Podcasts about Britain

How her new book celebrates the resilience of those who triumph against all odds·        The history of gay women·        Her journey of concealing her identity and how the exhausting performance was the price of pursuing a medical career including her time at Harvard·        The stats which include: nearly 1 in 10 adults identify as LGBTLQ+·        The importance of visibility and the ongoing fight for equality·        The significance of Pride Month and June 28 About the book: Jo, a driven environmental attorney based in Washington, DC, and Lauren, a spirited young woman from Britain on a journey of self-discovery, find themselves in a serendipitous encounter at a lively London pub in 1981. Their brief yet profound connection generates a whirlwind of emotions, but the vast ocean, Jo's career aspirations, and immigration hurdles thwart their burgeoning romance. Fast-forward 22 years, and Lauren and her partner travel from Europe to visit Jo in her San Francisco home. The reunion is electric, rekindling a storm of emotions neither can suppress. Amid the majestic backdrops of Yosemite National Park and the Pacific Northwest, old passions can't be denied, leading to dramatic confrontations and painful revelations. Jo and Lauren are irresistibly drawn to each other. But there is no country in which they can legally live together. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

This week on The Sound Kitchen, you'll hear the answer to the question about the Macron/Starmer talks in Britain. There's “The Listener's Corner” and comic music from Rossini, as well as the new quiz and bonus questions, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all! Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner! More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos. Would you like to learn French? RFI is here to help you! Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard. Go to our website and get started! At the top of the page, click on “Test level” and you'll be counselled to the best-suited activities for your level. Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service, told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it! Be sure you check out our wonderful podcasts! In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more. There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis.  Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.  Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! This week's quiz: On 24 May, I asked you a question about our article “EU and UK reunite in London for talks on diplomacy and defence” – that week, talks were held between France's President Emmanuel Macron and the UK Prime Minister Keir Starmer – after five years of rather tense relations between the two countries, following Britain's exit from the EU in 2020. I asked you to send in the answer to this question:  Which three issues – aside from defense and security partnerships – were also discussed – issues which are still quite politically sensitive? The answer is: Fishing rights, food checks, and youth mobility. In addition to the quiz question, there was the bonus question, suggested by Rafiq Khondaker: “What is your favorite animal, and why?” Do you have a bonus question idea? Send it to thesoundkitchen@rfi.fr The winners are: RFI Listeners Club member Nasyr Muhammad from Katsina State in Nigeria, who is also this week's bonus question winner. Congratulations on your double win, Nasyr. Also on the list of lucky winners this week are Debakamal Hazarika, the president of the United RFI Listeners Club in Assam, India, as well as RFI Listeners Club members Sharifa Akter Panna from Kishoreganj, Bangladesh; Zenon Teles, the president of the Christian – Marxist – Leninist - Maoist Association of Listening DX-ers in Goa, India, and last but assuredly not least, RFI English listener Rodrigo Hunrichse from Ciudad de Concepción, Chile. Congratulations, winners! Here's the music you heard on this week's programme: The overture to L'Italiana in Algerie by Giacchino Rossini, performed by Leonard Bernstein and the New York Philharmonic; “Round Midnight” by Thelonius Monk, performed by the Thelonius Monk Quartet; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and the Act I finale of L'Italiana in Algerie by Giacchino Rossini, sung by Marilyn Horne and Paolo Montarsolo with the Metropolitan Opera Orchestra conducted by James Levine. Do you have a music request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read Alison's article “From Goma to Cape Town, the young Congolese athlete pedalling for peace”, which will help you with the answer. You have until 21 July to enter this week's quiz; the winners will be announced on the 26 July podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France Click here to learn how to win a special Sound Kitchen prize. Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

In this episode Dr Ian tells the sad tale of one of Britain's most magnificent butterflies, the Swallowtail. If you enjoyed this episode please like, share and subscribe. Thanks for listening!

Danny Boyle's return to the rage-infected universe delivers a mesmerizing evolution of horror that feels both familiar and startlingly fresh. Set almost three decades after the original outbreak, "28 Years Later" transports viewers to a Britain permanently transformed—where small pockets of humanity cling to existence alongside the changed infected.The film's emotional core centers on Spike, a 12-year-old boy who has never known a world beyond his island community. His coming-of-age journey becomes entangled with his mother's terminal illness, forcing a dangerous expedition to the mainland that reveals how both the infected and survivors have adapted to this broken world. When Spike and his mother encounter an eccentric doctor living among the infected and a mysterious group led by the enigmatic Jimmy, the true horror of what humanity has become emerges.Where "28 Years Later" truly shines is in its seamless blend of intimate character moments with breathtaking horror sequences. The causeway chase through bioluminescent waters, the bone temple's eerie geometry, and the relentless pursuit of the Alpha infected create unforgettable visual moments. Alfie Williams delivers a standout performance as Spike, conveying both childlike vulnerability and burgeoning resilience. Meanwhile, the Swedish survivor provides unexpected moments of dark humor that punctuate the tension without undermining it.Boyle's decision to shoot primarily on iPhone creates an immediacy that places viewers directly into this nightmarish landscape. The freeze-frame moments during violent encounters, the red-tinted night vision sequences, and the haunting musical callbacks to the original film demonstrate a filmmaker operating with absolute confidence. With its powerful exploration of survival, adaptation, and what remains of humanity when civilization falls away, "28 Years Later" stands as not just a worthy sequel but a remarkable horror film in its own right. This is just the beginning of a new journey into the infected world—one that promises to be as thought-provoking as it is terrifying. Head to www.screamsandstreams.com for more information related to our episode.

