Podcast appearances and mentions of Buddy Holly

Zo is excited to experience the rock and roll concert of a lifetime. Three of the most popular recording artists are about to perform the most heart pumping hits in a lifetime. Buddy Holly, The Big Bobber and, Zo's favorite, Ritchie Valens are set to rock the joint! It's thrilling! It's exciting. The most anticipated song of the night will be Valens performing his incredible crossover hit - La Bamba! Episode Segments00:03:49 Opening Credits for La Bamba starring Lou Diamond Phillips, Esai Morales and Rosanna DeSoto00:14:29 Favorite Parts of the 1987 film:  La Bamba00:44:44 Trivia from the music drama:  La Bamba00:51:16 Critics' Thoughts on Luis Valdez's  La Bamba Please leave a comment, suggestion or question on our social media: Back Look Cinema: The Podcast Links:Website: www.backlookcinema.comEmail: fanmail@backlookcinema.comYouTube: https://www.youtube.com/@backlookcinemaTwitter: https://twitter.com/backlookcinemaFacebook: https://www.facebook.com/BackLookCinemaInstagram: https://instagram.com/backlookcinemaThreads: https://www.threads.net/@backlookcinemaTikTok: https://www.tiktok.com/@backlookcinemaTwitch https://www.twitch.tv/backlookcinemaBlue Sky: https://bsky.app/profile/backlookcinema.bsky.socialMastodon: https://mstdn.party/@backlookcinemaBack Look Cinema Merch at Teespring.comBack Look Cinema Merch at Teepublic.com Again, thanks for listening.

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: Buddy by De La Soul (1989)Song 1: Big City by Kero Kero Bonito (2016)Song 2: Heartbeat by Buddy Holly (1958)Song 3: Tell It Like It Is by Aaron Neville (1966)Song 4: Dreamer by Laufey (2023)Song 5: Damn Right, I've Got the Blues by Buddy Guy (1991)Song 6: Tail In Garbage by Melt Banana (1994)Song 7: Presente Grego by Arthur Verocai (1972)Song 8: Heart's Delight by Buddy Miles (1970)Song 9: House for Sale by Nick Lowe (2011)Song 10: Since I Left You by The Avalanches (2000)

In Episode 78, Brennan is joined by NYC-based performer Gian Raffaele DiCostanzo as they talk about his beginnings in the world of theatre, being a part of the Jersey Boys circuit, and the balance between being a good and friendly collaborator without being a pushover! Also, it turns out the two of them are literally related! Wow!Support the showHost/ Production/ Editing: Brennan StefanikMusic: Dylan KaufmanGraphic Design: Jordan Vongsithi@batobroadway on Instagram, Threads, and TikTokPatreon.com/batobroadway

National beer lovers day. Entertainment from 2024. Boston formed. Day of prayer in Austrialia, Jimmy Carter gave away the Panama Canal. Todays birthdays - Grandma Moses, Peter Lawford, Don Messick, Buddy Holly, Gloria Gaynor, Julie Kavner, Chrissie Hynde, Corbin Bernsen, Jermaine Stewart, Eazy E, Shannon Elizabeth. Keith Moon died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/ I like beer - Tom T. HallA Bar Song  (Tipsy)Birthdays - In da club - 50 Cent     http://50cent.com/That'll be the day - Buddy HollyI will survive - Gloria GaynorMiddle of the road - The PretendersWe don't have to take our cloths off - Jermaine StewartStraight outta compton - NWAExit - Cold Beer - Buck Ford      https://www.buckford.com/countryundergroundradio.comHistory & Factoids webpage

On the September 7 edition of the Music History Today podcast, Tupac is shot, it's a big MTV Video Music Awards ceremony day, & 2 things related to September 11 take place...sort of. Plus, it's Buddy Holly's & Easy-E's birthdays.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Discover the fascinating story behind Buddy Holly's iconic Omega wristwatch, a symbol of his enduring legacy in rock and roll. Watch how this timeless piece, recovered after the tragic 1959 crash, continues to captivate fans and music historians alike.

As a teen, and until my wreck at 18 years old, I played the guitar, keyboards, drum, kena, electric guitar and bass, xylophone, and sang at a professional level with my band “Incarauteca”. Although at the time I only had the very minimum of formal musical education, only a few years of classical guitar, I was able to play just about any instrument that was handed to me - except for the piano. The piano thing is a story for another day. Although my band mainly played cover songs for Inti-Illimani, Los Jaivas, Violeta Parra, Victor Jara, Clara Solovera and some popular latin songs, lyrics also flowed out of me non-stop. I didn't do anything with those lyrics, mind you.I was a bit of a virtuoso and also obsessed with music. At age 17 I had an experience on stage that I misconstrued as negative: an entire audience of 2000 people cried as I sang my song… “Luchin” by Victor Jara. And, after that day, I stopped singing. In fact, I even developed asthma and was not able to use my breath well enough to sing properly after that. Not understanding human emotions well, I thought I was bringing suffering to the world.So, I just focused on playing musical instruments. That was until age 18 when my decisions caused me to get seriously injured in a motorbike accident in which I died for a few minutes. Thank you brother for insisting and buying me a top of the line full head motorcycle helmet. It saved my life. When I returned to life, it was with brain damage, and damaged arms and broken back. I was not able to hold a guitar or any other instruments anymore. And even if I did manage it, music and numbers were gone from my brain matrix. I was no longer able to access them. That's the day music died for me.I took it in my stride and didn't often think about it very much. But the life I had grown up with, surrounded by instruments, tunes, lyrics and musicians, was over.Have you heard Don McLean's "American Pie"? Better known as “the day the music died.” It was a song released on October 24, 1971, as the opening track on Don McLean's album of the same name. McLean wrote the song about the date February 3, 1959, when an airplane crash resulted in the deaths of American musicians Buddy Holly, Ritchie Valens, and the Big Bopper (J.P. Richardson).Although I was born seven years after the death of these musicians, and five years before the release of the song, whenever I heard it, it triggered something major in me. A lot of people have that feeling when they hear that song, even if they don't know what it is about or why it was written.Very soon after I had heard the song for the first time, I realized that it had to do with the dark side of the light/dark reality co-opting (hijacking) the mass-market music industry. It felt to me that no matter how good a singer or band was, eventually they would fall for the “sell their soul to the devil to become famous” offer or be removed from public view. Like most folk, I shook my fist at them and carried on with my life.I loved music, listening, singing along, and playing it. But every time I would buy a single or listen to music on the radio, it was littered with negative messages. Messages that disempowered, that made people addicted to drama, degradation, and just nasty stuff.Mostly, I stopped listening to music.At some point, I received the guidance to learn the violin and the French language. I started doing that and my brain damage started to repair, albeit very slowly.A few years later, I discovered the “Aquacure”, which I used and quickly realized after using it for a few months that it had completely cured my asthma, and the brain damage had started to dissolve. Suddenly, I was able to count and recall numbers and hear notes again… and make sense of them.During our December 2024 live call, when I looked at 2025, one of the items I saw was “the music returns”. I didn't at the time realize the personal nature of that seeing, just the effect this would have on the world at large.For me, it has been a very personal experience. And my personal experience opens the gates for all high-frequency musicians to touch our souls and reach the stars in the way we know is true and real. Music that is divine, empowering, and uplifting while keeping the styles we love, like rock, classical, urban Latin reggaeton, pop, country… There are literally no limits.What exactly happened to me, to bring this about?On July 14th, 2025, I was reviewing an article by the WE awareness. Often I have to work on those to translate them into “human”. A fellow writer had told me that using an AI to proofread things was fast and very helpful. So, I ran the article through an AI. There were a few grammatical items to work on as well as some helpful feedback. Then our cat Brad jumped on my desk, including my keyboard, and brought the whole thing to a standstill. About the same time, Larry was on Facebook and saw an ad about making music with AI. As I complained about the “work” that Brad was doing to my essay, he made a song called “Cat-astrophy” about a cat helping write an essay. We listened to it together and laughed our heads off.At this point, as I was working within the WE awareness, the idea came to run their articles through the AI to get lyrics out of it and then to run the lyrics through the AI that made music. My idea was to create a band that would go into my future book series Daisy Chain and be a part of the world creation and lore of those novels. The band “Glass Daisy” was born.The first lyrics came out of the WE article. As WE looked at them, we saw they needed some heavy editing. So, we did that. I then ran it through the music AI to generate the instruments and a specific synthesized voice. I realized that getting the sound just right was a bit of a challenge. But, after a few hours of tuning and editing the ‘playing of the AI instrument', we (I) managed to do it. You can hear this first song on our podcast “Driving To The Rez,” and the album it will be on is released in September 2025 on ineliarecords.com.Soon after that, the WE showed me that breaking through the communication barrier they had been experiencing when talking to people would be enormously facilitated by the use of our lyrics combined with different styles of music. That is how the various other “artists” were born. Now, the WE speak and sing through: Glass Daisy - Dream Pop, Roxy Vale - Soul Rock, Iron Cedar - Native American Rock, Alicia Avila - Nueva Canción Chilena Rock, Luc Lake - Tech House, Leo Mar - Urban Latin Reggaeton, and Jazzy Stevens - Retro Pop. We also plan to recruit a rap artist, a country singer and jazz/blues singer.On Friday the 12th of September at 1 PM Pacific, I will hold a live event to explain my process, the tools I use, how to use them, and the pitfalls to avoid. Yes, you can click on these AI tools twice and get a song. But if you want a high-frequency song, it is a little more involved. If you want to express your life and experience, it takes some more work. We will also listen to unreleased tracks. Be there or be square! It is also the day I release “Breaking Through The Glass Daisy”, the album that includes that first song and is an integral world-building part of the “Daisy Chain” novels.The discussion doesn't stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.drivingtotherez.com/subscribe

Shooter Jennings reveals the story of hundreds of unreleased recordings his father Waylon made between 1974-1984, including stunning covers now being released as "Songbird" - plus more musical stories from the lives of the Jennings family. Order the new "Songbird" LP here. Topics Include: Shooter Jennings discusses upcoming Songbird release featuring his late father Waylon's unfinished recordings Most songs were actually complete with vocals and instruments already recorded professionally Waylon privately recorded after 1974 RCA battle, keeping hundreds of tapes unlabeled Tapes digitized in 2008 but sat untouched until Shooter systematically catalogued everything recently Discovery process was emotional journey revealing Waylon's constant studio experimentation and joy Found treasure trove including Fleetwood Mac's "Songbird" cover and multiple complete albums worth Shooter mixed everything on vintage 1976 analog console maintaining authentic original sound Three planned album releases starting with Songbird, featuring different themes and flavors Tony Joe White plays harmonica, Jessi Colter sings, original band members returned Cataloging required detective work, Googling lyrics, consulting surviving band members for identification Growing up as Waylon's son meant different childhood, touring summers, recognizing fame Family record collection included Beatles, Harry Nilsson, later Waylon bought entire collections Teenage Shooter brought home Nine Inch Nails, Nirvana; parents showed concern but support Waylon's deep friendship with Buddy Holly, plane crash guilt haunted him for years Eventually found closure visiting crash site, could finally look at wreckage photos Parents advised being authentic, not copying others; mother worried about rough crowd Shooter's career shows risk-taking from country to experimental electronic and industrial music Produced diverse artists from Duff McKagan to Marilyn Manson, always seeking creative challenges Early collaboration with father on Fenixon project mixed country with industrial influences Vinyl remains important, frequent Amoeba Records visits, special Record Store Day releases planned Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

On this BONUS of CASCADE OF HISTORY, Feliks Banel digs into the "field tape archives" for his 2017 conversation with the late Jerry Allison, Rock and Roll Hall of Fame drummer for Buddy Holly and The Crickets, about the band's only visit to Seattle in October 1957. Mr. Allison passed away in 2022 at age 82. As Feliks says in the intro, "I confess, this is a bit of fan-boy interview, and the sound is on the somewhat sketchy side. The main goal was to gather Mr. Allison's recollections of the Crickets' one and only visit to Seattle in October 1957, but we also jumped around a bit, topically speaking. I like to think I'm a better interviewer now than I was in 2017. While that may or may not be true, I definitely have better recording gear." CASCADE OF HISTORY is broadcast LIVE most Sunday nights at 8pm Pacific Time via SPACE 101.1 FM in Seattle and gallantly streams everywhere via www.space101fm.org. The radio station broadcasts from studios at historic Magnuson Park – located in the former Master-at-Arms' quarters in the old Sand Point Naval Air Station - on the shores of Lake Washington in Seattle. Subscribe to the CASCADE OF HISTORY podcast via most podcast platforms.

One FM presenter Josh Revens and Steve Dowers present 'Whatever Happened To?' This week's topic is the legendary Buddy Holly. This program originally aired on Monday the 18th of August, 2025. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

In honor of Dave McGrath, longtime morning anchor at WGTD, who retired this past Friday after just over 25 years at the station, we are resharing a memorable interview with him and his wife Guida Brown in which they recount their experience of following the so-called Buddy Holly Tour. This involved retracing the final concert tour of Buddy Holly, which was cut short by a plane crash in rural Iowa on February 3, 1959 that killed Holly, Ritchie Valens, and the Big Bopper.

Author Chris Epting shares the stories from the books he's co-written with Def Leppard's Phil Collen, John Oates, Tom Johnston & Pat Simmons of The Doobie Brothers, and Dave Mason. He's also written about hundreds of historic rock and roll landmarks, including the site of the Buddy Holly plane crash, James Dean's tragic car crash, and more. And Chris has some major news to share about his latest project with legendary Free & Bad Company singer Paul Rodgers!Visit Chris Epting's website---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:BLUESKYFACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

With special guest: Jeff Apter… in conversation with Bill Kable It is hard to discover who the real Lee Gordon was but Jeff Apter provides a whirlwind tour of this extraordinary life in his new book Lee Gordon Presents. We know Lee Gordon arrived for the first time in Australia in September 1953. We know he left for the last time in 1963 before he died alone in a London hotel at the age (probably) of 40. Not much is certain about his real name, his date of birth and why this brash American decided on making Australia his home. But in the ten years he lived in Australia he revealed himself as a force of nature. Lee Gordon must have been a charming personality. He prevailed upon a whole host of the most successful entertainers in America to make the long trip to Australia and perform in sometimes primitive venues such as the Sydney Stadium. Those entertainers who fell under his spell included Frank Sinatra, Louis Armstrong, Johnny Cash, Buddy Holly, Jerry Lee Lewis and the list goes on. Podcast (mp3)

Another musical trip back in time to hear songs from Dusty Springfield, Otis Redding, Dire Straits, Cher, Buddy Holly, Mungo Jerry, Mud and Status Quo to name a few.

email: rockpoprollpodcast@gmail.com website: www.rockpopandroll.com (Some of) My Favorite Covers: From the earliest days of rock and roll, cover songs have been a vital part of the music's forward movement, drawing on its past. Long before we knew about digital discovery, one of the fastest ways for new artists to connect with audiences was to reimagine an existing hit and put it on an album or 45—infusing it with their own style, energy, and attitude. A Chuck Berry riff might get filtered through the Beatles' harmonies, or an old blues song could get a new spin in the hands of the Rolling Stones. Musicians have always looked back to reinterpret the songs that shaped them, essentially creating a conversation across decades of music. Great rock and roll covers often redefine the song. Jimi Hendrix's “All Along the Watchtower” transformed Bob Dylan's stark folk ballad into a guitar-rock, psychedelic stomper. Aretha Franklin took Otis Redding's “Respect” and made it a soul-rock anthem of empowerment. Nirvana's raw take on David Bowie's "The Man Who Sold the World" introduced the track to an entirely new audience. In each case, the cover didn't just honor the original—it expanded its reach. The best covers don't just repeat the past—they rewrite it, proving that a great song can live many lives. 10 Iconic Rock and Roll Covers and How They Transformed the Original Jimi Hendrix – All Along the Watchtower (1968) Originally by Bob Dylan, Hendrix electrified the song with guitars and redefined it as a rock classic. Dylan himself later performed it in Hendrix's style. The Beatles – Twist and Shout (1963) Originally recorded by The Top Notes and popularized by The Isley Brothers, the Beatles turned it into their own via John Lennon's famously shredded vocal take. Aretha Franklin – Respect (1967) Originally by Otis Redding, Aretha flipped the perspective, injecting it with feminist firepower, gospel-inspired vocals, and made it an anthem for empowerment and equality. The Rolling Stones – Little Red Rooster (1964) Originally by Willie Dixon (recorded by Howlin' Wolf), the Stones slowed it down, leaning into the deep Chicago blues feel, introducing American blues to a younger audience. Nirvana – The Man Who Sold the World (1993) Originally by David Bowie, Nirvana's MTV Unplugged version stripped it to a haunting acoustic vibe that resonated with '90s alternative fans - and (re)introduced Bowie to them, Joe Cocker – With a Little Help from My Friends (1968) Originally by The Beatles, Cocker turned the Sgt. Pepper and Ringo song into a soulful, slow-burning rocker.  Killer organ and gospel vocals. Janis Joplin – Piece of My Heart (1968) Originally by Erma Franklin, Joplin's version with Big Brother and the Holding Company was a raw and bluesy. The Clash – I Fought the Law (1979) Written in 1958 and first released in 1960 by The Crickets (after Buddy Holly left) and popularized by The Bobby Fuller Four, The Clash injected punk. It was their first single in the United States. Creedence Clearwater Revival – I Heard It Through the Grapevine (1970) Originally by Gladys Knight & The Pips and made famous by Marvin Gaye, CCR turned the Motown hit into an 11-minute swamp-rock jam. Jeff Buckley – Hallelujah (1994) Originally by Leonard Cohen, Buckley's haunting performance influenced artists in the decades that followed. Further Listening: 4 Lesser-Known but Brilliant Beatles Covers The Black Keys – She Said, She Said (2002) A gritty, stripped-down garage-rock take on The Beatles' psychedelic classic from Revolver. Siouxsie and the Banshees – Dear Prudence (1983) The Beatles' ballad morphs in goth-tinged new wave.. Gov't Mule – She Said, She Said / Tomorrow Never Knows (1998) A jam-band fusion of two Beatles tracks Fiona Apple – Across the Universe (1998) Slowed to a languid pace, Apple leans into the cosmic melancholy

Label: WB 29974Year: 1982Condition: MPrice: $14.00This is a nearly new stock copy, in its original Warner/Reprise factory sleeve. The A side is one of the best hits of the neo-Rockabilly wave that swept the U.S. and England in the early 1980's. With his note-perfect first album and great songwriting (produced by Richard Gottehrer, who served up so much great rock'n'roll froth in the 1960's with such acts as the Angels and McCoys), Crenshaw seemed like a new Buddy Holly. The non-LP B side, which Bette Midler later took up the charts, is credited to 'Marshall Crenshaw and the Handsome, Ruthless and Stupid Band.' Collector Nerd Alert: This is the rare first pressing that credits Richard Gottehrer as well as Crenshaw as B-side producer. This beautiful 45 has pristine Mint labels and audio!

Murph & Markus - Hour 4: Andrew Baggarly joins the show, timeline for Bryce Eldridge, & WDYTLT: Dead & Co ended with Buddy Holly's "Not Fade Away"See omnystudio.com/listener for privacy information.

Murph & Markus - Hour 4: Andrew Baggarly joins the show, timeline for Bryce Eldridge, & WDYTLT: Dead & Co ended with Buddy Holly's "Not Fade Away"See omnystudio.com/listener for privacy information.

TR talks about how his career in film began and answers listener questions about Buddy Holly You can now watch episodes of Tales with TR on YouTube! Head over to https://www.youtube.com/@THPN to watch the latest episode Check out TerryRyan.ca Terry Ryan answers listener questions! Terry Ryan talks about Quentin Tarantino and Kill Bill in particular. Also, TR answers listener questions and explains why you should be listening to Joan Jett Welcome to Tales with TR: A Hockey Podcast presented by The Hockey Podcast Network. Join former Montreal Canadiens' first-round draft pick & Shoresy star Terry Ryan, as he talks about the sport of Hockey, brings on various guests, and shares tales of his life and professional hockey career. Host: Terry Ryan @terryryan20 Network: @hockeypodnet Editor: Isha Jahromi - "The City Life Project" on Youtube Sponsored by: Draft Kings - Use promo code THPN at sign-up for exclusive offers https://tinyurl.com/DRAFTKINGSPROMOTHPN MAKE SURE YOURSELF/FRIENDS/FAMILY TO GO SIGN UP FOR A GAMETIME AND APPLY/"REDEEM CODE" USING PROMO CODE: THPN

Hello everyone!Robin had a bruise, and went on a blow-up obstacle course and we sing Everyday by Buddy Holly. We're on holiday in North Wales and the drive was stressful, but the farm is lovely with lots of animals. Plus Joke of the Week, Robin's Book Review, Tickle Time and Farty Facts.We love you all!

Few voices in rock history are as instantly recognizable as Allan Clarke, the co-founder and lead singer of the iconic British band The Hollies. With a career that spans more than six decades, Allan's soaring vocals, heartfelt delivery, and unforgettable harmonies have become synonymous with the golden age of classic rock and the British Invasion. Known for timeless hits like He Ain't Heavy, He's My Brother, Long Cool Woman (In a Black Dress), and Bus Stop, Allan's legacy as a rock legend is as vibrant today as it was in the 1960s.He was born Harold Allan Clarke n Salford, England. As a child, Allan developed a passion for music, drawing inspiration from early rock 'n' roll icons like Elvis, Buddy Holly, and Little Richard. His friendship with Graham Nash—who would later go on to fame with Crosby, Stills, Nash & Young—proved to be the foundation for one of the most beloved bands of all time.In 1962, Clarke and Nash formed The Hollies, a name inspired by their mutual admiration for Buddy Holly. The band's signature sound, marked by bright guitar riffs, tight vocal harmonies, and Allan's powerful yet soulful voice, quickly captured the attention of the British music scene. By '63, The Hollies were signed to the same label as The Beatles.The Hollies scored their first major hit with Stay in '63, but it was songs like Bus Stop and Carrie Anne that cemented their status as hitmakers. Allan Clarke's voice was the emotional core of The Hollies, effortlessly blending pop sensibilities with the raw energy of rock. One of Allan's most defining vocal performances came with the release of He Ain't Heavy, He's My Brother in '69. Featuring a young Elton John on piano, the song became a global anthem of brotherhood and compassion. In '72, The Hollies had another worldwide hit with Long Cool Woman , a track that still dominates classic rock radio playlists today.While Allan's legacy is firmly rooted in his work with The Hollies, he also pursued a solo career, releasing several solo albums that blended rock, folk, and country influences.Allan Clarke temporarily left The Hollies in '71 but returned in '73. His second departure in '99 marked what many assumed was the end of his career due to vocal health issues. In 2019, he made a remarkable comeback with his album Resurgence. The project marked his first solo release in decades and proved that his voice still carried the same warmth and emotion that defined his early work. Allan also collaborated with his old friend Graham Nash . His recent work bridges the gap between classic rock nostalgia and modern storytelling.The Hollies, with Allan Clarke at the helm, have sold over 60 million records worldwide and remain one of the most successful groups to emerge from the '60s.Their induction into the Rock and Roll Hall of Fame was a long-overdue recognition of their influence on generations of musicians and fans. Today, Allan Clarke stands as a bridge between the early days of rock ‘n' roll and the present. His journey from the streets of Salford to international stardom with The Hollies is a testament to the enduring power of great music, determination, and collaboration. For classic rock fans, Allan Clarke's voice is not just a sound — it's a memory, an era, and a feeling rolled into one.Whether you're revisiting He Ain't Heavy, He's My Brother, grooving to Long Cool Woman, or discovering Clarke's latest music, there's no denying his place in the pantheon of classic rock legends. Join us today as Allan Clarke shares stories of his rise to fame, his friendship with Graham Nash and what the music of The Hollies means to him.

Join Shua and a cross-country cruisin' Jovial Jay as they hit the road in search of quirky attractions and cinematic parallels. It's a road trip of epic TechnoRetro proportions on Enjoy Stuff! Road trips are the perfect setting for stories filled with chaos, bonding, and unforgettable detours. On this episode of Enjoy Stuff, Jay shares his real-life vacation adventures while we explore some of our favorite road trip movies. Join us on the open road where the signs are vintage, the coffee is 5¢, and the bikes may or may not be in the basement of the Alamo.   News TRON: Ares - Official Trailer – Return to the Grid with a new user   Mortal Kombat II - Trailer brings back more brutal battles   Stranger Things S5 Trailer – One last trip to the Upside Down   Pee-Wee Herman's iconic bike is now on display at the Alamo (probably in the basement)   RIP to legends Ozzy Osbourne (76) & Malcolm-Jamal Warner (54)   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Jay traded Metropolis for Moose Jaw on a massive trek across the U.S. and Canada. Along the way, he stopped at roadside attractions, quirky museums, and a statue of a very green giant. Shua dove into the 1984 cult classic Night of the Comet, featured in this week's Sci-Fi Saturdays, and explored the post-apocalyptic charm of that neon-soaked ‘80s gem. Check out Jay's article on Sci-Fi Saturdays   Sci-Fi Saturdays -   This week on Sci-Fi Saturdays Jay goes inside the AI dreamscape of Her (2013). It's an introspective, futuristic look at relationships, technology, and lonely hearts. Also check out his latest work on MCULocationScout.com including “Fantastic Four-apalooza!” and coverage of Agents of SHIELD Season 5.. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU. Enjoy Life!  Sometimes the journey is just as fun as the destination. Whether it's dodging Smokey in a Trans Am, bonding with a buddy over brake pads, or chasing a bike across the country, road trip movies remind us that the detours often make the best memories. Jay's real-life road trip includes stops at Wall Drug, the Corn Palace, the Buddy Holly crash site, and even a Missile Silo. Along the way, we revisit films like Vacation, Tommy Boy, Thelma & Louise, and The Muppet Movie—all stories about friendship, freedom, and a little foolishness. Did you have a favorite road trip movie growing up? Ever stop at one of America's roadside oddities? Let us know your story! Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com   

32.042 Getting some great use from our magical turntable down here in the Motorbilly Studios! Vinyl 45's spinning out some killer NEW tunes on the "Go Kat, GO! The Rock-A-Billy Show!" as The Nite Howlers, Daryl Haywood Combo, Kitten & The Tonics, The Real Deal, The Howlin' Ramblers, The Rover Boys Trio, The Bad Fortunes, Uncle Charlie Combo, The Rhythm Shakers and The Star Mountain Dreamers! Plus NEW tracks from Los Straitjackets, Eliza Stark & The Dappers, The Hyperjax, Union Avenue, The B-Shakers and Untamed Youth. Enjoy some rockin' Connie Francis music in the wake of her passing last week at the age of 87 and thrill to the vintage vibes of Buddy Holly, Gene Vincent, Sleepy La Beef, Benny Joy, The Collins Kids, Lucky Wray and the Palamino Ranch Hands, Gene Maltais, Ron Haydock & the Boppers, Duane Eddy and even Elvis Presley to boot! Lots of Hot Rod madness in honor of the 15th Annual Panty Raid Car Show this Saturday, July 26th in Lambertville, MI. Making your summer rockin' 24/7 with DJ Del Villarreal and the "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Waylon Jennings' musical career began with tragedy. On tour as the bass player for his friend Buddy Holly, Waylon gave up his seat on the tiny plane that, just hours later, crashed, killing Buddy and three others. That experience alone nearly put an end to Waylon's musical dreams. But he continued, persevering by doing only the things he wanted to do – which included hiding his pill stash from his roommate Johnny Cash, hiding his coke stash from the DEA, and creating a county/rock hybrid that refused to conform or even obey the law. To see the full list of contributors, see the show notes at www.disgracelandpod.com. This episode was originally published on June 27, 2024. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

00:00:00 Welcome & catching‑up 00:01:52 Show premise – when bands peak & crash 00:02:46 Weezer 101 & '90s nerd pride 00:04:26 Jonathan's Weezer‑tattoo origin story 00:07:00 “They made uncool feel cool” 00:10:55 Setting up the peak‑songs face‑off 00:11:00 Peak #1 – “My Name Is Jonas” 00:14:00 Peak #2 – “Only in Dreams” 00:18:10 Peak #3 – “Across the Sea” 00:19:35 Matt's turn – peak picks intro 00:20:14 Peak #4 – “Buddy Holly” 00:22:53 Peak #5 – “The Good Life” 00:24:57 Peak #6 – “Say It Ain't So” 00:29:44 Wrapping the peak era 00:30:00 Spreadsheet songwriting era 00:31:26 Hype returns – The Green Album 00:33:36 Formula problem – “Photograph” solo rant 00:36:27 Fall‑off #1 – “Dope Nose” 00:40:56 Fall‑off #2 – “Beverly Hills” 00:44:21 Fall‑off #3 – “Africa” (cover) 00:48:28 Do all bands eventually decline? 00:50:12 Artists who kept it together 00:51:09 Outro – keep your complaints to yourself

Musical Theatre West Presents: Buddy: The Buddy Holly Story @ Carpenter Performing Arts Center - 7.8 out of 10! Above Average! July 11 – 27, 2025. www.latheatrebites.com

Now that we've moved the Beatlology Interviews to its own feed, you might not be caught up. Thought you might like to hear one of my favourite episodes - singer Dion DiMucci is one of only five people still alive who are on the cover of Sgt. Pepper. Dion was also supposed to be on the plane with Buddy Holly that fateful night - and he tells us that heartbreaking story. He also gives the best description of Buddy Holly that I've ever heard. Hosted on Acast. See acast.com/privacy for more information.

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!

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!

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.

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  

-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

"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

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.

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.