Cold Outside by Kelly Clarkson (2013)Song 8: Angels We Have Heard on High by Russ Taff (1992)Song 9: Run Run Rudolph by Luke Bryan (2008)Song 10: Silent Night by Harry Connick, Jr. (2003)

For many of us, Christmas songs are dominating our playlists this week. There's the one you start hearing in October, Mariah Carey's "All I Want for Christmas Is You," Eartha Kitt's "Santa Baby," and the Christmas banger that went to number one last year, Brenda Lee's "Rockin' Around the Christmas Tree."Lee, now 80, recorded the song when she was 13. The living legend talked to NPR last year when her song — finally — hit number one. We revisit that conversation. For sponsor-free episodes of Consider This, sign up for Consider This+ via Apple Podcasts or at plus.npr.org.Email us at considerthis@npr.org.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

On this episode, we'll be rockin around the life story of legendary singer Brenda Lee. Also, we'll see how you voted in our Muppet themed Who Sang It Best, Tim's oldest son will stop by to cook us a Christmas breakfast, and Gerry from totally rad Christmas will also be stopping by to give us his super-sized Five Golden Things. Download here! 00:00 – 02:09 Intro 02:09 – 06:11 We Need A Little Christmas Now 06:11 – 17:52 5 Golden Things – 80's Animated Action Christmas Episodes/Specials (With special guest, Gerry, from the Totally Rad Christmas Podcast) 17:52 – 31:22…

Gary Jeff is joined by the usual cast of characters, previews today's Crosstown Shootout, and a tribute to singer Brenda Lee.

Gary Jeff is joined by the usual cast of characters, previews today's Crosstown Shootout, and a tribute to singer Brenda Lee.

In this week's episode, Patrick and Tommie discuss Christmas plays, meet the Tamaskan dog, rock around the Xmas tree with Brenda Lee, say farewell to actor Michael Cole and mentalist the Amazing Kreskin, Tommie teaches Patrick about "the four quarters," they look at the death of singer Sam Cooke, watch Walter Kronkite get zapped, Tommie says he ain't got time for stretching, they learn of the health benefits of dark chocolate, celebrate an Alabama Pride group winning the right to march in a holiday parade, say goodbye and good riddance to Syria's Bashar Assad, Tommie overdoses on RuPaul, they laugh about comedians on YouTube, discuss the CEO killer, the media coverage, and what happens next, pop Elon Musk's bubble, and name their favorite television and film Santas.

How good are you at predicting how things will turn out in your life? How often have you said, “If only I get this thing, I'll be happy...” or “If I lose my job, it will be a disaster…” . Generally, these kinds of predictions are wrong. Things often turn out much differently than we think they will. This episode begins by looking at why that happens. https://drhappy.com.au/2010/11/14/happiness-is-balancing-the-past-the-present-and-the-future/ Did you know that Nat King Cole's “The Christmas Song” was written on a hot summer day? Or that Brenda Lee was only 13 when she recorded “Rockin' Around the Christmas Tree”? These are just a few of the things you will discover as you listen to my guest Annie Zaleski. She is an editor and music journalist who is author of the book This Is Christmas, Song by Song: The Stories Behind 100 Holiday Hits (https://amzn.to/3ZomPBn) Reducing our reliance on fossil fuels requires us to develop new sources of energy. While solar, wind, lithium batteries and other energy sources are often described as “clean” energy, they are not as clean as you might think. These alternative energies require metals and those metals must be mined and/or recycled – both of which which cause serious damage to the environment that you don't often hear talked about. Joining me to explain why this should be a concern to every one is Vince Beiser. He is an award-winning journalist who has written for Wired, Harper's, The Atlantic, and the New York Times and he is author of the book, Power Metal: The Race for the Resources That Will Shape the Future (https://amzn.to/3Vqw42v). People used to blink more than they do now. You see, when you watch screens like your computer monitor, TV or cellphone, you tend not to blink as much. And there are consequences to that. Listen as I explain the problem and what you can do to help your eyes - since you are likely not blinking enough. Source: Dr. Robert Latkany, author of The Dry Eye Remedy https://amzn.to/4ggSDi5 PLEASE SUPPORT OUR SPONSORS!!! INDEED:  Get a $75 SPONSORED JOB CREDIT to get your jobs more visibility at https://Indeed.com/SOMETHING  Support our show by saying you heard about Indeed on this podcast.  Terms & conditions apply. AURA: Save on the perfect gift by visiting https://AuraFrames.com to get $35-off Aura's best-selling Carver Mat frames by using promo code SOMETHING at checkout! SHOPIFY:  Sign up for a $1 per-month trial period at https://Shopify.com/sysk . Go to SHOPIFY.com/sysk to grow your business – no matter what stage you're in! MINT MOBILE: Cut your wireless bill to $15 a month at https://MintMobile.com/something! $45 upfront payment required (equivalent to $15/mo.).  New customers on first 3 month plan only. Additional taxes, fees, & restrictions apply. HERS: Hers is changing women's healthcare by providing access to GLP-1 weekly injections with the same active ingredient as Ozempic and Wegovy, as well as oral medication kits. Start your free online visit today at https://forhers.com/sysk DELL: It's your last chance to snag Dell Technologies' lowest prices of the year before the holidays! If you've been waiting for an AI-ready PC, this is their biggest sale of the year! Shop now at https://Dell.com/deals PROGRESSIVE: The Name Your Price tool from Progressive can help you save on car insurance! You just tell Progressive what you want to pay and get options within your budget. Try it today at https://Progressive.com Learn more about your ad choices. Visit megaphone.fm/adchoices

En los albores de la década de los 80’s surgió en Springfield, Missouri, el grupo The Morells. Capitaneados por el guitarrista D. Clinton Thompson y el bajista Lou Whitney se convirtieron en pioneros a la hora de recuperar todos los estilos del rock’n’roll de raíces. Músicos virtuosos de espíritu lúdico, su único álbum en aquellos días, “Shake and Push” (1984), los convirtió en banda de culto y nombre referente para los amantes de estos sonidos. Sale ahora a la luz un segundo disco, “You’re gonna hurt yourself” (Sound Asleep), grabado hace 40 años pero guardado en un cajón. Fíate de nosotros. Ponte cómodo, dale al play y disponte a disfrutar con una de las mejores bandas de bar de la historia.Playlist;(sintonía) D. CLINTON THOMPSON “Driving guitars”THE MORELLS “Laid off”ESQUERITA “Laid off” (1959)THE MORELLS “Got it made in the shade”ALTON and JIMMY “Got it made in the shade” (1958)THE MORELLS “Treat her right”THE MORELLS “War Paint”BARRY MANN ORCHESTRA “War Paint” (1960)THE MORELLS “You’re gonna hurt yourself”THE MORELLS “I’m sorry (but so is Brenda Lee)”THE MORELLS “Peanut butter”THE MORELLS “Dear dad”THE MORELLS “Lonesome Joe”ROY ACUFF and HIS SMOKY MOUNTAIN BOYS “Lonesome Joe” (1953)AL CASEY with the K-C-ETTES “Surfin’ Hootenany” (1963)THE MORELLS “Surfin Hootenany”THE MORELLS “Thirty days in the workhouse”THE MORELLS “Clean it up”THE MORELLS “Waitin’ for a slow dance”Escuchar audio

Gingerbread cookies good and Gingerbread houses bad, play of the Shane Pinto line, Brady Tkachuk shutting down trade rumours, tampering in the NHL, Brenda Lee and Gary Bettman on trying to end the season earlier.

International mountain day. Entertainment from 1976. 1st penus transplant, Indiana became 19th state, Libertarian Party formed, Last issue with nude pics in Playboy. Todays birthdays - Big Mama Thornton, Rita Moreno, David Gates, Brenda Lee, Teri Garr, Jermaine Jackson, Nikki Sixx, Mo'nique, Hailee Steinfeld. Anne Rice died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/I love the mountains - Super simple songs for kidsTonights the night - Rod StewartThinkin of a rendezvous - Johnny DuncanBirthday - The BeatlesBirthdays - In da club - 50 Cent     http://50cent.com/Hound Dog - Big Mama ThorntonMake it with you - BreadRockin' around the christmas tree - Brenda LeeI'll be there - Jackson 5Kickstart my heart - Motley CrueStarvin - Hailee SteinfeldExit - In my dreams - Dokken        http://dokken.net/

AP correspondent Margie Szaroleta reports on the long history of Brenda Lee's song “Rockin' Around The Christmas Tree.”

Linktree: https://linktr.ee/AnalyticOn Notorious Mass Effect, Analytic Dreamz delves into the remarkable story behind Brenda Lee's holiday classic, "Rockin' Around the Christmas Tree," with an in-depth look at:Initial Release and Early Performance:Released in 1958, it initially faced challenges in climbing the charts, only reaching #14 in 1960 after Brenda Lee's rise in fame.Resurgence with Home Alone:The song found new life post its feature in the 1990 film "Home Alone," becoming a staple of Christmas soundtracks.2023 Chart Success:Achieved a historic #1 spot on the Billboard Hot 100, 65 years after its first release, setting a record for the longest climb to the top.This achievement marks Brenda Lee's third No. 1 hit, showcasing the song's enduring appeal.Streaming and Sales:In the week leading to its 2023 chart-topping, it amassed 34.9 million streams.With over 36 million copies sold worldwide, it ranks as one of the top-selling Christmas songs ever.Cultural Impact:Its presence in various forms of media, from movies to advertisements, has cemented its place in holiday culture.The song's inclusion in the Grammy Hall of Fame (2019) recognizes its cultural and historical significance.Unique Attributes:The song's blend of rockabilly with holiday themes offered a novel twist to Christmas music.Its longevity is attributed to its catchy melody, Brenda Lee's distinctive vocal delivery at just 13 years old, and its universal festive message.Conclusion:Analytic Dreamz explores how "Rockin' Around the Christmas Tree" has transcended from a simple holiday tune to a cultural phenomenon, reflecting on its journey through time and its impact on holiday traditions.Join Analytic Dreamz in this segment of Notorious Mass Effect for a comprehensive breakdown of how this song has become synonymous with Christmas celebrations worldwide.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

INTRO (00:00): Kathleen opens the show drinking Evan Williams Egg Nog. She reviews her Thanksgiving holiday with family at Lake of the Ozarks, and shares plans to decorate for Christmas in Nashville. TOUR NEWS: See Kathleen live on her “Day Drinking Tour.”COURT NEWS (27:05): Kathleen shares news on Jelly Roll's 40th birthday, and Taylor Swift prepares for her final ERAS Tour shows in Vancouver. TASTING MENU (1:50): Kathleen samples Pringles Mingles White Cheddar & Ranch puffs, Lesser Evil Chocolate Candy Cane Popcorn, and Haribo Sweet & Sour Reindeer. UPDATES (39:10): Kathleen shares updates on Meghan Markle's American Rivera Orchard trademark, siblings found DB Cooper's parachute in their mother's shed, and Oasis selects WMX as their Tour merch partner.“HOLY SHIT THEY FOUND IT” (51:38): Kathleen is amazed to read about the discovery of a 400-year-old map that might solve the mystery of the lost colony of Roanoke. FRONT PAGE PUB NEWS ( 32:01): Kathleen shares articles on the history of flocking Christmas trees, major US movie theatres are investing to include Pickleball courts in their complexes, Nissan is on the brink of a financial collapse, a chess grandmaster refuses to play in Saudi Arabia, Luc-ky's in Mexico looks VERY similar to Buc-ee's, the 2025 Coachella lineup is announced, there's a Jay Leno health update after falling down a hill, and Billboard releases how much Mariah Carey and Brenda Lee earn per year from their holiday hits. WHAT WE'RE WATCHING (17:27): Kathleen recommends watching her stand-up Special “Bothering Jesus” on Netflix.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this #coachbetter episode Kim chats with Brenda Lee, Grade 4 teacher at Al-Bayan Bilingual School (BBS) Kuwait.  We're excited to share this episode with you because it's a topic that's been requested by you! We received a request to hear from educators (rather than coaches) about their experiences with coaching.  In this conversation with Brenda, they talk about  How instructional coaching has supported her growth as an educator How instructional coaching fits within the context of educator professional growth What classroom teachers need to know to opt in to coaching How she makes time for coaching in a busy teacher's schedule Why some teachers resist coaching How coaching works for her as a classroom teacher Why she's hoping to make the move from classroom to coach This episode is a fantastic example of why teachers chose to opt-in to coaching - and how you can articulate the value of coaching for your prospective coaching partners! Find the show notes for this episode here.  

Nueva entrega de la serie dedicada a recordar canciones que alcanzaron su puesto más alto en las listas pop de EEUU en noviembre de 1964. Aunque el único nuevo número 1 del mes queda en manos de unas adolescentes de Nueva York, la cantidad de bandas de la invasión británica que se sitúan en lo más alto sigue siendo abrumadora.Playlist;(sintonía) THE VENTURES “Slaughter On Tenth Avenue” (top 35)THE SHANGRI-LAS “Leader of the pack” (top 1)J. FRANK WILSON and THE CAVALIERS “Last Kiss” (top 2)MARVIN GAYE “Baby don’t you do it” (top 27)MARVIN GAYE and KIM WESTON “What good I am without you” (top 61)THE VELVELETTES “Needle In A haystack” (top 45)THE NASHVILLE TEENS “Tobacco road” (top 11)THE KINKS “You really got me” (top 7)THE ANIMALS “I’m cryin’” (top 19)GERRY and THE PACEMAKERS “I like it” (top 17)THE HONEYCOMBS “Have I the right” (top 5)THE DAVE CLARK FIVE “Everybody knows (I still love you)” (top 15)PETER AND GORDON “I don’t want to see you again” (top 16)THE SEARCHERS “When you walk in the room” (top 35)JAY and THE AMERICANS “Come a little bit closer” (top 3)GARNET MIMMS “Look away” (top 73)BRENDA LEE “Is it true” (top 17)LESLEY GORE “Hey now” (top 76)DIONNE WARWICK “Reach out for me” (top 20)Escuchar audio

Episode 313, Signature Songs, presents the songs most associated with 17 performers including The Everly Brothers, Ricky Nelson, the bands of Tommy Dorsey and Glenn Miller, Connie Francis, Tony Bennett, Brenda Lee, Gene Autry, and... Read More The post Episode 313, Signature Songs appeared first on Sam Waldron.

Brenda Lee Barron is passionate about sharing her love of clay. Brenda loves to make functional items (wheel and handbuilding) to be used at your table whether it's a meal for 1 or a gathering of 21. She is drawn to minimalist design because Brenda wants what you're serving to be showcased on the white speckled plates, platters and bowls. You'll sometimes find a touch of gold or a funky rim on her work. http://ThePottersCast.com/1066