Church of England rev with a difference Jamie Franklin sits down to talk about the biggest stories of the week. On the agenda this time can only be the passing of laws in Britain decriminalising abortion up to birth and legalising state-sponsored suicide. We also look at the Bishop of Manchester's denial that so-called "grooming gangs" had anything to do with race, ethnicity or religion despite this claim being flatly contradicted by the Casey report. In a world that is looking increasingly dark, how should Christians and the Church respond? Buy Jamie's Book! THE GREAT RETURNYou make this podcast possible. Please support us!On Substack - https://irreverendpod.substack.com/On Patreon - https://www.patreon.com/irreverendBuy Me a Coffee - https://www.buymeacoffee.com/irreverend To make a direct donation or to get in touch with questions or comments please email irreverendpod@gmail.com!Notices:Daniel French Substack: https://undergroundchurch.substack.com/Jamie Franklin Substack: https://jamiefranklin.substack.comIrreverend Substack: https://irreverendpod.substack.comFollow us on Twitter: https://x.com/IrreverendPodFind me a church: https://irreverendpod.com/church-finder/Join our Irreverend Telegram group: https://t.me/irreverendpodFind links to our episodes, social media accounts and much more https://www.irreverendpod.com!Thursday Circles: http://thursdaycircle.com Support the show

This week on The First Run, Chris and Matt return to the wastelands of Britain with their review of '28 Years Later', the long-awaited continuation of the rage-fueled trilogy by Danny Boyle and Alex Garland. Does the legacy hold up or should it have stayed locked up in its money cage? Your gallant hosts dive into the latest and greatest physical media releases as well as give you the viper video and streaming picks of the week. Then it's time to dim the lights and cue the synths for the final segment: Horror Madness Elimination Bracket with the films of the 1980's. Eight iconic films enter... only one leaves. As the bracket shrinks, the debates get bloodier and the nostalgia hits harder.Chris even gets a little wistful has some nigh impossible choices need to be made. 00:00-20:07: Intro/28 Years Later20:08-25:42: Physical Media Picks25:43-43:33: Horror Madness: The 1980's43:34-45:34: Wrap-UpTheme music by Jamal Malachi Ford-Bey

Wimbledon! The Championships are upon once again with a lot to live up to after THAT dramatic finale at Roland Garros. Join the gang at Tennis Weekly HQ as they react to the men's and women's draws, dish out some dodgy predictions and unveil Collect a Set player picks. On the men's side, the question on everyone's lips might be will we get another edition of the Carlos Alcaraz - Jannik Sinner rivalry? Joel's not so sure and whilst Carlitos has been handed a pretty routine draw on paper, Jannik Sinner got some trick battles including a potential all Italian quarterfinal with Lorenzo Musetti, last year's semifinalist. Great British hope Jack Draper also got dealt a nightmarish draw with both his French Open conqueror Alexander Bublik and Queen's conqueror Jakub Mensik in his section along with Novak Djokovic who has been in the last SIX Wimbledon finals.On the women's side, can Aryna Sabalenka finally get over the finish line and win a Grand Slam title this season? In her way is a potential R3 showdown with Britain's Emma Raducanu or former champion Market Vondrousova who got the better of her recently in Berlin. French Open champion Coco Gauff also may have hoped for a kinder draw with a tricky opening against Nottingham finalist Yastremska with Rybakina and Swiatek lurking close by. The team also discuss prize money as Britain's Oliver Tarvet will NOT be allowed to claim his prize money of at least £66,000 due to still being in college in America. Join us as we get underway with daily episodes to come throughout The Championships starting on Monday!BABOLATBabolat are an official partner of Wimbledon and their Wimbledon collaboration collection is available to purchase now from babolat.com SOCIALSFollow us on Twitter, Instagram, TikTok and YouTube, plus email the show tennisweeklypod@gmail.com.MERCHPurchase Tennis Weekly Merch through our Etsy store including limited edition designs by Krippa Design where all proceeds go towards the podcast so we can keep doing what we do!REVIEWS***Please take a moment to rate and review the show on Apple Podcasts, Spotify or wherever you get your pods. It really means a lot to us at HQ and helps make it easier for new listeners to discover us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

In the face of growing international outrage, the man who runs the US-backed Gaza Humanitarian Foundation tells us he denies Palestinians are being killed as they go to collect aid. Also on the programme:As Sir Keir Starmer approaches his first anniversary in office, we discuss his future.And we visit the exhibition-on-wheels marking two centuries of Britain's railways.

How have lawgivers featured in modern revolutions? This lecture considers key moments in revolutions, including seventeenth-century Britain, eighteenth-century France and (what would become) the United States, and twentieth-century Iran. The appeal to lawgivers (including ancient ones from many cultures) in revolutionary visions and in consolidating new constitutions is a striking feature of modern politics.This lecture was recorded by Melissa Lane on 5th June 2025 at Barnard's Inn Hall, London.Melissa Lane is Gresham Professor of Rhetoric.Melissa is also the Class of 1943 Professor of Politics, Princeton University and is also Associated Faculty in the Department of Classics and Department of Philosophy. Previously she was Senior University Lecturer at Cambridge University in the Faculty of History and Fellow of King's College, Cambridge.Having previously held visiting appointments at Harvard, Oxford, and Stanford, she will be Isaiah Berlin Visiting Professor in the History of Ideas in the Faculties of Philosophy and History at Oxford University, and a Visiting Fellow of Corpus Christi College, Oxford, in Michaelmas Term 2024.The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/lawgivers-modern-revolutionsGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todayWebsite:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

June has been another busy month for IT and technology news. Whether it's new naming conventions for cybercriminal groups, Britain's big tech potential, and national security concerns over lost government devices, we've got a lot to unpick. ITPro's news editor Ross Kelly and reviews editor Bobby Hellard step in for Jane and Rory this week to chew that fat on some of the biggest IT news stories of June.

In this episode, host Amy-Jane Humphries interviews Natalee Garrett, Sarah Betts and Rosalind Freeborn to discuss (fictional) representations of regency royalty.Guest Bios:Sarah Betts is a PhD candidate at the University of York working on a thesis exploring cultural memory and public histories of the English Civil Wars from the Seventeenth Century to the present day. She has wider interests in the history of monarchy and public history and heritage, and historical fictions, and is a section editor for early modern and modern monarchy for Royal Studies Journal. She has published numerous articles and book chapters on early modern and modern monarchy in Britain, memory of the English Civil Wars, and the portrayal of history on screen. Her most recent publications include Royal Biography Between the Lines: Georgette Heyer's Regency Romances and the Life of Princess Charlotte of Wales (1796-1817) RSJ 11.2 (2024)  Latest publications - 'Roundhead Reputations Twenty Years On: Cultural Memory Studies and the English Civil Wars',English Historical Review, 138:593, (2023)  'By The Sword Divided: The English Civil War as Sunday-night Television Drama', British Journal of Military History, 10:3, (2024) Natalee Garrett graduated with a PhD in Modern History from the University of St Andrews in 2022 for a thesis titled “Those Scandalous Prints: Caricatures of the Elite in France and Britain c.1740-1795”. She began teaching at the Open University in 2021. Her first monograph, a biography of Queen Charlotte, was published by Routledge in 2024. She is currently working on a second monograph which examines the public images of the four queens of Georgian Britain and which will be published by Palgrave Macmillan.Rosalind Freeborn started her career as a book publicist and moved into the world of music handling the publicity for the London Philharmonic Orchestra. Later she ran her own PR consultancy working with creative clients in the fields of art, design, retail and architecture. She is also an artist who exhibits and sells her work regularly. In 2022 Rosalind appeared on a Channel 4 life drawing programme demonstrating her unique collage technique using fragments of paper. She was prompted to write Prince George & Master Frederick after investigating her grandmother's story that her family might, in some way, be connected to King George III. Her research uncovered the real-life history of Frederick Blomberg and she found his story so fascinating that she wrote this novel which is her first published work.

As a 4,000-year-old timber circle uncovered on a Norfolk beach, Seahenge is one of Britain's most remarkable prehistoric finds. Discovered in 1998, it drew quick comparison as a 'Stonehenge by the sea' - but who built it and what was it used for?In this episode of The Ancients, Tristan Hughes is joined by Dr. Sue Greaney to explore the mystery of Seahenge. Preserved beneath the sands for millennia, this Bronze Age wooden monument offers extraordinary insight into ancient rituals, beliefs, and woodworking skills. Join us as Tristan discovers why this enigmatic site continues to intrigue archaeologists and challenge our understanding of prehistoric Britain.Presented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

News...Dear Leader was proud of Hegseth in Iran news briefing or should be call it a media berating briefing? Trump is now limiting intelligence sharing - can we still call it "intelligence?" Surprise - US is ending all overseas pro-democracy programs. Britain's migrant crisis is fueled by Moscow and Guess what!? GOP suddenly realizes voters hate the health care cuts. Is Zohran Mamdani Too Extreme? Or Just What NYC Needs? Phil Ittner - Ukraine Update. This is what happens when cops look and behave like criminals.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

NATO's members pledged to increase defence spending to 5% of GDP by 2035.

Liam Tuffs is a close friend of Tommy Robinson, a rising YouTuber, and a survivor of one of the darkest family stories we've ever covered on Heretics. In this gripping and disturbing interview, Liam opens up about his father, Peter Gillett — a manipulative, narcissistic predator now serving 18 years in prison. SPONSORS: Get an exclusive 15% discount on Saily data plans! Use code HERETICS at checkout. Download Saily app or go to https://saily.com/HERETICS   Struggling with anxiety, addiction, loss, relationships, cancel culture, or feeling low? Go to https://Just-Therapy.org. James' private practice: https://jamesesses.com Give online therapy a try at https://betterhelp.com/HERETICS  Cut your wireless bill to 15 bucks a month at https://mintmobile.com/heretics  Set up your online dream biz on https://shopify.co.uk/glassbox Go to https://TryFum.com/HERETICS  and use code HERETICS to get your free FÜM Topper when you order your Journey Pack today! Go to https://freespoke.com/gold  to search freely. Download app & sub for 25% off Freespoke Premium with my link. We discuss how Liam woke up to media lies, what it's like being at the centre of Britain's culture wars, and the traumatic abuse he endured as a child. From grooming red flags to confronting his father in court, Liam's story is one of truth, resilience and rebellion. Viewer discretion advised. #TommyRobinson #SurvivorStory #HereticsPodcast Join the 30k heretics on my mailing list: https://andrewgoldheretics.com  Check out my new documentary channel: https://youtube.com/@andrewgoldinvestigates  Andrew on X: https://twitter.com/andrewgold_ok   Insta: https://www.instagram.com/andrewgold_ok Heretics YouTube channel: https://www.youtube.com/@andrewgoldheretics Learn more about your ad choices. Visit megaphone.fm/adchoices

In April 1980, a group of armed men invaded the Iranian Embassy in London, taking hostages, and issuing demands in the name of a cause almost no one had ever heard of.The 'Group of the Martyr', a collection of Iranian Arabs, wanted independence for their province of Iran, but their demands were impossible for the British Government to meet, and so the then-little known Special Air Service (SAS) were told to plan an invasion of the building to rescue the hostages.They had taken 26 people hostage, including staff, visitors and a police officer named Trevor who was guarding the building at the time of the attack.What followed was a six-day siege, that was eventually broken by the SAS.Their storming of the embassy galvanised the world, as people watched it all unfold on live television.Historian and author Ben McIntyre takes a deeper look at this dramatic siege and rescue operation, uncovering the real, powerful story of ordinary people responding as best they could to lethal jeopardy.Further informationThe Siege is published by Penguin Random House.This episode was recorded live at the 2025 Sydney Writers' Festival.It explores Iran, Tehran, terrorism, violence, threats, diplomacy, rescue missions, epic history, western democracy, dictatorship, foreign affairs, global politics, east vs west, occupation, war, civil war, BBC, journalism, live television, media ethics, Afrouz, MI5, Hyde Park, surveillance, Stockholm Syndrome, Mustapha Karkouti, Syria, Operation Nimrod, Jassim Alwan al-Nasiri, Abbas Lavasani, murder, execution, Saddam Hussein, Iraq, Iran-Iraq War, the Middle East, history books, writing.Find out more about the Conversations Live National Tour on the ABC website.

With another packed news week at home and abroad, your co-pilots are here to steer you through the carnage with their usual dose of common sense.Allison thinks the PM's weak response to the US strikes on Iran's nuclear facilities is once again humiliating the UK on the world's stage, and that Keir Starmer is concerned more about the Muslim vote share than National Security.Meanwhile Liam wonders if Labour's is now deploying a ‘scorched earth' policy as they drop in the polls.Making a special trip in the rocket this week is Conservative Peer and lawyer, Baroness Cash, who shares her thoughts on Labour's Employment Rights Bill and the mythical non-existent worker it's claiming to help.Read Allison: ‘The mistreatment of Lucy Connolly in prison is deeply sinister' https://www.telegraph.co.uk/news/2025/06/24/the-mistreatment-of-lucy-connolly-in-prison-is-sinister/ |Read more from Allison: https://www.telegraph.co.uk/authors/a/ak-ao/allison-pearson/ |Read Liam: ‘Labour's 1970s employment rights bill could send Britain over the edge'https://www.telegraph.co.uk/business/2025/06/15/labour-1970s-employment-rights-bill-could-send-uk-over-edge/ |Read more from Liam: https://www.telegraph.co.uk/authors/liam-halligan/ |Need help subscribing or reviewing? Learn more about podcasts here: https://www.telegraph.co.uk/radio/podcasts/podcast-can-find-best-ones-listen/ |Email: planetnormal@telegraph.co.uk |For 30 days' free access to The Telegraph: https://www.telegraph.co.uk/normal | Hosted on Acast. See acast.com/privacy for more information.

In this captivating episode, we are thrilled to welcome Neil Ward, a multifaceted writer, artist, and host of The Paranormal Peep Show. Alongside co-host Andy, Neil fearlessly explores the enigmatic realms of high strangeness, delving into mysteries ranging from ghosts, fairies, and astral travel to UFOs, alien encounters, Bigfoot, and beyond. Join us as Neil takes us on a riveting journey through his personal exploration of the paranormal, sharing insights into his development as a medium and the remarkable growth of his clairvoyant abilities. He also brings to light gripping tales from the history of mediumship, including the extraordinary story of Helen Duncan—the last person in Britain prosecuted under the Witchcraft Act of 1735 in 1944—which led to her imprisonment. Adding to the intrigue, Neil recounts his own spine-chilling paranormal encounters and unveils a fascinating tale of the mischievous “Brownies”—elusive folklore creatures known for their shadow-stealing antics across cultures worldwide.https://www.youtube.com/@NeilPeelParanormalPeepShowhttps://amzn.eu/d/dBVquqrWe are thrilled to announce the official launch of Let's Get Freaky merchandise! Our collection includes hoodies, t-shirts, mugs, stickers, and more. Explore the full range at http://tee.pub/lic/aQprv54kktw.Do you have a paranormal or extraordinary experience to share? We'd love to hear from you! Contact us to be a guest on the Let's Get Freaky podcast. Email us at letsgetfreakypodcast@mail.com or reach out via social media on Facebook, Instagram, X, TikTok, or YouTube at @tcletsgetfreakypodcast. Connect with us at https://linktr.ee/letsgetfreaky.

In this week's episode, hosts Kate McCann and Sir Richard Dearlove, former head of Britain's MI6, wrap up their on-the-ground reporting at the NATO summit in The Hague, Netherlands. Kate and Richard discuss President Donald Trump's closing press conference, his statements about an Israeli assessment that the U.S. strikes on Iranian nuclear sites were successful, and the intelligence methods that could support this. Later in the episode, Kate interviews UK Defence Secretary John Healey about his perspective on the summit and President Trump's significant role in the agenda. Plus, Sir Richard and Kate share their favorite moments over the last two days, including NATO Secretary General Mark Rutte's viral moment referring to Donald Trump as "Daddy,” and how a renewed sentiment among European nations for greater defense spending shifted the American president's attitude towards the alliance. Episode produced by Situation Room Studios. Original music composed and produced by Leo Sidran.

Ceasefires NowShould we have been surprised by the decision of the US President Donald Trump to attack Iran? No. Shocked maybe but not surprised. The weapons of mass destruction spin, that was used to justify the invasion of Iraq two decades ago, was already in wide usage by some western governments and sections of the media before B 2's dropped so-called ‘bunker buster' bombs on Iran. And we all remember what a disaster the Iraq war was for the people of that nation and for world politics. An estimated million Iraqi citizens died.The attack on Iran was an act of aggression against a state that had not attacked the USA. It was in clear breach of international law and it almost certainly broke US domestic and constitutional law. Moreover, two nuclear powers – Israel and the USA – have attacked a nation that does not have nuclear weapons. And applauding in the wings are Britain, France and Germany and others who are colluding in the genocide of the Palestinian people.Mol an ÓigeThe boys and girls of Rang A Seacht graduated from Bunscoil an tSléibhe Dhuibh last Friday. I was there in my capacity as a Daideo to one of the scholars. Our oldest lad's oldest lad. It was a wonderful event. The Assembly Hall was filled with parents and grandparents, brothers and sisters, teachers and classroom assistants. Pilib said a few words as a céad míle fáilte.He reminded us all that we are Gaels. Part of Gaelic society in Belfast. Part of the Irish language community here and across Ireland. Living our lives through Irish. Bringing our language with us wherever we go.Family AlbumWhen Frankie Quinn was sixteen his father gave him a  camera and sent him along to the newly formed Camera Club in the McAirt Community Centre. The club was focussed on recording life locally in the Short Strand/Ballymacarrett district which was being redeveloped.It was 1982. Large parts of the area had already been demolished when Frankie set to work. All of us who are interested in our local history have benefitted from this initiative by his father and from Frankie's work. Over the decades he has produced photographic treasures for us to contemplate and remember how things once were particularly in working class Belfast communities two generations ago.Frankie has won many awards and produced fine exhibitions of his work along with a number of publications. Family Album is the latest of these. It is about his home place. The tiny nationalist district of Short Strand and Ballymacarrett in East Belfas

Wendy Holden and Jane Thynne are both former journalists turned authors. In fact, they both worked in newsrooms together back in the 1980s.In this episode, they bring their journalistic competitiveness to the Book Off, but who will triumph?They also discuss their new novels, their fascination with WW2, why we need to keep telling historic stories and how fun research can be. They also give us some brilliant reading recommendations too!THE BOOK OFF'Little Women' by Louisa May AlcottVS'Tinker, Tailor, Soldier Spy' by John Le CarreHere's a little more on Wendy and Jane's books:The Teacher Of Auschwitz by Wendy HoldenAt the dark heart of the Holocaust, there was a wooden hut whose walls were painted with cartoons; a place where children sang, staged plays and wrote poetry. Safely inside, but still in the shadow of the chimneys, they were given better food, kept free of vermin, and were even taught meditation to imagine full stomachs and a day without fear. The man who became their guiding light was a young Jewish prisoner named Fredy Hirsch.But being a teacher in such a brutal concentration camp was no mean feat. Whether it was begging the SS for better provisions, or hiding his homosexuality from his persecutors, he risked his life every day for one thing: to protect the children from the mortal danger they all faced.Time is running out for Fredy and the hundreds of children in his care. Can he find a way to teach them the one lesson they really need to know: how to survive?Midnight In Vienna by Jane ThynneAs war looms over Britain and there is talk of gas masks and blackout, people are understandably jumpy and anxious. Stella Fry, who's been working in Vienna for a Jewish family, returns home with no job and a broken heart. She answers an advertisement from a famous mystery writer, Hubert Newman, who needs a manuscript typed. She takes on the job and is shocked the next day to learn of the writer's sudden, unexplained death. She is even more surprised when, twenty-four hours later, she receives Newman's manuscript and reads the Dedication:To Stella, spotter of mistakes.Harry Fox, formerly of Special Branch and brilliant at surveillance, has been suspended for some undisclosed misdemeanor. He has his own reasons for being interested in Hubert Newman. He approaches Stella Fry to share his belief that the writer's death was no accident.What's more, since she was the last person to see Newman, she could be in danger herself. Hosted on Acast. See acast.com/privacy for more information.

Western brands used to define cool and luxurious in China. No longer. Now consumers are turning to homegrown brands, some of which are becoming global tastemakers. Across Africa the Christian conservative movement is gaining ground fast—with a little help from American brethren. And why Britain is such a locus for the nuts and bolts of Formula 1.Get a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

Western brands used to define cool and luxurious in China. No longer. Now consumers are turning to homegrown brands, some of which are becoming global tastemakers. Across Africa the Christian conservative movement is gaining ground fast—with a little help from American brethren. And why Britain is such a locus for the nuts and bolts of Formula 1.Get a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

In this episode, we explore the pivotal moments leading up to Operation Sea Lion, examining Hitler's failed "Last Appeal to Reason" speech and the chaotic coordination struggles within the German military. Discover how conflicting priorities between the Wehrmacht branches delayed invasion planning, the critical role of radar in shaping the Battle of Britain, and the strategic miscalculations that shaped the course of the war. Contact advertising@airwavemedia.com to advertise on History of the Second World War. History of the Second World War is part of the Airwave Media podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

  When days turn to weeks... ZOOMbie Month conlcudes with the 2007 sequel 28 WEEKS LATER. Six months after the Rage virus decimates Britain, the U.S. military helps repopulate a quarantined London—but when the virus resurfaces, chaos erupts once again. A family's reunion inadvertently triggers a deadly resurgence. Also this week: A VH1 "Celebreality" history lesson, Lance remembers his time as the "Dairy Queen Q", and this movie's relation to the Iraq War. All this--and a whole lot more--on this week's episode of NEON BRAINIACS! "'Blood makes me nauseous.'" ----- Check out our Patreon for tons of bonus content, exclusive goodies, and access to our Discord server! ----- 28 Weeks Later (2007) Directed by Juan Carlos Fresnadillo Written by Rowan Joffe and Juan Carlos Fresnadillo Starring Rose Byrne, Jeremy Renner, Robert Carlyle, Idris Elba, and Imogen Poots ----- 00:00 - Intro & Opening Banter 29:07 - "The Shpiel" 42:35 - Film Breakdown 01:37:00 - Stump The Brainiacs & Outro

In this relaunch episode of Paradigm Shifting Books, hosts Stephen and Britain Covey share exciting updates about the podcast's new direction while blending personal stories with profound insights. Britain, a Super Bowl champion, reveals what winning the Super Bowl really feels like (including a hilarious kindergarten project involving "Flat Stanley"), while both hosts explore their grandfather Stephen R. Covey's timeless wisdom about paradigm shifts and why changing your perspective alters everything.As part of the relaunch, they're revisiting the 15 transformative books and authors already featured on the show—mining them for deeper insights and fresh relevance—before continuing their journey toward uncovering 40 must-read books for personal and professional growth. With new weekly episodes, this reboot promises a more structured and thoughtful approach to transformation, one paradigm at a time.Tune in to discover why Britain's teammates laughed at Flat Stanley, how to apply Einstein's problem-solving principle to daily life, and what makes this podcast's approach to personal growth unique. Let's jump in!What We Discuss[00:02] Introduction to Paradigm Shifting Books[01:20] Super Bowl Experience[03:24] Flat Stanley in the Super Bowl[06:03] Podcast relaunch[12:52] Why "paradigm shifting"?[14:45] Listening to Stephen R. Covey and Einstein's secret[17:50] Roots vs. branches concept[19:36] Invitation to join the journeyNotable Quotes[00:11:08] “What we'll do initially is go back through the 15 books and then get back into the ultimate goal of reviewing 40 books that everyone should read when it comes to personal and professional development.” — Stephen Covey[00:14:00] “Changing your paradigm will change your behavior far quicker than trying to fix the behavior itself.” — Britain Covey[00:18:23] “Focus on the roots, not the branches. That's where real transformation happens.” — Stephen CoveyResourcesParadigm Shifting BooksPodcastInstagram YouTube Britain CoveyLinkedIn InstagramStephen H. CoveyLinkedIn

#WHATSHAPPENING – UK announces plans to purchase F-35 jets capable of carrying nuclear bombs. Can Apple produce big screen movies? #WHATCHAWATCHING – Love Island is not suitable for teen girls to watch with their parents.

How and why did Hindu nationalism become popular among India's diaspora after India's independence in 1947? This is the central question of Hindu Nationalism in the Indian Diaspora: Transnational Politics and British Multiculturalism, a 2023 book by the historian Edward Anderson.The book interrogates the distinctive resonance Hindutva ideology has overseas, and the multiple ways in which the diaspora engages with British politics and society, while sustaining connections back home in India.Anderson is assistant professor in History at Northumbria University in Newcastle. He was previously the Smuts Research Fellow in Commonwealth Studies at the University of Cambridge, where he obtained a PhD in History.Anderson joins Milan on the show this week to discuss the trajectory of Indian migration to Britain, the founding of the first overseas Rashtriya Swayamsevak Sangh (RSS) shakha, and the Emergency's impact amongst the diaspora. Plus, the two discuss the role of the diaspora in funding politics and the emergence of “neo-Hindutva.”Episode notes:1. “A Reappraisal of Indira Gandhi's Life—and Legacy (with Srinath Raghavan),” Grand Tamasha, June 11, 2025.2. “The Secret to Indian Americans' Success (with Meenakshi Ahamed),” Grand Tamasha, June 4, 2025.3. “The Indian American Vote in 2024 (with Sumitra Badrinathan and Devesh Kapur),” Grand Tamasha, November 6, 2024.4. “What to read about Hindutva,” The Economist, April 5, 2024.

By Brian Kerg Major Ben Van Horrick and LtCol Scott ‘Chuck' Blyleven of the United States Marine Corps join the program to discuss the article, “Partnering Will Determine the First Days of Conflict in the Western Pacific.” Download Sea Control 579: Partnering for Conflict in the Western Pacific Links 1. “Partnering Will Determine the First … Continue reading Sea Control 579: Partnering for Conflict in the Western Pacific →

In the one-hundred-and-seventy-seventh episode, we explore the Halo Effect, starting with Trump's constant comments on the attractiveness of pilots and generals, his amazement at Transport Secretary Sean Duffy's ability to climb both up and down trees, and his reluctance to hire John Bolton and Janet Yellen.In Mark's British Politics Corner, we look at Peter Bone MP's defense of Boris Johnson, arguments for and against voting for Farage in Clacton, and David Cameron's sartorial attack on Jeremy Corbin.In the Fallacy in the Wild section, we check out examples from Britain's Got Talent, Hot in Cleveland, and a UX research company.Jim and Mark go head to head in Fake News, the game in which Mark has to guess which one of three Trump quotes Jim made up.Then we talk about Iran.And finally, we round up some of the other crazy Trump stories from the past week.The full show notes for this episode can be found at https://fallacioustrump.com/ft177 You can contact the guys at pod@fallacioustrump.com, on BlueSky @FallaciousTrump, Discord at fallacioustrump.com/discord or facebook at facebook.com/groups/fallacioustrumpAnd you can buy our T-shirts here: https://fallacioustrump.com/teeCreate your podcast today! #madeonzencastrSupport this podcast at — https://redcircle.com/fallacious-trump/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Keir Starmer is vowing to push ahead with plans to cut disability payments. But with more than 100 Labour MPs threatening to rebel, could he be forced into another U-turn? Kiran Stacey asks Labour's Rebecca Long-Bailey and the Guardian's Heather Stewart. Plus, in the age of Trump, does the UK still matter on the world stage? Labour peer and former EU chief diplomat Catherine Ashton joins Kiran to discuss the conflict in the Middle East and how much influence Britain really has. -- Get tickets to the Politics Weekly live event here: crossedwires.live/podcast/guardian-politics-weekly. Help support our independent journalism at theguardian.com/politicspod

Send us a text message and tell us your thoughts.When we picture World War I and II, we rarely envision Caribbean soldiers in RAF uniforms flying bombing missions over Nazi Germany or Trinidad's oil refineries fueling the Battle of Britain. Yet these overlooked contributions not only helped defeat fascism but transformed the Caribbean's political landscape forever. In this eye-opening episode, historian John Concagh joins Strictly Facts to uncover how over 15,000 Caribbean volunteers served in WWI and 6,000 more in WWII, despite facing what Concagh calls a "shadow color bar" within British forces. We explore the complex motivations driving Caribbean people to fight in these global conflicts – from colonial loyalty to active anti-fascism – and the bitter disappointment many faced upon being relegated to labor battalions rather than combat roles.The conversation highlights remarkable individuals whose war service shaped their later political careers, including Errol Barrow, who flew 48 bomber missions before becoming Barbados' first Prime Minister, and Ulric Cross, whose 80 missions with the elite Pathfinder force preceded his influential legal career across the post-colonial Caribbean. As Concagh powerfully observes, "When you've been shot at over Germany at 20,000 feet in the middle of the night, the British aren't very scary anymore" – explaining how military service emboldened veterans to demand independence upon their return. Beyond military service, we discover how the Caribbean's strategic position and resources – from Trinidad's aviation fuel to Jamaica's bauxite – proved crucial to Allied victory. From wartime calypso songs mocking Hitler to today's memorial sites across the region, this episode reveals how the Caribbean's war experiences continue to shape cultural memory and national identity. Listen now to understand how fighting fascism abroad inspired the fight for freedom at home.John Concagh is a historian from London whose work focuses on the relationship between Britain's African and Caribbean colonies and the challenges of the Second World War. Follow John online. Support the showConnect with Strictly Facts - Instagram | Facebook | Twitter | LinkedIn | YouTube | Website Looking to read more about the topics covered in this episode? Subscribe to the newsletter at www.strictlyfactspod.com to get the Strictly Facts Syllabus to your email!Want to Support Strictly Facts? Rate & Leave a Review on your favorite platform Share this episode with someone or online and tag us Send us a DM or voice note to have your thoughts featured on an upcoming episode Donate to help us continue empowering listeners with Caribbean history and education Produced by Breadfruit Media

Award winning comedian Raul Kohli on Britain's multicultural identity, and the role of comedy in society. This conversation is peppered with amusing stories, including one about a friend who unknowingly dated a call girl, and Raul's desire for a sausage roll sponsorship deal. Amid the laughter, we contemplate the potential of comedy to inspire real change and the interconnectedness of peace, love, and laughter!

Yesterday, New York City Democrats chose a so-called “progressive” Muslim, Zohran Mamdani, to be their next mayor. Will his candidacy prompt at last scrutiny of what authoritative Islam's Sharia doctrine entails – a truth largely suppressed in this country since its adherents attacked us on 9/11?  Sharia requires faithful Muslims to strive to achieve its totalitarian triumph worldwide. Wherever possible, that is to be accomplished through violent jihad, or holy war, as practiced by the “perfect man”: Islam's prophet Mohammed.  When violence would be counterproductive, however, Sharia demands that jihad be pursued by other means. As we have seen in Britain especially, Sharia-supremacist Muslim Brotherhood-engineered block-voting has elected Muslim mayors in London and some twenty other cities. As Charlie Kirk recently courageously observed, “Sharia is incompatible with Western civilization.” And stealthy “electoral jihad” poses a threat to it here. This is Frank Gaffney.

Allies can breathe a sigh of relief. The same Donald Trump who left the G7 summit early showed up on time for the NATO summit in the Netherlands – an abridged summit to curry favour and keep his undivided attention. The US president played with members' nerves, entertaining suspense over the United States' commitment to NATO's Article 5 but in the end reaffirming support for the Alliance's "all for one and one for all" clause in case of attack. After a victory lap over Iran, Trump was all smiles over Alliance members' commitment to boost defence spending to 5 percent of GDP.  It also emerged that Britain is buying 12 F-35A fighter jets made in the USA. That's music to Trump's ears, but how will the announcement go down with the likes of France, which has been arguing for Europe to reduce its dependency on Washington? And then there's Ukraine. Trump, in the end, took the meeting with Volodymyr Zelensky. But there, too, there were mixed messages: both when it comes to Russia's relentless campaign of aggression and the benefit of the doubt so often granted by Trump to Vladimir Putin. Produced by Rebecca Gnignati, Elisa Amiri, Ilayda Habip.

Computers, don't you just love them? Let's retire and relax... Hah, a chance would be a fine thing! Stress, avoid it at all costs! Last but not least, small houses in Britain. We live in a box! 

I mean come on, it's Julius Caesar, you've waited long enough so I'm keeping this short. The man has a salad dressing, a hotel/casino, and an orange smoothie franchise named in his honor..... BUT in addition to that he was captured by pirates, was co-president of Rome for a year, added all of Gallic France and Spain to the Roman Empire, led the first Roman Army across the Rhine River in Germany, led the first Roman Army across the English Channel to Britain, started a Roman civil war, went to Africa and got it in with Cleopatra, and I'm rabbling, go now, start the episode. FOR THE GLORY OF ROME.Support the show

in 1941, Britain and the Soviet Union invade Iran in hopes of a regime change and Reza Shah contemplates abdication. The post Book Two – Ep.10: Abdication appeared first on The Lion and The Sun Podcast.

waarin we het proletariaat en radicaal nieuwe ideeën zien opkomen in een wereld waarin niets blijft zoals het is.I.s.m. Hetty Helsmoortel en Lieven Scheire (Nerdland Maandoverzicht podcast). WIJ ZIJN: Jonas Goossenaerts (inhoud en vertelstem), Filip Vekemans (montage), Benjamin Goyvaerts (inhoud) en Laurent Poschet (inhoud). MET BIJDRAGEN VAN: Hetty Helsmoortel en Lieven Scheire (Nerdland Maandoverzicht podcast), Thomas Derynck (leraar economie - samenvatting Adam Smith), Prof. Dave Sinardet (politicoloog UAntwerpen - definities socialisme en communisme), Laurens Luyten (radiopresentator - George Stephenson). WIL JE ONS EEN FOOI GEVEN? Fooienpod - Al schenkt u tien cent of tien euro, het duurt tien seconden met een handige QR-code. WIL JE ADVERTEREN IN DEZE PODCAST? Neem dan contact op met adverteren@dagennacht.nl MEER WETEN? Onze geraadpleegde en geciteerde bronnen: Altena, B., Van Lente, D. (2011). Vrijheid en Rede. Geschiedenis van westerse samenlevingen, 1750-1989. Uitgeverij Verloren. Hilversum. Bleyen, J. e.a. (2016). Memoria 5/6. Pelckmans. Kalmthout. Deneckere, G., De Wever, B., De Paepe, T. (2020). Een geschiedenis van België. Lannoo. Tielt. Draye, G. (2009). Passages. De negentiende eeuw. Averbode. Best. De Deygere, R. e.a. (2008). Historia 5. Pelckmans. Kapellen. Evans, R. J. (2016). The pursuit of power: Europe 1815–1914. Viking. New York. Hobsbawm, E. J. (1988). The age of revolution: Europe 1789–1848. Abacus. Londen. Horn, J. (2016). The Industrial Revolution: History, documents, and key questions. ABC-CLIO. New York. Osterhammel, J. (2022). De metamorfose van de wereld. Een miondiale geschiedenis van de 19de eeuw. Atlas Contact. Amsterdam. Criado, M.A. (2024). "Industrialisation began in Britain a century before the Industrial Revolution." https://english.elpais.com/international/2024-04-05/industrialization-began-in-britain-a-century-before-the-industrial-revolution.html El Païs - Geraadpleegd op 30/05/2025. Lammer, L. (2019). "Vertraging op de lijn Brussel-Mechelen." www.standaard.be/nieuws/vertraging-op-de-lijn-brussel-mechelen/47877211.html De Standaard. Geraadpleegd op 30/05/2025. Canon van Vlaanderen: de eerste treinrit. www.canonvanvlaanderen.be/events/de-eerste-treinrit/ Geraadpleegd op 30/05/2025. PROMO SURFSHARK. Beveilig je online leven met Surfshark VPN! Ga naar https://surfshark.com/gvh of gebruik de code GVH voor 4 extra maanden gratis. Geld-terug-garantie van 30 dagen inbegrepen.See omnystudio.com/listener for privacy information.

‘A beautiful novel full of life-affirming wonder and imagination' Benedict Cumberbatch Matt Haig is one of Britain's most celebrated authors, best known for his internationally bestselling novel The Midnight Library and the critically acclaimed memoir Reasons to Stay Alive. Matt's newest novel, The Life Impossible, which became an instant Sunday Times bestseller, follows retired maths teacher Grace Winters who leaves her mundane bungalow in England for Ibiza, where she embarks on a journey to uncover the mysteries of her friend's life and death. Full of surprises and adventure, The Life Impossible is a story about hope and the promise of a new beginning. To celebrate the publication of the paperback edition of the novel, Matt will come to the Intelligence Squared stage to talk about the themes of his book and his writing career so far. --- This is the first instalment of a two-part episode. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

There's something drifting in on the air today. A funk. Criminality. Yes it seems to be bifta o'clock as John spots a doob roller on the tube. That, and it being the relaxfest which is Glastonbury, combine to see the hazy funk of ‘da ‘erb' and its ensuing uncoolness discussed at length. Because simply put this is not how Britain will build back better.Elsewhere, Elis comes in today on a high. A cycling high. And that high isn't from anything which Lance Armstrong might have partaken in. It's just the high of exercise, good vibes and raising money for charity. A figure that was primarily boosted by John. Humble, giving John. Why? Because that's just who he is.There's also a Made Up Game which appeals to Producer Dave's topical content nose, a classic Mad Dad and the expectation of Elis knowing William Hague's wife.If you want to get in touch then elisandjohn@bbc.co.uk is the means, as is 07974 293 022 on WhatsApp.

This is a free preview of a paid episode. To hear more, visit www.louiseperry.co.ukIn this bonus episode for paid subscribers, I spoke with philosopher Nina Power about the new laws on abortion and assisted suicide passed in the House of Commons this week, and what they tell us about the state of modern Britain.Please go to LouisePerry.Substack.com to listen to the full episode.

Happy Dan Hannan Day! We “celebrate” nine years of Desperate Dan's infamous Brexit prediction. Plus, War in and/or on Iran. Whatever happened to “America First”? Does Britain have any influence on Trump in this? And would Tony Blair have joined in America military action? And… this terrible, terrible heat. As the 1.5 degree limit looks increasingly fanciful, is living in a sweaty Britain the best we can hope for?  Charlotte Nichols MP of Warrington North is our special guest. ESCAPE ROUTES • Zoe recommends Shock And War: Iraq 20 Years On on BBC Sounds and Sirens on Netflix.  • Marie recommends Hacks on Amazon Prime. • Charlotte recommends Everything Must Go by our own Dorian Lynskey and On The Calculation Of Volume by Solvej Balle. • Ros recommends Lionessheart: The Life and Times of Joanna Plantagenet by Catherine Hanley.  • Back us on Patreon for ad-free listening, bonus materials and more.  Presented by Ros Taylor with Marie le Conte and Zoe Grünewald. Audio production by Robin Leeburn. Theme music by Cornershop. Produced by Chris Jones. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dreaming of meandering through the Cotswolds countryside or cruising along Scotland's North Coast 500? Before you grab those keys, there's crucial information you need to know about driving in the UK that could make or break your road trip experience.The romantic notion of spontaneously exploring Britain's charming villages and stunning landscapes can quickly turn stressful when faced with the reality of narrow country lanes, baffling roundabouts, and parking nightmares. Having driven thousands of miles across the UK and helped countless travellers plan their journeys, we've witnessed the same mistakes happening time and again.In this practical guide, we reveal the 15 most common UK driving pitfalls and how to avoid them. From the shocking truth about journey times (that 50-mile drive could take twice as long as you think!) to the critical importance of booking an automatic car well in advance, we cover essential knowledge that guidebooks often miss. We'll explain why driving in London is a mistake most travellers regret, how to navigate the UK's unique parking systems, and why checking if your accommodation actually has parking facilities could save your holiday from disaster.Whether you're used to driving on the left or not, the UK presents unique challenges that can catch even experienced international drivers off guard. We share insider advice on handling motorway driving, understanding road terminology, and preparing for the infamous British weather. Plus, we reveal the truth about rental car insurance and why paying extra for zero excess might be the best decision you make.Our goal isn't to discourage you – a UK road trip can be truly magical when done right. With proper planning and realistic expectations, you'll be free to enjoy those winding coastal roads and picturesque villages without the stress. Listen now to transform your UK driving experience from potentially nerve-wracking to absolutely brilliant!

Erik-Jan Zürcher on the uses and abuses of nostalgia for empire in contemporary Turkey and the UK. The conversation is based on Zurcher's recent lecture at the Istanbul Policy Center, “The Poison of Nostalgia”, which compared neo-Ottomanist tendencies in Turkey with the view of empire in Britain's Brexit debate. Support Turkey Book Talk on Patreon or Substack. Supporters get a 35% discount on all Turkey/Ottoman History books published by IB Tauris/Bloomsbury, transcripts of every interview, and links to articles related to each episode.

Zoe & Georgia simply can't contain their admiration and feel so inspired by today's guest...Anna McNuff!The Girlguiding Ambassador and self-proclaimed mischief maker, adventure queen and mumma of three talks to us about her journey so far, whether it's running barefoot around Britain visiting Girlguiding units, pushing boundaries of what's possible or embarking on a whole new nomad adventure with her whole family on board! inspiring girls to believe they can do anything and turning the experience into a powerful book. Anna chats about camping with kids and how she supports her mental health.Visit girlguiding.org.uk and follow Anna's adventures at restlessmumma.substack.com, annamcnuff.com and instagram.com/annamcnuffBy the end of this episode you'll be itching to go for a run outside and feel the grass on your feet - Zoe certainly was, Georgia maybe not so much!Listen by clicking ‘Play', subscribe or follow on Apple Podcasts, Spotify and Acast, and please do rate and review to help others find the podcast.Find a new episode every Tuesday & Friday and in the meantime check out Made By Mammas on Instagram: @madebymammas.Made By Mammas® is an Audio Always production. Hosted on Acast. See acast.com/privacy for more information.

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

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Nicola Harding is a London-based interior designer whose award-winning firm, celebrated for its soulful, layered aesthetic, is regularly named as one of Britain's finest. Andy Harding, her husband, is an e-commerce veteran with experience at House of Fraser and McKinsey. In 2023 the two of them launched a home goods brand, Nix, dedicated to quality, design-driven pieces at a reasonable price point.On this episode of the podcast they speak with host Dennis Scully about why Nicola tried aviation and theology before becoming an interior designer, why they wanted to launch their own brand instead of a licensed collection, and why Nix is coming to America. This episode is sponsored by ErnestaLINKSNicola HardingNixDennis ScullyBusiness of Home

What are the origins of the Irish War of Independence? What impact did the First World War have on Irish efforts for Home Rule? What was the mood in Ireland following the bloody Easter Rising of 1916? And, who was Éamon de Valera, the man who dominated the story of not only Irish politics in the 20th century, but also the entire story of Irish independence? As they launch back into the epic and tumultuous Irish War of Independence, Dominic and Tom are joined once again by historian Paul Rouse, to discuss one of the most important conflicts in the history of Britain.  The Rest Is History Club: Become a member for exclusive bonus content, early access to full series and live show tickets, ad-free listening, our exclusive newsletter, discount book prices on titles mentioned on the pod, and our members' chatroom on Discord. Just head to therestishistory.com to sign up, or start a free trial today on Apple Podcasts: apple.co/therestishistory. For more Goalhanger Podcasts, head to www.goalhanger.com _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude  Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices