Podcast appearances and mentions of Buddy Holly

This week on The Chazz Palminteri Show, I sit down with a true music legend Vito Picone, lead singer of Vito and the Elegants and the voice behind the 1958 #1 hit “Little Star.” We talk about the golden era of doo-wop, how Vito's music shaped the sound of the ‘50s and ‘60s, and his unforgettable stories performing with Buddy Holly, Dion, Frankie Avalon, and more. Vito opens up about growing up in Staten Island, the quick creation of “Little Star,” and how that one song changed his life forever. We also talk about the roots of Italian-American influence in music, his time performing at Radio City and Carnegie Hall, and how his story ties into the legacy of New York's greatest performers. Topics include: The real story behind “Little Star” Touring with music legends of the 1950s The influence of doo-wop on American pop culture NYC's evolving music scene from the Bronx to Staten Island Music, memory, and legacy Whether you're a fan of classic music or just love great stories, this episode is for you. Subscribe to The Chazz Palminteri Show and never miss an episode. New episodes drop every Monday.

There's a long-held belief that after the death of Buddy Holly rock & roll lost its way until the arrival of the Beatles. Early '60s rock was still growing in popularity, but the airwaves were ruled by teen idols, girl groups and novelty songs. However, that's not the full story. This could be seen as a time of innocence and tremendous creativity which shattered with the assassination of President Kennedy.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Come See About Me by Tedeschi Trucks Band (2011)Song 1: I'm Over It by Blushh (2018)Song 2: The Sounds of Science by Beastie Boys (1989)Song 3: Blue on Black by Kenny Wayne Shepherd (1997)Song 4: Little Angel by Nina Nastasia (2002)Song 5: Into the Great Wide Open by Tom Petty & the Heartbreakers (1991)Song 6: We're Both in Love with a Sexy Lady by Flight of the Conchords (2009)Song 7: Physical by Dua Lipa (2020)Song 8: Candle in the Wind (Live in Australia) by Elton John (1987)Song 9: Think It Over by Buddy Holly & the Crickets (1958)Song 10: The Waker by Widespread Panic (1999)

Your host, Mike DeCamp, took off on a solo driving adventure north to Lake Superior, then west to Idaho before heading back to Indiana. From dirt roads in North Dakota, to a cool rustic hotel, ground up asphalt in Montana, three random 50's-style diners, the Wounded Knee Memorial, Buddy Holly's crash site, and a Taco Tico, the stories will keep you smiling. Listen as he and Nancy discuss the highlights, the misadventures, and the interesting stories from his trip. 

The niece of Buddy Holly, Sherry Holley stops by the Front Porch.

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

What famous musician filled in on drums - for all the bands playing the night Buddy Holly died? And what popular 1930s craze had people swallowing something? Hear the Off Ramp Podcast.

In this episode , Gianni and  JEANIE welcome the legendary Vito Picone, a doo-wop singer renowned for his song 'Little Star' with The Elegants. As old friends, Gianni and Vito reminisce about their early years growing up in Staten Island, discussing their shared history at PS 39 and memories from local haunts like Moravian Cemetery and the Trio Club. The conversation covers Vito's  storied career spanning 67 years, from creating the hit 'Little Star' at age 16 to performing  alongside legends like Buddy Holly and Johnny Maestro. Vito shares fascinating anecdotes,  including the impact of his music on other artists such as Tony Orlando and David Johansson,  and stories of his encounters with giants like Frank Sinatra.

Ever wonder what it really takes to build a globally acclaimed dance company from the ground up?In Episode 146 of THE POWER OF RE:INVENTION, we step into the rhythm of Reinvention with two incredible creative forces: Tina Finkelman Berkett, founding Artistic Director of BODYTRAFFIC, and Trey McIntyre, choreographer, filmmaker, and Creative Partner at the company. This conversation doesn't just hit the beats—it leaps, spins, and lands right at the heart of what it means to build something that moves people.Tina opens up about her early love for both numbers and movement—how studying math at Barnard shaped her sharp mind, and how performing with Mikhail Baryshnikov lit a fire that led to BODYTRAFFIC's creation. One moment on a New York subway with her dad helped her choose to build something bold. That choice changed everything.Trey shares stories from his early days as a visionary choreographer, creating his first professional works while still a teenager. He talks about what drives his art, how he brings clarity to others' visions, and how dance offers a unique way to bring emotion and truth into the world.We go deep into what it takes to run a company, create lasting impact, and move audiences in every sense of the word.We talk Buddy Holly. We talk identity. We talk about dancers who carry stories in their bodies and bring them to life on stage. We even explore what it's like to watch your own work unfold in real time, surrounded by people who feel every beat.If you're looking for inspiration, creative insight, and an unforgettable conversation about passion, purpose, and movement—this one's for you.Key Takeaways:Your story can be your structure. Tina merged the precision of math with the power of performance to create something original.Start before the rules find you. Trey carved his own lane by creating boldly and early, with no gatekeepers.Art is leadership. Building a dance company means showing up with clarity, energy, and deep trust in the process.Movement holds memory. Every BODYTRAFFIC performance carries emotional layers, cultural rhythms, and lived experience.Support shapes vision. Behind every leap is the grind—grants, teams, contracts, rehearsal, community.Collaboration is rhythm. From choreographer to dancer to audience, great work pulses through connection.Catch BODYTRAFFIC in action on June 5 at the Avalon Theater in Los Angeles. Featuring new works by Trey McIntyre, Joan Rodriguez, and Jordan Santiago—including Mayday, a bold and breathtaking piece set to the music of Buddy Holly. Get tickets now at bodytraffic.comTina's Bio: https://www.bodytraffic.com/company/leadershipTrey's Website: https://treycool.com/THE RE:INVENTION EXCHANGE - for more Inspired Content, Blogs, Podcasts, RE:INVENTION Virtual Chats, or to buy a copy of my book RE:INVENT YOUR LIFE! WHAT ARE YOU WAITING FOR? by Kathi Sharpe-Ross, visit https://www.thereinventionexchange.comIG: https://www.instagram.com/kathisr_chief_reinventor/FB: https://www.facebook.com/kathi.sharpeross/LinkedIn: https://www.linkedin.com/in/kathisharpeross    Twitter: https://twitter.com/ReinventionExchDM me if you're curious about BODYTRAFFIC or want to attend the show—I just might have a few surprise tickets left!

Label: Coral 62558Year: 1969Condition: MPrice: $60.00This is a beautiful Mint copy of a single released in 1969 to commemorate Buddy Holly's untimely 1959 death, along with its striking picture sleeve. I had first heard this lovely version many years ago on a U.K.-released double album set Buddy Holly: Legend. The liner notes to that album describe the track as follows: "Love Is Strange" was one of Buddy's favorite songs. The version he recorded was around a minute long and the track included here has been "stretched" by splicing and re-recording the original tape. Norman Petty's later treatment of the recording, adding organ sounds to create the impression of strings, probably comes fairly close to Buddy's own ideas for the song. As for the B side, this rarity was cowritten with Waylon Jennings and not released until well after Holly's death. Among other places, it appeared on the B side of U.K. single in 1964. Upon hearing it, I knew I'd heard it before and after wracking my brain for awhile, I remembered that it was a version by the neo-Rockabilly singer/songwriter Billy Swan released in 1976 that was in my head. Other than that, I haven't heard any other versions, though it's indubitably hit material! Note: The 45 itself has Mint labels. The vinyl looks untouched, and the audio sounds pristine. The great picture sleeve is nearly flawless!

Hoy en La Gran Travesía viajamos hasta el año 1959 en un programa donde podréis escuchar a Buddy Holly, Ray Charles, Isley Brothers, The Shirelles, Lloyd Price, Link Wray, Eddie Cochran, Barrett Strong, Elvis Presley, Dion and the Belmonts, Chuck Berry, Nina Simone, Billie Holiday... entre muchos otros. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Gin1975, Alberto Velasco, Poncho C, Don T, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Este episodio cuenta la historia de como se formó Weezer y como crearon su inolvidable disco debut. Uno de los más influyentes disco del Rock Altarnativo y de los 500 Mejores Discos de la historia.

In this episode, the relentless May soccer schedule as the boys break down two more NSC games versus the Red Bulls and DC United.  The boys share what they learned about the team this past week, including the thin bench up front and the propensity to cause Evan to have a stroke.  There's a couple of great firsts to highlight, including some beautiful soccer in the team's first-ever win against the Red Bulls, and Patrick Yazbek's first goal with the team.  And the boys also acknowledge the new curse that has befallen the team - that of the blue "Heart of Nashville" jerseys.  Then, the boys discuss the magic of independent radio and Buddy Holly's incredible short-lived run before sharing some really spicy thoughts on the potential for Chris Applewhite.  They wrap things up with some heartfelt letters to Coach Callaghan and some predictions from their crystal balls, which may or may not be on the fritz.  And they drink beer.

This week's show, after a Jesse Welles warble: brand new Jeanines, Brian Jonestown Massacre, New Model Army, Tisburys, Lucy Dacus, Heaven, and Allo Darlin', plus Buddy Holly, Left Banke, R. Dean Taylor, Tim Hardin, Dave & Ansel Collins, Flamingoes, and...

Garza sits down in-person with Mac Glocky. Content creator, solo artist & known for his viral covers/impressions combining two different bands. New album “Fantasy Covers, Vol. 4” out now! https://linktr.ee/zachmaclachlanSPONSORS:Garza Podcast Coffee - https://garzapodcastcoffee.comCHAPTERS:00:00 - How Mac Glocky Got His Name 01:58 - Joining the Military03:25 - Working in a Restaurant08:25 - Buddy Holly, Garey Busey & Richie Valens12:22 - La Bamba13:30 - Green Day15:48 - Growing up in Sacramento & Utah16:39 - Hoobastank & Buckcherry21:03 - Everything Everything Band23:50 - Claymation Music Videos25:25 - CKY & Deron Miller27:24 - Minimal Recording Setup29:52 - Approach to Making Covers33:04 - Vocal Impressions37:37 - Starting Career Over43:56 - New Solo Album45:01 - Coming Up With Band Names50:00 - Rebuilding Social Media52:37 - Korn Covers54:17 - Strandberg Headless Guitars1:01:48 - AI Generated Music1:11:54 - Flying Cars1:14:57 - Neuralink1:18:34 - AI Girls, IRL Rizz1:22:44 - Volume 41:23:10 - Copyright Laws & Vanilla Ice Interview

Happy Spooky Wednesday, everyone! We're still coming down from the Homegrown Music Festival high, so let's keep things rolling with some haunted music venues. This week Kala's got 5 haunted venues from around the United States:House of Blues (Chicago, Illinois) Ryman Auditorium (Nashville, Tennessee) The Rave/Eagles Club (Milwaukee, Wisconsin) The Rapids Theater (Niagara Falls, New York) Roseland Theater (Portland, Oregon) While some seem to have more "proof" than others, all five venues have stories from staff and music lovers with paranormal encounters. Have you seen anything at these locations? Do you have a favorite music venue with ghosts of its own? Let us know! If there's anything we love more than the supernatural, it's local music!

32.026 It's another huge blast of true-blue, all-American rockin' billy music delivered with style, grace and loud volume by the Aztec Werewolf, DJ Del Villarreal! You know it's real when it's 50's rock n' roll! Set your ears to 'stun' with an alarming assortment of killer vintage rock n' roll: we've got Vince Maloy, Dale Hawkins, Buddy Holly, Jack Scott, Billy Harlan, Warren Smith, Johnny Burnette and even Jerry Lee Lewis on board tonight's set list. We've got the future of the modern day rockin' scene well represented as well with entertaining tracks from current stars Jane Rose & The Deadends, J.S. & The Lockerbillies, Marcel Riesco, The Bad Fortunes, Union Avenue, Jesse Ray & The Carolina Catfish, Brandon Wayne & His Lonesome Drifters, Seatbbelt, The Spunyboys, Jimmy Dale Richardson, Sebastien Bordeaux and even hot newcomer Dani West! Only the finest ingredients go into each highly caloric roots rockabilly episode! Make a request for future shows with a fast email: del@motorbilly.com and we'll see YOU on the radio! "Go Kat, GO! The Rock-A-Billy Show!"  - good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Today we live in a cynical world. It's pervasive, this debilitating disbelief in our institutions, our once assured tenets of groundedness. Now we doubt, not only what we see, but what we hear, and even our own thoughts. Are they indeed our own? Or, have they been shaped by the unrelenting marketers and influencers? Back in the 80's - even earlier back in the 60's the attitudes of boredom and mistrust seemed exclusively the province of old school Europe, in particular the French, who invented the perfect word for it: Ennui. The great bon vivant, George Sanders, in his suicide note explained that he was leaving his life because he was bored. In the following offerings we celebrate a time when cynics could be appreciated as unique and exotic. CYNICAL GIRL by Marshall Crenshaw proclaims the lure of nihilism in a poppy, irresistible interpretation. And, THEM TERRIBLE BOOTS by the Orlons makes fun of a wannabe fashionista at the crossroads of burgeoning Mod style. MARSHALL CRENSHAWIn Marshall Crenshaw's 1982 eponymous debut album, CYNICAL GIRL chimed out so brightly it was a paused that refreshed. The singer wants a cynical girl who has no use for the real world, and this notion, wrapped in candy colored chords, invited us to embrace the “Debbie Downers” in our lives, and to realize there's something comforting in the dark side. Maybe we could save each other. Crenshaw, the latter-day, second coming of Buddy Holly even portrayed the Proto-Rock God in “La Bamba” and charmed the world with his unapologetic cheeriness. But the euphoria couldn't last. His debut outing achieved his highest chart position, but it was a bracing example of positivity while it lasted. THE ORLONSThis quartet of street-wise, Philly teens made the trsition from middlin' Doo-Wop practitioners to dance craze mega stars with their triple crown of chart toppers: Wah Watusi, Don't Hang Up, and South Street, evolving into one of Cameo-Parkway's hottest acts. THEM TERRIBLE BOOTS from 1962 was the B-side to South Street, and rode that comet's tail into recording history. It's an evocative glimpse into that time when the cultural landscape was in transition from the staid 50s to the super-charged 60s. The aforementioned cynicism is reflected in the mockery to which the dude who is wearing the mod clothes is subjected.  But, he was just probably a bit ahead of his time. When the only male member, (and survivor) of the group, Stephen Caldwell, repeats the title phrase in his basso profundo, the whole salty world view clicks into place. 

Murph & Markus - Hour 4: "Two-way Buddy" steps up in Game 7, Warriors/Timberwolves review, and WDYTLT: Buddy HollySee omnystudio.com/listener for privacy information.

Murph & Markus - Hour 4: "Two-way Buddy" steps up in Game 7, Warriors/Timberwolves review, and WDYTLT: Buddy HollySee omnystudio.com/listener for privacy information.

32.028 For the finest vintage and the greatest modern roots rockin'-billy music, you've just gotta listen to DJ Del Villarreal's "Go Kat, GO!" We've got incredibly fresh and exclusive cuts to hear from the likes of Marcel Riesco, Angela Hoodoo, Joe Bombast, The Messer Chups, The Hot Rod Gang, The Hyperjax, The Chop Tops, The Pepperpot Bats, The Casinos, Mama's Hot Sauce, Willie Barry, Jane Rose & The Deadends, The Untamed Youth and Union Avenue to name a few! WOW! Plenty of reliably rocking's old school tunes included as well. You can hear selections from such classic rockin' artists as Pee Wee King, Gene Vincent, Lefty Frizzell, Sleepy LaBeef, Ben Hewitt, Buddy Holly, Carl Perkins, Larry Collins & Joe Maphis, Johnny Burnette, Wanda Jackson, Charlie Feathers and even Nervous Norvus (oh my!). It's a midweek rockabilly smorgasbord at a Southern-Fried all-you-can-eat musical diner! The Aztec Werewolf™ is picking up the tab, so grab a bib, dig in and fill your ears -it's good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

A pioneer and one of the first aritsts ever inducted into the Rock And Roll Hall of Fame, Dion DiMucci first rose to fame with his group Dion & The Belmonts, before becoming a solo sensation with iconic hits like The Wanderer, Runaround Sue and many more. His influence on American music spans more than six decades - and he's still going strong.  Earlier this year, Dion co-authored a powerful and deeply personal new book with his longtime friend Adam Jablin. It's titled: Dion - The Rock N Roll Philosopher: Conversations on LIfe, Recovery, Faith 7 music. In it, Dion opens up about his incredible journey - his struggles and triumphs, his faith, and his unwavering passion for music.  In our conversation, we'll talk about the new book, his decision to give up his seat on the plane with Buddy Holly, his path to sobriety, wisdom he gained from Sam Cooke, and the lessons He's leanred across a lifetime in music. Check out our show notes at; www.rockandrollconfessional.rocks  

Join Spunky Comstock and Wolfman Mike as they trade city lights for cornfields and hit the Iowa backroads to settle the ultimate 70s vs 80s showdown—Midwestern style!

-Sports ETA Symposium, Nebraska Showdown, Historic Haymarket Farmers Market, 2025 Lincoln Marathon-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Buddy Holly" - Weezer (1994)Show sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Gaspar tries to keep up as Stage Right Mike and Spunky Comstock recount their wild adventure to Codfish Hollow, Iowa, where they caught Craig Finn and Bob Mould performing together.* The guys describe their unconventional journey following directions that included "take a left at the cow pasture" and encountering a town crier dressed remarkably like Jesse Ventura from "Predator."* Mike and Spunky share how they tempted fate by visiting the Buddy Holly crash site the morning after seeing two iconic bespectacled frontmen perform. Spunky nicely ties Craig Finn to the "Dukes of Hazard" opening theme.* Gaspar and Mike offer their predictions and Wishlist's for opening acts at the upcoming Minnesota shows.* Mike provides his unique brand of travel advice for first-time visitors to Minnesota, including essential destinations, local customs, and food recommendations that may or may not be helpful.Send us a voicemail:https://www.speakpipe.com/TheHoodratRecapPodcastContact us:Thehoodratrecap.com

In this special deep-dive episode, we explore the extraordinary story of Gilbert O'Sullivan, the iconic Irish singer-songwriter who defined an era of melodic, thoughtful 1970s pop. From humble beginnings in Waterford, Ireland, and later Swindon, England, young Raymond O'Sullivan dreamed of creating music that was both emotionally honest and musically timeless. What he achieved went beyond even his wildest dreams.We trace Gilbert's transformation from a quiet, artistic boy into the global pop sensation known for timeless hits like “Alone Again (Naturally),” “Clair,” “Get Down,” and “Nothing Rhymed.” Along the way, he invented a persona all his own—complete with a schoolboy haircut, flat cap, and short pants—that helped him stand out in an industry dominated by glam rock, heavy metal, and psychedelic bands. His look was quirky, but his sound was grounded in elegant piano pop and biting lyricism.He wasn't chasing fads—he was creating his own lane.We'll look at how Gilbert's early influences—from Buddy Holly, Jerry Lee Lewis, and Fats Domino to the British Invasion bands like The Beatles and The Kinks—shaped his unique sound. You'll hear the story behind his breakout moment, how he almost gave up before finding success, and why “Alone Again (Naturally)” became one of the most impactful and controversial pop ballads of the '70s.We also dig into the often-overlooked second chapter of his career: the legal battles, the fight for artistic control, and his ongoing legacy as a fiercely independent songwriter who continues to tour and release new music decades after his biggest hits.Whether you're a lifelong fan, a 70s music aficionado, or just discovering Gilbert O'Sullivan for the first time, this episode is a heartfelt and eye-opening journey through one of pop music's most compelling careers.

"Raised on Vancouver Island, Canada, Zachary is an internationally recognized award-winning actor, musician and writer. Best known for his performances as Buddy Holly, Zach was coined a “dead ringer for dead singers” by the Victoria Times Colonist for his portrayal of the legendary rock 'n' roller as well as Hank Williams, Elvis Presley, Carl Perkins, Jerry Lee Lewis and Phil Ochs. In 2018, Zachary won the prestigious "Jeff" Award in Chicago for Outstanding Performance by an Actor in a Leading Role (Musical) for the Buddy Holly Story, a role he's honed in more than a dozen productions of across Canada and the United States. Other acting highlights include Million Dollar Quartet, Hair, Fire, Urinetown, Assassins, Sweeney Todd, Company and Ring of Fire. Zachary is also an accomplished songwriter and active frontman for several bands including his original trio: the Oh Boys, a Tribute to Buddy Holly, and The Fortunate Sons. He's been featured as an original artist at countless festivals including the Ottawa Folk Fest, Blue Skies Festival, Summerfolk, Winterfolk (Toronto), Folk Alliance (Memphis, Ottawa and Kansas City), and the Ottawa Blues Festival" (zacharystevenson.com). If you enjoy the podcast, please let others know, subscribe, or write a review! IF YOU'D LIKE TO SUPPORT THE PODCAST IN A MONETARY WAY, I'M NOW ON PATREON! Please note: new Patreon members get to pick a cover song for me to record especially for them! www.patreon.com/andysydow Guest Links: https://zacharystevenson.com Episode Music: Original music by Andy Sydow Contact me: middleclassrockstar@gmail.com (or) andysydowmusic@gmail.com

The GRAMMY Award-winning team of composer Michael Daugherty, conductor David Alan Miller and the Albany Symphony returns with a new album comprising a set of remarkable works exploring associations with flight and space exploration, both tragic and triumphant. In this podcast, the composer explains the context and inspiration behind the three works on the programme: from aviation pioneer Amelia Earhart's mysterious disappearance in 1937, to rock 'n roll legend Buddy Holly's tragic death in a plane crash just hours after his final performance in 1959, and Neil Armstrong's role in the triumphant Apollo 11 moon mission in 1969.

Oh my goodness, dolls, can you believe it?! On this absolutely blessed episode of Pamela Des Barres' Pajama Party, your hostess (that's me!) finally gets to dish deep with the legendary DION! You know I've been crazy about Dion DiMucci since joining his fan club at 13, and this chat was a total dream come true, spanning his iconic rock and roll history – from "The Wanderer" and "Runaround Sue" to surviving the tour with Buddy Holly – right up to his fantastic new book, "The Wanderer Talks Truth (The Rock 'n' Roll Philosopher)." We get into it all: his incredible memories (Phil Spector! Sam Cooke! Hank Williams!), his 57 years of sobriety, the spiritual wisdom that shines through his music and life, that upcoming musical, and so much more. Tune in for a truly soulful, inspiring, and fun hang with the coolest cat himself, Dion, right here on Pantheon Podcasts! Learn more about your ad choices. Visit megaphone.fm/adchoices

As you might've heard, I have a new video up on YouTube about the film Dog Day Afternoon, and a queer bank robber who stunned New York way back in the 1970s. For this week's episode, we're diving into the Sewers of Paris archives to explore queer life (and, occasionally, crime) in New York of the ‘70s. Back in the spring of 2020 I spoke with a man who remembered that era well; he earned the nickname Tree thanks to his six-foot-five stature, and he's been a part of New York's gay community going back to the fifties, when he didn't even know a community existed. Tree's been a member of Brooklyn street gangs, worked with the mob, and counted among his friends Buddy Holly, Bea Arthur, and Rock Hudson.

This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don't leave your gear in storage! Take it on the road! Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time. Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz's goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales. Tune in to learn how he frets and plays the song's blistering lead bits, plus learn about what amps Ross is leaning on these days. If you're able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:  https://guitarcenterfoundation.org https://www.cciarts.org/relief.html https://www.musiciansfoundation.org https://fireaidla.org https://www.musicares.org https://www.sweetrelief.org Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editor: Addison Sauvan Graphic Design: Megan Pralle Special thanks to Jon Romeo, Michelle Yoon, Chris Peterson, Greg Nacron, and the entire Volume.com crew.

The super-trouper of scrutiny scans this week's events and lands upon … … the man who's played on 21,000 records. … how Joni Mitchell is still stirring it up aged 81 and why we love her for it. ... the impact of the stadium circuit on rock festivals. … the longest-surviving group in the world – bowing out at Glastonbury after 66 years! … “fake indignation” on social media. … the 40th anniversary of Dead Or Alive's stunning You Spin Me Round (Like A Record). … the most unlikely looking person to have ever become a rock star.  … the serial winner of the Bass Player Who Most Resembles An Old Testament Prophet contest. … why a record untouched for four decades – eg Day Of Radiance by electronic zither master Laraaji - seems to have matured like a fine wine. … how Donna Summer's I Feel Love was a new kind of music, one that made you one want endless repetition rather than change.  … “Kevin Ayers drank a pint of Pernod then drove me down a mountain”. Plus birthday guest Avi Chaudhiri on the connection between Buddy Holly, Mike Mills and Paul ‘Bonehead' Arthurs.Find out more about how to help us to keep the conversation going: https:/www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The super-trouper of scrutiny scans this week's events and lands upon … … the man who's played on 21,000 records. … how Joni Mitchell is still stirring it up aged 81 and why we love her for it. ... the impact of the stadium circuit on rock festivals. … the longest-surviving group in the world – bowing out at Glastonbury after 66 years! … “fake indignation” on social media. … the 40th anniversary of Dead Or Alive's stunning You Spin Me Round (Like A Record). … the most unlikely looking person to have ever become a rock star.  … the serial winner of the Bass Player Who Most Resembles An Old Testament Prophet contest. … why a record untouched for four decades – eg Day Of Radiance by electronic zither master Laraaji - seems to have matured like a fine wine. … how Donna Summer's I Feel Love was a new kind of music, one that made you one want endless repetition rather than change.  … “Kevin Ayers drank a pint of Pernod then drove me down a mountain”. Plus birthday guest Avi Chaudhiri on the connection between Buddy Holly, Mike Mills and Paul ‘Bonehead' Arthurs.Find out more about how to help us to keep the conversation going: https:/www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

It's well known that "American Pie" was written by Don McLean to commemorate the plane crash that killed Buddy Holly, Richie Valens and The Big Bopper on Feb 3, 1959. But what's not as well known is that it's packed with cryptic references to other seminal events in history. Who were the "Father, Son, and the Holy Ghost"? Who was Miss American Pie? What did McLean mean by "Drove my Chevy to the levy but the levy was dry"? Well, a quintet from Prince Edward Island has put that song under the microscope and the result is both a fantastic and fascinating play called "Inside American Pie," which is playing at the CAA Theatre in downtown Toronto. Host Steve Paikin speaks with the show's co-creator Mike Ross, and cast member, Alicia Toner.See omnystudio.com/listener for privacy information.

The super-trouper of scrutiny scans this week's events and lands upon … … the man who's played on 21,000 records. … how Joni Mitchell is still stirring it up aged 81 and why we love her for it. ... the impact of the stadium circuit on rock festivals. … the longest-surviving group in the world – bowing out at Glastonbury after 66 years! … “fake indignation” on social media. … the 40th anniversary of Dead Or Alive's stunning You Spin Me Round (Like A Record). … the most unlikely looking person to have ever become a rock star.  … the serial winner of the Bass Player Who Most Resembles An Old Testament Prophet contest. … why a record untouched for four decades – eg Day Of Radiance by electronic zither master Laraaji - seems to have matured like a fine wine. … how Donna Summer's I Feel Love was a new kind of music, one that made you one want endless repetition rather than change.  … “Kevin Ayers drank a pint of Pernod then drove me down a mountain”. Plus birthday guest Avi Chaudhiri on the connection between Buddy Holly, Mike Mills and Paul ‘Bonehead' Arthurs.Find out more about how to help us to keep the conversation going: https:/www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Dion Dimucci has been a Rock 'N' Roll pioneer since the late 1950's with his iconic band Dion and the Belmonts. They scored hit after hit including The Wanderer, Runaround Sue, A Teenager in Love and Abraham, Martin and John making them Rock 'N' Roll royalty. Dion co-wrote a stunningly gorgeous coffee table sized book with his pal Adam Jablin called Dion The Rock 'N' Roll Philosopher: Conversations on Life, Recovery, Faith and Music. There are one-of-a-kind photos in the book with music legends Pail Simon, Eric Clapton, Tony Bennett, Bruce Springsteen, Clive Davis, Lou Reed and more. We discuss: 1. How did you come up with the name Dion and the Belmonts? 2. How was it like growing up in Da Bronx being part of the gang the Fordham baldies? Thanks to you guys I have this beautiful coffee table sized book beautifying…my coffee table. Adam 3. How did Dion and Adam get hooked up with each other & what inspired the co-creation of this book? 4. What Dion feels are the reasons for his early success. 5. What gave him the self-confidence that he was a great singer & the ability to sing to millions of people? 6. As with many Rock Legends, Dion seemingly had it all from an outsider's perspective. The hit songs, the fame, the adulation, screaming girls, the power & money…did he feel he had it all and why does he think he turned to a debilitating addiction and what helped him to overcome it? 7. Paul Simon in the books Forward said they don't see each other often but their phone conversations can go on for an hour & usually drift into the spiritual. What does he mean by that? 8. Was there an Aha moment where all of a sudden he found God? How did his spirituality emerge and sustain over all these years? 9. Eric Clapton in the book's prologue says Dion has an essential ingredient: SOUL…buckets of it. How did this soul start & evolve? 10. In 2020 hindsight, what would Dion change if he had to do it all over again? 10. When did Dion first start wearing the berets he is iconically known for and why do you like that signature look? 11.On Feb. 2, 1959 at the Winter Dance Party, there were 4 groups on the bill. Buddy Holly & The Crickets, Big Bopper, Richie Valens & Dion & The Belmonts. The plane didn't make it home and some like Don Maclean called it "The Day the Music Died." What did those guys mean to Dion and why wasn't he on that fatal plane?

Jamie James, guitarist, singer, and songwriter, joins Charles on Seeing Them Live to discuss his musical journey and new album Straight Up, released on Oglio Records.Jamie reflects on his early musical influences, growing up in Woodstock, Ontario, and his transition from aspiring hockey player to musician after a knee injury. He shares how he taught himself guitar on a damaged acoustic and recalls receiving his first real guitar as a Christmas gift in 1966. The conversation turns to Jamie's formative concert experiences, including seeing Tommy James and the Shondells, Deep Purple, Sly and the Family Stone, The Who, and an early performance by Queen in a small London club. Jamie describes how these shows influenced his approach to live performance. He recounts his time in the 1970s rock scene, playing with various bands before joining the New Steppenwolf in 1977. After leaving the New Steppenwolf, Jamie formed The Kingbees, an ‘80s rockabilly trio that gained a cult following.A favorable review in LA Weekly helped them gain popularity, attracting large crowds to their shows. He discusses their unique rockabilly-inspired style, which predated the Stray Cats and MTV, and his personal shift toward a Buddy Holly-influenced guitar approach. Jamie also shares anecdotes about the LA music scene, recalling interactions with The Blasters and Blackie Dammett, father of Anthony Kiedis, who became an informal emcee for The Kingbees. Additionally, he recounts signing with RSO Records in 1980, initially seeing little success until their song My Mistake gained radio traction in Detroit. This newfound exposure led to major performance opportunities, including a replacement slot at the Toledo Speedway Jam alongside ZZ Top, AC/DC, and Sammy Hagar; a wild gig that took an unexpected turn involving a whiskey bottle that injured an audience member.After the Kingbees disbanded in 1981, Jamie pursued a solo career, but his EP failed to resonate with him. A chance encounter with actor Harry Dean Stanton at a July 4th gathering led to a close friendship and musical collaboration that lasted for years. Jamie formed a band with Stanton, regularly performing at The Lighthouse and The Mint. Later, he connected with actor Dennis Quaid, leading to the formation of The Sharks, a band that endured for nearly 20 years.A severe health scare in 2020 prompted Jamie to recommit to songwriting, leading to the creation of new music during the Covid pandemic. Despite financial challenges, his bandmates were eventually drawn in by the strength of his songs, paving the way for his latest album, Ain't No Big Thing (https://oglio.com/).Jamie's story is one of resilience, reinvention, and an enduring love for making music. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

In this series, Jeff and Andy look at historical events that took place on this day.February 27th was a busy day in history with several Amendments being ratified, the first ever Madi Gras, and Buddy Holly's iconic glasses being recovered 20 years after the crash.This series is brought to you by the great Boss Shot Shells.

On this day in 1980, Buddy Holly's glasses were found- 21 years after his death!

In this week's episode, we discuss the legacy of Losercore, an aesthetic of the late 90s and early 2000s that celebrated the awkwardness of young adulthood and the sartorial idiosyncrasies of social outcasts, from orthodontia and ill-fitting gym uniforms to wire-frame glasses and dishwater-blond hair. We analyze the socioeconomic conditions that led to this period of loser glorification, identify key players (Todd Solondz, Paul Dano), cinematic touchstones (Napoleon Dynamite, Little Miss Sunshine), and generational anthems ("Teenage Dirtbag," "Buddy Holly"), and reflect on how the Internet has transformed today's young losers into threats to themselves and others.Links:Image board"The Birth—and Maybe Death—of Yuppiedom" by Walter Shapiro for Time"Loser: The Hero of the 1990s" by Grunge Included on SubstackThe Trap by Adam CurtisThe Nineties by Chuck Klosterman@yungkombucha420 on TikTok"Americans Need to Party More" by Ellen Cushing for The Atlantic"The Anti-Social Century" by Derek Thompson for The AtlanticLoser Generated Content: From Participation to Exploitation by Soren Mork PetersenBillie Eilish on having no friendsCelebrity with no friends blind item ("not Jessica Chastain")Emma Chamberlain closet videoBed rot talking stage TikTok / "Love in the Time of Bed Rotting" by Isabel Unhinged on Substack"The Story Behind The Song: Beck and the crowning of the ‘Loser' generation" – Far OutTeenage Dirtbag – Wheatus (Offical Music Video)Buddy Holly – Weezer (Official Music Video)Losercore TikTok boys: Slushy Noobz, Thomathy, Ben Awad, William ConradMarc Jacobs, Circa 2003: Long Hair, Neck Brace & Sweaty (PHOTO)Prada Spring/Summer 1996Marc Jacobs Spring 1999Marc Jacobs Fall 1999Vetements Fall 2019 MenswearBalenciaga Pre-Fall 2021 "Gucci's Beautiful Losers Hit New York" – Business of Fashion"The Book of Gucci According to Alessandro Michele" – 032c"Student Teaches Teacher" aka Jeff Bliss aka Friggin Packet Yo (Original YouTube Video)"Who's Afraid of Hasan Piker?" – Slate"Still Life (Betamale)" by Jon RafmanParty in their Blood – Cloudy Heart (Official Music Video)Bully (formerly @bully.incel.simp.hero) Duane Hanson – Saatchi GalleryDadsgiving by Chris Maggio This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.nymphetalumni.com/subscribe

In this week's episode, we discuss the legacy of Losercore, an aesthetic of the late 90s and early 2000s that celebrated the awkwardness of young adulthood and the sartorial idiosyncrasies of social outcasts, from orthodontia and ill-fitting gym uniforms to wire-frame glasses and dishwater-blond hair. We analyze the socioeconomic conditions that led to this period of loser glorification, identify key players (Todd Solondz, Paul Dano), cinematic touchstones (Napoleon Dynamite, Little Miss Sunshine), and generational anthems ("Teenage Dirtbag," "Buddy Holly"), and reflect on how the Internet has transformed today's young losers into threats to themselves and others. Links: "The Birth—and Maybe Death—of Yuppiedom" by Walter Shapiro for Time"Loser: The Hero of the 1990s" by Grunge Included on SubstackThe Trap by Adam CurtisThe Nineties by Chuck Klosterman@yungkombucha420 on TikTok"Americans Need to Party More" by Ellen Cushing for The Atlantic "The Anti-Social Century" by Derek Thompson for The AtlanticLoser Generated Content: From Participation to Exploitation by Soren Mork PetersenBillie Eilish on having no friendsCelebrity with no friends blind item ("not Jessica Chastain")Emma Chamberlain closet videoBed rot talking stage TikTok /  "Love in the Time of Bed Rotting" by Isabel Unhinged on Substack"The Story Behind The Song: Beck and the crowning of the ‘Loser' generation" – Far Out Teenage Dirtbag – Wheatus (Offical Music Video) Buddy Holly – Weezer (Official Music Video)Losercore TikTok boys: Slushy Noobz, Thomathy, Ben Awad, William ConradMarc Jacobs, Circa 2003: Long Hair, Neck Brace & Sweaty (PHOTO)Prada Spring/Summer 1996Marc Jacobs Spring 1999Marc Jacobs Fall 1999Vetements Fall 2019 Menswear Balenciaga Pre-Fall 2021 "Gucci's Beautiful Losers Hit New York" – Business of Fashion"The Book of Gucci According to Alessandro Michele" – 032c"Student Teaches Teacher" aka Jeff Bliss aka Friggin Packet Yo (Original YouTube Video) "Who's Afraid of Hasan Piker?" – Slate "Still Life (Betamale)" by Jon RafmanParty in their Blood – Cloudy Heart (Official Music Video)Bully (formerly @bully.incel.simp.hero)  Duane Hanson – Saatchi GalleryDadsgiving by Chris Maggio

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burden's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This hour Henry wonders who is on the list for nicest current professional athlete in Minnesota, he has a very unpopular take about the New York Yankees, and they discuss the plane crash that killed Richie Valens, Buddy Holly and The Big Bopper.

Today I dive into  Buddy Holly, Big Bopper and Richie Valens last gig ever in Clear Lake Iowa at the Surf Ballroom, The Grammys and the complainers that come with it, and A new band to me called Thee Sacred Souls that are absolutely incredible.   Have a great week my friends and I hope to see you out on the road. Tour dates San Francisco - https://www.punchlinecomedyclub.com/artist/K8vZ917CDF7/dean-delray-events  Las Vegas  Comedy Cellar - https://www.comedycellar.com/las-vegas-line-up/  Patreon Bonus Episodes https://www.deandelray.com/patreon     

February 3, 1959. Buddy Holly, Ritchie Valens, and “The Big Bopper” die in a plane crash on their way from Iowa to Minnesota.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Groundbreaking immunotherapy for treating brain cancer in kids, the retro yet futuristic spaceplane that could be used to resupply the ISS and, on This Day in History, the day the music died - the plane crash that killed Buddy Holly. Groundbreaking immunotherapy could finally treat devastating childhood brain tumors | ZME Science CAR T cell therapy: Overview Curvy spaceplane is one step closer to its ISS rendezvous | Popular Science Retro Spaceplane aces test for space station cargo missions Sierra Space's Dream Chaser® Spaceplane Successfully Passes NASA Testing Milestone in Preparation for Launch Flashback: How Waylon Jennings Survived the Day the Music Died Former Buddy Holly drummer Carl Bunch died "positive and at peace" - NorthIowaToday.com Roger Arthur Peterson (1937-1959) - Find a Grave Memorial The day the music died: How Don McLean's “American Pie” immortalized a tragedy The Daily The Daily Winter Dance Party Sponsored By Acorns - Head to at acorns.com/cool or download the Acorns app to start saving and investing for your future today! Contact the show - coolstuffcommute@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The late Buddy Holly's glasses had been missing for more than 20 years when Iowa Sheriff Jerry Allen came upon them in a misfiled envelope. As a part of this episode, I spoke with Sheriff Allen's daughter Jennifer about that discovery and its aftermath. This episode serves as a prelude to what comes next: beginning on Thursday, January 23, we're going to go on that fateful tour with Buddy Holly and the others, with an episode per day from January 23rd to February 3rd, one for each show, as we follow those young pioneers of rock and roll on their ill-fated journey, a terribly planned criss-crossing tour of the Midwest: The Tour From Hell. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this program you will the hear the African music roots of famed American blues and rock 'n' roll artists such as Jimi Hendrix, Bo Diddley, Buddy Holly, Fats Domino, the Isley Brothers, Robert Johnson, The Kingsmen and many more! Not everyone in this program is as well-known as the above mentioned juggernauts of music. Also included is Celia Cruz, Sexteto Habanero, Arsenio Rodriguez, and Baby Face Leroy. Co-produced by Ned Sublette and Robert Palmer, author of “Deep Blues”, regarded by many as the best book on the blues. APWW #91

Marshall Crenshaw joins Ralph Sutton and Dov Davidoff and they discuss being inducted into the Michigan Hall of Fame, growing up in Detroit, Marshall Crenshaw getting his first guitar at 17 years old, going by Jerome while playing keyboard, the worst band name of all time, movies the song Someday Someway has been in, cowriting Till I Hear It From You with the Gin Blossoms, playing Buddy Holly in La Bamba, a live performance by Marshall Crenshaw of There She Goes Again, a fun game of Blind Ranking of Marshalls in media, Marshall Crenshaw's first concert, first drug and first sexual experience and so much more!(Air Date: December 14th, 2024)Support our sponsors!YoKratom.com - Check out YoKratom (the home of the $60 kilo) for all your kratom needs!To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!You can watch The SDR Show LIVE for FREE every Wednesday and Saturday at 9pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: SDR for discount on your subscription which will give you access to every SDR show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Marshall CrenshawInstagram: https://instagram.com/Marshall.CrenshawDov DavidoffTwitter: https://twitter.com/DovDavidoffInstagram: https://instagram.com/DovDavidoffRalph SuttonTwitter: https://twitter.com/iamralphsuttonInstagram: https://www.instagram.com/iamralphsutton/The SDR ShowTwitter: https://twitter.com/theSDRshowInstagram: https://www.instagram.com/thesdrshow/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What a Creep“The Day the Music Died” Season 27, Episode 10"The Day the Music Died" is a phrase coined by singer-songwriter Don McLean in 1971 in his 8-and-a-half-minute song “American Pie.” The tragic deaths of Buddy Holly, The Big Bopper, and Ritchie Valens on February 3, 1959, shocked the world and have been the subject of study for decades. In this episode, I will discuss the lives of the men who lost their lives that night and the harsh realities of life on tour during the early days of rock and roll.Sources for this episode:Britannica Video KCCI-TV “This Day in History”The Day in Weather Fox NewsAll Things CruisingBuddy Holly: A Life from Beginning to End (Biographies of Musicians)  Wisconsin Life.orgTrigger warning: Plane crashBe sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsBlueSky: https://bsky.app/profile/whatacreep.bsky.social Facebook: Join the private group! Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.com We've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.com Our logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud