Podcasts about Candle

On this episode of the JT Sports Podcast, JT breaks down why Jalen Hurts can't touch 2015 Cam Newton, and the numbers don't lie. JT goes all in on Lamar Jackson and the Baltimore Ravens, calling their offseason the blueprint for a Super Bowl run with the most stacked secondary in NFL history. He warns the league that Bo Nix might be next up—and if he makes the leap, the NFL is cooked. JT also explains why Pete Carroll is the missing piece to unlocking the Raiders and how Travis Hunter is getting blatantly disrespected by NFL minds who still don't understand the altitude advantage. And finally, JT exposes how the NFL is setting Brian Daboll up to fail with a Giants schedule that looks borderline personal. One of these takes might be the most outrageous prediction JT's ever made.

A secret beneath The Shattered Plains, and a secret at The Dustbringer Monastery -- FN Episode 258

Jesus, People, MissionRecorded on June 8th, 2025

This Message is brought to you by the Senior Pastor of the global, multicampus ministry, Petra Christian Centre, Pastor Ayo Ajani.

This Message is brought to you by the Senior Pastor of the global, multicampus ministry, Petra Christian Centre, Pastor Ayo Ajani.

Russell gets up, Diggory arrives on the scene, and Percy runs hot. The theme of tonight's episode is Collisions.(To avoid spoilers, content warnings are listed at the end of this episode description).The bonus story that goes with this episode is ‘Death's Door', and is available for Hallowoods patrons on the show's Patreon, along with behind-the-scenes, exclusive merchandise, and more! Because the show runs without ads or sponsors, we rely on support from fans to guarantee the survival of this LGBTQ+ horror podcast.Hello From The Hallowoods is written and produced by William A. Wellman, a queer horror author. You can visit their website for more information! The transcript for this episode is available on the Hello From The Hallowoods Website. Click here to read!You can also find Hello From The Hallowoods on social media! The show is on Facebook, Instagram, and Twitter at @thehallowoods. If you'd like to connect with other fans of the show, there's even a fan-run Discord Server!Music for this episode was used under license from Artlist.com. The soundtracks featured were: ‘Dramatic Motion', by Lars Bork Andersen,‘Aftershocks', by Ardie Son,‘Charon', by Yehezkel Raz,‘Tide', by DaniHaDani,‘Dark Silence', by Piotr Hummel,‘Candle in the Dark', by Tommy H. Brandon,‘Guest of Eternity', by Dmitry Khlynin,‘Pursuit', by Brianna Tam,‘Five Sense Prison', by Roie Shpigler,‘Waiting and Hoping', by Lance Conrad,‘Beacon of Light', by Ardie Son,‘Space Sci Fi', by Flaviu Ciocan,‘The Sacred Union', by Shahead Mostafafar,‘Quantum', by ANBR,‘King's Requiem', by Alon Peretz,‘Come Back Home', by Ardie Son,‘Rhea', by Yehezkel Raz,And ‘Farewell', by Maya Belsitzman and Matan EphratContent warnings for this episode include: Animal death (Shank as usual), Violence, Kidnapping and abduction, Death + Injury, Blood, Needles, Transphobia, Homophobia, Birds, Gun Mention, Strangulation/suffocation, Emotional Manipulation, Bugs, Body horror, Religious Violence, Gore, Minor Character Death, Blisters/Swelling, Electrocution, Meathooks in body, Sudden Head Impalement, Head Crushing

One year after R E B I R T H, Jarvis reimagines the entire future of Candle of Knowledge. . . ***Watch Candle of Knowledge: R E D U X on YouTube***CREATED BY: Jarvis R. SmithWEBSITE: candleofknowledge.com PLAYLIST: R E D U X (PLAYLIST)YOUTUBE: youtube.com/@jarvisrsmithPRODUCED BY: LineSlayer Audio RECORDED AT: My Workstation Works OC RECORDING TOOLS: Mac Mini M2 | RØDECaster Pro II | Sennheiser MD-441POST PRODUCTION TOOLS: Reason 12 | Final Cut Pro XVOCAL FX/VST: VEA by iZotope ℗ © 2025 Jarvis R. Smith/LineSlayer Audio. All Rights Reserved (Audio).Support this show http://supporter.acast.com/candle-of-knowledge. Hosted on Acast. See acast.com/privacy for more information.

After a few weeks off, Selena is back in the candle saddle and ready to hear hot takes from her longtime friend Michelle Boncek. Michelle is a longtime TWM listener, a caring public school teacher, a bookworm, a Swiftie, and a true blue candlehead. The ladies talk podcasts, candlemaking, food scents, candle warmers, gifts, lost wicks, and so much more! It's such a fun, warm convo. Please subscribe, rate, and review, candleheads! (Music: bensound.com)

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)

KiKi Doll keeps it real—if you're beautiful, apply! She dives into the shifting roles in society, explores the steamy possibilities of candle wax, and explains why settling is never an option.This is one episode you don't want to miss! Tap in and drop a comment with your thoughts.

This summer, we're taking a short break from our regular podcast format, and instead have selected various installments from past message series given by James Emery White at Mecklenburg Community Church where he serves as the Senior Pastor. Today's episode comes from a series we called "The Science of God" with this installment focusing on "The Science of Faith." You see, there are many deal-breakers for those who are unchurched when it comes to the Christian faith. The biggest deal-breaker, though, seems to be what lies in the realm of public truth, meaning science. The existence of God, creation, evolution, the latest discoveries in astrophysics... that's where people long for answers. But how do you find answers when it comes to something like faith? Episode Links Below you'll find the link to the full series if that's something you are interested in checking out, along with the sources that were used in the development of the message itself: "The Science of God" Ed Stetzer, “When Will Churches Be Back? Vital Information for Churches and Christian Leaders,” Christianity Today, January 13, 2021. Ian Barbour, When Science Meets Religion: Enemies, Strangers, or Partners? (London: SPCK, 2000). For an informed critique of many of the more popular aspects of applied naturalism, see Phillip E. Johnson, Reason in the Balance: The Case Against Naturalism in Science, Law and Education (Downers Grove: InterVarsity Press, 1995). Carl Sagan, The Demon-Haunted World: Science as a Candle in the Dark (New York: Random House, 1995). How I Changed My Mind About Evolution: Evangelicals Reflect on Faith and Science, ed. by Kathryn Applegate and J.B. Stump (IVP). Nietzsche's famed “God is dead” passage can be found in section 125 of The Gay Science, available in The Portable Nietzsche, ed. Walter Kaufmann (New York: Penguin, 1982). For those of you who are new to Church & Culture, we'd love to invite you to subscribe (for free of course) to the twice-weekly Church & Culture blog and check out the Daily Headline News - a collection of headlines from around the globe each weekday. We'd also love to hear from you if there is a topic that you'd like to see discussed on the Church & Culture Podcast in an upcoming episode. You can find the form to submit your questions at the bottom of the podcast page HERE.

Hosts Bill Correll and Jan Jeremias discuss asking questions, appreciation, seeing beyond circumstances, the power of words and more.

In this episode, I'm joined by the radiant and powerful Lilly of @MysticPrimrose, an influencer, serial entrepreneur, and modern-day witch whose online presence has grown to over 2.5 million followers since 2022. Lilly shares how she began her path with witchcraft and built a wildly inspiring brand rooted in magic, manifestation, and visual spellwork. Together, we dive into her personal candle magick rituals, how she protects her energy in such a visible role, and what it really takes to teach witchcraft on platforms like Instagram. We also explore - Lilly's candle magick process and favourite spell ingredients Whether she works with deities, spirits, or self-sourced power Her approach to boundaries, backlash, and privacy in the online space Going viral, spiritual plagiarism, and teaching responsibly Her thoughts on gatekeeping and what she keeps sacred The spell that changed everything Magical routines and rituals that keep her grounded Rapid Fire Witchy Qs — from herbs to hexes! Whether you're a seasoned witch or just starting your craft, this episode is a spell in itself — full of insights, honesty, and magic. Connect with Lilly - Instagram: @MysticPrimrose https://www.mysticprimrose.com/?srsltid=AfmBOorllIyCTnoiQrYwvmjTFsL5R7EsHrXwDzd7MNnSdBL8ZivqRGAm My newest seasonal zine — Crowned in Sunlight is available from the Solstice/Litha. This Lammas issue is radiant, rooted, and rich with witch soul. It's filled with Practical Magic–inspired spells, Hekate rituals, sun-drenched harvest wisdom, and a deep dive into what it really means to be a witch at the turning of the wheel. Inside, you'll find rituals for sovereignty and gratitude, reflections on The Witch's Birthday, guidance for working with the Lionsgate Portal, and Inner Child healing practices designed to help you meet the radiant, soft, golden part of yourself you may have left behind. It's a celebration of light and shadow, ritual and remembrance — and it's available from Summer Solstice. There's also a limited number of Lammas Witch Boxes to accompany the zine, filled with spell candles, incense, exclusive grimoire pages, and a little ritual treasure or two. You can grab yours through https://www.etsy.com/shop/TheWhiteWitchCompany Book referenced in the Quantum Leap section is The Power of Your Subconscious Mind by Joseph Murphy The Hedge & Hollow has arrived… My Patreon has been fully re-enchanted into a seasonal home for witches and seekers — with monthly rituals, soul-led book circles, folklore magic, and more This July, we step barefoot into The Thorned Garden — weaving with hedgewitch magic, plant spirits, and the shadowy wisdom of poisonous herbs. It's a month of wild sovereignty, enchantress energy, and walking the thresholds between worlds. Expect plant allies, poisonous lore, threshold rituals, and the dark bloom of your own inner wild. Join the coven at Patreon - https://patreon.com/TheHedgeandHollow?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink The kettle's on. The fire's warm. You belong here. https://www.etsy.com/uk/listing/1557941841/the-hedge-witchs-broomstick?ref=shop_home_active_1&crt=1&logging_key=eba312bf8eaa0b8170c6eb1f8cec92c8aa6fbfdb%3A1557941841 Connect with Me Instagram - https://www.instagram.com/thewhitewitchpodcast?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== Patreon - https://patreon.com/TheHedgeandHollow?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink Website - https://thewhitewitchpodcast.co.uk/ Support the Podcast Leave a review on Apple Podcasts — it helps other witches find the show! Share this episode with a kindred spirit Join our magical Patreon community to dive deeper  

It's Still Pride month, baby! Today, JB, Emili and Alain talk about all the styles, all the fashions. It's the style issue, and nobody should care what we have to say on this, but here we are. Subscribe to the Substack, and you will get a 15% discount code for the Rough Cut candle, an easy and delicious way to support the show. Follow us:IG: https://www.instagram.com/rough_cut_podcast/Substack: https://roughcutpodcast.substack.com/Buy a Candle: https://www.roughcut.show/

In this deeply illuminating episode of Spiritual Spiral, host Sam Davidson welcomes intuitive reader, energy healer, and ritualist Brittany Vargas—a spiritual practitioner with nearly 20 years of experience. Brittany shares her powerful journey of discovering her intuitive gifts as a child, her evolving connection with spirit guides, and how she channels those abilities into healing, reiki, tarot, and ritual work today.Together, Sam and Brittany explore:How childhood imagination can actually be early intuitive communicationThe difference between spirits who've crossed over and those who haven'tWhat it really means to be a psychic medium—and how Brittany is refining her evidential mediumship practiceThe intersection of tarot, psychology, and self-awarenessProtective rituals, cord cutting, and the “freezer” spell (yes, literally!)The power of burning rituals and candle magick to manifest changeUnderstanding clairvoyance, clairaudience, clairsentience, and claircognizance—and how to recognize your intuitive strengthsHow men and women can both benefit from connecting with the Divine FeminineWhy remote energy healing works—and how to energetically protect yourselfThis episode is a must-listen for anyone looking to deepen their spiritual practice, embrace their intuitive gifts, and explore the transformative power of sacred ritual.Guest Info:

Our investigators must decide if they are to follow Amos down the ladder that blinked him from existence. Hopefully to learn even a little bit more about what is happening in this place... To support us please had over to: https://ko-fi.com/twistedgearsstudios Visit our Shop: https://www.twistedgearsstudios.com/shop For more on all we have going on please visit: https://www.twistedgearsstudios.com  Instagram: https://www.instagram.com/thetwistedgear/ Facebook: https://www.facebook.com/TheTwistedGear Tik-Tok: https://www.tiktok.com/@twistedgearsstudios   #TheTwistedGear, #tabletop, #ymm, #ymmarts, #ymmgeek, #tabletoprpg, #rpg, #rpggame, #callofcthulhu, #callofcthulhurpg, #cthulhu  

Teddy body suits, Tapple, Candle wax nipple, The poop-knife, Blood pressure monitoring whilst eating Creme Brûlée

This week on Eavesdroppin', Geordie & Michelle look at some really bad habits...Would you eat a live cat? Tarrare did. And if you don't know who Tarrare is, he was only the grossest man alive in France in the 1700s. With an insatiable appetite and a stench that lingered, Tarrare was an unpleasant anomaly whose legend lives on. More than that, he had stretchy mouth that could fit a dozen eggs in it, he ate live cats and maybe even nibbled dead people. Geordie takes a deep dive into this human house of horrors... Michelle follows with a look at some strange eating habits starting with Lisa the crazy cat lady. Not only does she love cats, but she also loves licking them - and eating their fur. Listen now to find out if Lisa gets furballs... Michelle also looks at three ladies in the UK who love to munch on sponges, and a pair of twins who respectively enjoy eating candles and old books. Listen to their stories and Michelle's hot takes on pica... So pop on your headphones, grab a brown lemonade and join Geordie & Michelle for this week's episode, plus a voice note from Janika from Amsterdam, chit-chat about cardigans, The British Podcast Awards and more, only on Eavesdroppin' podcast. And remember, wherever you are, whatever you do, just keep Eavesdroppin'! *Disclaimer: We don't claim to have any factual info about anything ever and our opinions are just opinions not fact, sooorrrryyy! Don't sue us! Please rate, review, tell your friends and subscribe in all the usual places – we love it when you do!Vote for us in the British Podcast Awards: https://www.britishpodcastawards.com/voting Support us on Patreon: https://www.patreon.com/eavesdroppinDo write in with your stories at hello@eavesdroppinpodcast.com or send us a Voice Note!Listen: www.eavesdroppinpodcast.com or https://podfollow.com/eavesdroppinYouTube: https://www.youtube.com/channel/UCqcuzv-EXizUo4emmt9PgfwFacebook: https://www.facebook.com/eavesdroppinpodcast#pica #tarrare #badhabits #catlicker #spongeeater #reallife #eatingcandles #truelife #eavesdroppin #eavesdroppinpodcast #eavesdroppincomedypodcast #podcast #comedy Hosted on Acast. See acast.com/privacy for more information.

Fr. Nathan speaks with David Lorimer, MA, PGCE, FRSA, a visionary polymath, spiritual activist, and poet. David who is Founder of Character Education Scotland, Global Ambassador of the Scientific and Medical Network (www.scientificandmedical.net) and former President of Wrekin Trust and the Swedenborg Society. He has also been editor of Paradigm Explorer since 1986. He was the instigator of the Beyond the Brain conference series in 1995 (www.beyondthebrain.org) and has co-ordinated the Mystics and Scientists conferences (www.mysticsandscientists.org) every year since the late 1980s.David is also Chair of the Galileo Commission (www.galileocommission.org)which seeks the widen science beyond a materialistic world view. He hosts apodcast, Imaginal Inspirations, with key thinkers in consciousness studies. Heis a Creative Member of the Club of Budapest, a Member of the EvolutionaryLeaders Circle.David, originally a merchant banker, then a teacher of philosophy and modern languages at Winchester College, is the author and editor of over a dozen books, including Radical Prince on the ideas and work of the Prince of Wales (now King Charles III). His most recent publications are his essays, A Quest for Wisdom (2021), his collection of poems Better Light a Candle (2022),Spiritual Awakenings (2022, edited with Marjorie Woollacott)David is the originator of the Inspiring Purpose Values Poster Programmes,which has reached over 350,000 young people all over the world, and hasedited fifteen magazines and five books in this connection. He was a SeniorResearch Fellow at the Jubilee Centre in the University of Birmingham from2015-2018 and in 2022 he was appointed an Ambassador of CharacterEducation. See www.inspiringpurpose.org.ukClick this link and let us know what you love about The Joyful Friar Podcast! Support the show​Connect with Father Nathan Castle, O.P.: http://www.nathan-castle.comFacebook: https://www.facebook.com/fathernathancastleInstagram: https://www.instagram.com/father_nathan_castle/?hl=enYouTube: https://www.youtube.com/c/FatherNathanGCastleOPListen to the podcast: https://apple.co/3ssA9b5Purchase books on Amazon: https://tinyurl.com/34bhp2t4 Donate: https://nathan-castle.com/donate My Dominican brothers and I live a vow of poverty. That means we hold our goods in common. If you enjoy this podcast, please donate. 501©3 of the Western Dominican Province.#fathernathancastle, #nathancastle, #thejoyfulfriar, #afterlifeinterrupted, #Interrupteddeathexperience #consciousness #lifeafterdeath, #lifeafterloss #spirituality #awakenings. #nde, #ste, #ide

You find yourself looking in the mirror after major weight loss and thinking, “Where do I even begin?”Loose skin on your stomach, thighs, arms, or butt feels overwhelming, and Googling “body lift” only adds to the confusion. Can you do it all at once? Should you?San Diego plastic surgeon Dr. Johan Brahme breaks down how to think about your treatment plan to match your goals, health, and lifestyle.Since losing more weight can still affect other areas, Dr. Brahme often starts with the stomach and saves the thigh lift for last due to the tougher recovery. A strategic combination of procedures can cut down on cost and recovery time, but not everyone is a candidate for everything at once.Recovery depends on the procedures you choose, but expect compression garments, limited activity for a few months, and possibly surgical drains. Lymphatic massage can also help reduce swelling and support healing.From arm lifts to thigh lifts, Dr. Brahme explains what to expect, how long results take, how long to be at a stable weight before surgery, and why well-placed scars are a worthwhile trade for better contour.LinksCheck out our ballpark estimates of cosmetic surgery prices at LJCSCFollow massage therapist and lymphedema expert Kathleen Lisson on Instagram @kathleenlissonApply for financing with PatientFiListen to our episode on lymphatic drainage massage, Swollen, Bloated, and Puffy with Kathleen LissonLearn from the talented plastic surgeons inside La Jolla Cosmetic, the 20x winner of the Best of San Diego and global winner of the 2020 MyFaceMyBody Best Cosmetic/Plastic Surgery Practice.Join hostess Monique Ramsey as she takes you inside La Jolla Cosmetic Surgery Centre, where dreams become real. Featuring the unique expertise of San Diego's most loved plastic surgeons, this podcast covers the latest trends in aesthetic surgery, including breast augmentation, breast implant removal, tummy tuck, mommy makeover, labiaplasty, facelifts and rhinoplasty.La Jolla Cosmetic is located just off the I-5 San Diego Freeway at 9850 Genesee Ave, Suite 130 in the Ximed building on the Scripps Memorial Hospital campus.To learn more, go to LJCSC.com or follow the team on Instagram @LJCSCWatch the LJCSC Dream Team on YouTube @LaJollaCosmeticThe La Jolla Cosmetic Podcast is a production of The Axis: theaxis.io 

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

Sedano and Trudell circle back into the beef between the Dodgers and Padres. Can we see a Rams and Jalen Ramsey reunion in LA? Way to early Superbowl picks. Radio Tinder! Take a listen to LeBron James talking about ‘ring culture.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

Billy has a new game exclusively for Jessica as she tries to get her to guess how many chips are in his bag of Ruffles. Fuentes is trying to figure out when is a good time to start the history of sports, Tyler Herro doesn't believe in history and Tony wants to know if it's an ice cream or a scented candle. Finally, Jessica said we missed an opportunity by not putting #unboxing in our description last week so we do it this week. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Billy has a new game exclusively for Jessica as she tries to get her to guess how many chips are in his bag of Ruffles. Fuentes is trying to figure out when is a good time to start the history of sports, Tyler Herro doesn't believe in history and Tony wants to know if it's an ice cream or a scented candle. Finally, Jessica said we missed an opportunity by not putting #unboxing in our description last week so we do it this week. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hosts Bill Correll and Jan Jeremias discuss symbols, responses, quantum entanglement, and more with guest Austin Jacob.

Rolling Stone's Rob Sheffield returns to Pop Pantheon for the second and final part in our Elton John series. Rob and Louie pick up on Elton's career after his initial run of hits in the 1970s at the tail end of his imperial phase. They then discuss his prolific career from 1975's autobiographical Captain Fantastic to his poorly received disco record in 79, Victim of Love, and his comeback via 1983's Too Low for Zero. Next, they tackle later era Elton, from his Disney hits to his work on Broadway, 1997's re-recording of "Candle in the Wind" and his collabs with pop ingénues like Dua Lipa. Finally, they rank Elton John in The Official Pop Pantheon.Listen to Pop Pantheon's Elton John Essentials PlaylistBUY TICKETS TO MAIN POP GIRLS: POP GIRL SUMMER ON 7/25 AT THE MEADOWS!Gorgeous Gorgeous LA Pride on June 20 at Los GlobosGorgeous Gorgeous NYC Pride on June 27 at Sultan RoomJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow Pop Pantheon on InstagramFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on Twitter

The Count looks inward, Lady Ethel Mallory sizes up the competition, and Riot meets a founder. The theme of tonight's episode is Replacements.(To avoid spoilers, content warnings are listed at the end of this episode description).The bonus story that goes with this episode is ‘The Field', and is available for Hallowoods patrons on the show's Patreon, along with behind-the-scenes, exclusive merchandise, and more! Because the show runs without ads or sponsors, we rely on support from fans to guarantee the survival of this LGBTQ+ horror podcast.Hello From The Hallowoods is written and produced by William A. Wellman, a queer horror author. You can visit their website for more information! The transcript for this episode is available on the Hello From The Hallowoods Website. Click here to read!You can also find Hello From The Hallowoods on social media! The show is on Facebook, Instagram, and Twitter at @thehallowoods. If you'd like to connect with other fans of the show, there's even a fan-run Discord Server!Music for this episode was used under license from Artlist.com. The soundtracks featured were: ‘Rhea', by Yehezkel Raz,‘Morning Sunbeams', by Yehezkel Raz,‘The Barrenness of a Busy Life', by Benja,‘Waiting', by Laurel Violet,‘Dawn', by Eva Tiedemann, ‘A Moon Walk', by Yehezkel Raz,‘Spooky Tango', by Alon Peretz,‘Shimmering Light', by Sparrow Tree,‘For the Broken Hearted', by Yehezkel Raz,‘All Is One', by The Places,‘Candle in the Dark', by Tommy H. Brandon,‘Charon', by Yehezkel Raz,‘Titan', by Yehezkel Raz,‘Lost Are We', by Alon Peretz,‘From the Depths', by Jeremy Chontow,‘The Sacred Union', by Shahea Mostafafar, ‘Quantum', by ANBR,‘Rhea', by Yehezkel Raz,And ‘Farewell', by Maya Belsitzman and Matan EphratContent warnings for this episode include: Racism, Racist Violence, Dragging Death, Implied Homophobic Lynching, Abuse, Ableism, Animal death (fish, spiders, implied), Violence, Kidnapping and abduction, Death + Injury, Blood, Homophobia, Spiders, Strangulation/suffocation, Static (including sfx), Emotional Manipulation, Drowning, Bugs, Body horror, Consumption of Inedible Materials (Black rains, Gorham gang members), Religious Violence, Intended Child Sacrifice

Charlamos con Antonio Cancela, el mayor experto de nuestro país en la Guía Michelin. Nos preguntamos junto a Ángel García Muñoz cuándo cortar el habano, ¿antes o después de encenderlo? Viajamos a Logroño para descubrir Wine Fandango, un espacio moderno, vibrante y lleno de vida. Pedro Merino nos comparte sus sensaciones en la degustación de Quai d'Orsay No. 54, una experiencia llena de matices. En los Planes, nos adentramos en el Museo Banksy Madrid, y finalizamos el episodio con la música envolvente de Bell, Book and Candle.

This weekend, Tim Smyth Park in Ennis will be filled with hope, music, and community spirit for Relay for Life Clare, a 24-hour event from 2pm Saturday, June 21st to 2pm Sunday. It's all about walking together to fight cancer, honour survivors, and remember loved ones. With live music, family fun, and the moving Candle of Hope ceremony at dusk, it promises to be a powerful and uplifting gathering. And yes, Clare FM will be there live on Saturday! To find out more Alan Morrissey was joined by Relay For Life Clare Committee Member, Olive Walsh and Cancer Survivor & Relay For Life Clare Committee Member, Lorraine White.

After struggling for years under the controlling grip of Harry Cohn, Kim Novak was finally able to relax once the Columbia boss had a heart attack and turned up his toes three weeks into production of Bell Book and Candle. In a few months, she would also be free of Muriel Roberts, the studio publicist who had pretended to be a close friend, when she was nothing more than a spy for Harry Cohn. Novak would not learn the extent of Muriel's betrayal until 1961.

Parables can be a real pain to the brain, but at the same time, Jesus tackles the issue quickly if you're open to it. Solomon says in Proverbs 15: “…wisdom make knowledge acceptable,” that is, sometimes the way you say something makes all the difference. Jesus sometimes chose parables to tell us things that we need to understand. The context of the parable in Matthew 5:13-16 is the Sermon on the Mount. The Beatitudes found in the introduction of the sermon are about kingdom thinking, or the Kingdom Ethic. The Kingdom Ethic is what directs our lives as followers of Jesus Christ. This is the: “Thy kingdom come thy will be done on earth as it is in heaven” type of thinking. This first parable following the Beatitudes is about the practice of this Kingdom Ethic. It is about how Kingdom thinking is actually lived out. If I was to summarize the eight Beatitudes for you, it would be this: “I am not a god. I am a sinner. I am here to serve others by pursuing good. I am moved by compassion, committed to do the right thing before God, in peace, and without compromise.” The purpose of the following parable can be summarized with one word: influence! How does one human being influence another? It was John Donne who said, “no man is an island.” We all have an influence on people, but we do it one at a time. Whether we admit it or not, we all have influence on something or someone and it's either for good or for bad. We cannot live out the Kingdom Ethic in a private world. We cannot live our lives in splendid isolation. In this parable, Jesus uses two metaphors to show how we, his followers, leave our “fingerprints” on the world around us. Some Christians think our job is to curse the darkness, but instead, Jesus has called us to light a candle. It's been said that most Christians have been educated beyond their level of obedience. We need to remember James' admonishment to be “doers of the word and not merely hearers” (James 1:19-25).

Learning at the Family Minyan aka Shtiebel during war time, a place to daven with warmth in Efrat. We dedicate the Torah for missiles to stop so we can go to a whole new level of Yiddishkeit together with fully open Shuls, Pools, & Tools, Functioning Flights ✈️ & More Shefa... Time for us to win the war and become the light like the candle

दलाल के के इशारे पर जिस्मफ़रोशी करने वाली एक वैश्या की कहानी जो दलाल द्वारा बेहद परेशान हो उसका खून कर आराम से सो जाती है।

June 13 2025   The Witch Daily Show (https://www.witchdailyshow.com) is talking Old Candle Jars?   Our sponsor today Is Moths and Blooms: A coloring book for adults and teens (https://www.amazon.com/dp/B0DWF5BNLN) and   (   Want to buy me a cup of coffee? Venmo: TonyaWitch - Last 4: 9226   Our quote of the day Is: ― “Every reader exists to ensure for a certain book a modest immortality. Reading is, in this sense, a ritual of rebirth.” ― Alberto Manguel, The Library at Night   Headlines: Hellmouth Con ()   Deck: ()   Other Sources: () Thank you so much for joining me this morning, if you have any witch tips, questions, witch fails, or you know of news I missed, visit https://www.witchdailyshow.com or email me at thewitchdailypodcast@gmail.com If you want to support The Witch Daily Show please visit our patreon page https://www.patreon.com/witchdailyshow   Mailing Address (must be addressed as shown below) Tonya Brown 3436 Magazine St #460 New Orleans, LA 70115

Hosts Bill Correll and guest Austin Jacob discuss empowerment, transformation, connection and more.

HAPPY PRIDE MONTH! Today, JB and Alain talk about Lies, Liars, Lying, and letting sleeping dogs lie. We all love this business, but it's also deeply riddled with bullshit, and we will mention it all! Subscribe to the Substack, and you will get a 15% discount code for the Rough Cut candle, an easy and delicious way to support the show. Follow us:IG: https://www.instagram.com/rough_cut_podcast/Substack: https://roughcutpodcast.substack.com/Buy a Candle: https://www.roughcut.show/

Penny meets an old friend, Leyland finds their family, and Olivier takes flight. The theme of tonight's episode is Reunions.(To avoid spoilers, content warnings are listed at the end of this episode description).The bonus story that goes with this episode is ‘Flotsam', and is available for Hallowoods patrons on the show's Patreon, along with behind-the-scenes, exclusive merchandise, and more! Because the show runs without ads or sponsors, we rely on support from fans to guarantee the survival of this LGBTQ+ horror podcast.Hello From The Hallowoods is written and produced by William A. Wellman, a queer horror author. You can visit their website for more information! The transcript for this episode is available on the Hello From The Hallowoods Website. Click here to read!You can also find Hello From The Hallowoods on social media! The show is on Facebook, Instagram, and Twitter at @thehallowoods. If you'd like to connect with other fans of the show, there's even a fan-run Discord Server!Music for this episode was used under license from Artlist.com. The soundtracks featured were: ‘Rhea', by Yehezkel Raz,‘Morning Sunbeams', by Yehezkel Raz,‘Lost Are We', by Alon Peretz,‘Autumnal Smile', by Nocturne Samurai,‘The Peruvian Protest', by Max H., ‘Five Sense Prison', by Roie Shpigler, ‘The Sacred Union', by Shahead Mostafafar,‘Quantum', by ANBR, ‘A Moon Walk', by Yehezkel Raz,‘Space Sauce', by Bunker Buster,‘Lapetus', by Yehezkel Raz,‘Effoliation', by Sea,‘All Is One', by The Places,‘Lost', by Lars Bork Anderson,‘For the Broken Hearted', by Yehezkel Raz,‘Candle in the Dark', by Tommy H. Brandon,‘Waiting', by Laurel Violet,‘A Lovely Day For a Walk', by Jon Gegelman, ‘Titan', by Yehezkel Raz,‘Tuesday', by Aija Alsina,‘A Touch of Dream', by Max H., ‘Days Pass', by ANBR,‘Rhea', by Yehezkel Raz,And ‘Farewell', by Maya Belsitzman and Matan EphratContent warnings for this episode include: Abuse, Animal death (many spiders), Self-harm, Violence, Kidnapping and abduction, Death + Injury, Blood, Spiders, Gun Mention, Strangulation/suffocation, Static (including sfx). Emotional Manipulation, Drowning, Bugs, Body horror, Child exposed to child-eating entity for science, mob violence

This week on The Last Video Store, Alexei Toliopoulos dusts off a well-worn VHS and welcomes a true icon of Australian music into the store: Robert Forster, co-founder of The Go-Betweens, acclaimed solo artist with the new album STRAWBERRIES.Together, they rummage through Robert’s cinematic memories. From the art-house films that shaped his songwriting with creative collaborator Grant McLennan, to the immersive recreations of Bob Dylan’s early electric days as performed by Timothée Chalamet. BOOK TICKETS for Alexei’s comedy fest show REFUSED CLASSIFICATION with Zach Ruane in CANBERRA, SYDNEY ENCORE and MELBOURNE ENCORE in JULY Follow ALEXEI TOLIOPOULOS on Letterboxd for all the rental combo lists. GUEST PICKS: A COMPLETE UNKNOWN (music), BELL BOOK & CANDLE (comedy), SUNSET BOULEVARD (crime)STAFF PICKS: TOO LATE (crime)See omnystudio.com/listener for privacy information.

What often holds Christians back in storytelling are self-imposed limits of what we think is morally acceptable for church audiences. However a simple reading of the Bible itself disproves that. We need to shift our thinking in order to become storytellers who reflect the reality of life and the redemptive qualities of Jesus.Other Music Used:“Roman's Candle,” written and performed by Sam Barsh.

On this episode of the Giants Huddle podcast, John Schmeelk chats with Head Coach of the Toledo Rockets, Jason Candle, about the play of Darius Alexander and how he could help the Giants defensive line. :00 - Darius Alexander’s development at Toledo 4:40 - Darius’ personality 6:30 - Learning a system 10:42 - Handling double teams 15:05 - Leadership traitsSee omnystudio.com/listener for privacy information.

Send us a textWelcome to Country Proud Living!  I'm your host LoriLynnIn this episode of Country Proud Living, host LoriLynn guides us through creating nurturing evening rituals that empower relaxation, reflection, and reconnection.  LoriLynn emphasizes the importance of self-care and being present in the moment, ultimately enhancing overall well-being. She addresses the challenges of adjusting to lighter evenings, shares personal experiences, and offers heartfelt strategies like...

On this episode, we discuss the new allegations of financial malfeasance against Sean Feucht, the praise & worship/political musician/influencer who runs Light a Candle ministries, Burn 24/7 ministries, as well as others.We also read pride stories from our listeners as well!Subscribe to Leaving Eden Podcast on YouTube!https://www.youtube.com/channel/UCJ4q94gAnsoW2jME4SvVrrQJoin our discord server! https://discord.gg/aneFkUJuJoin our subreddit! Reddit.com/r/EdenExodusBluesky:@leavingedenpodcast.bsky.social@hellyeahsadie.bsky.social@gavihacohen.bsky.socialInstagram:https://www.instagram.com/leavingedenpodcast/https://www.instagram.com/sadiecarpentermusic/https://www.instagram.com/gavrielhacohen/ Hosted on Acast. See acast.com/privacy for more information.

Stupid News Extra 6-9-2025 ...The Finally Caught the Candle Crew

Send us a textWhat happens when a million-mile corporate traveler trades global supply chains for hand-poured candles? Sherry Owens-Thompson's remarkable transformation from retail VP to founder of Wild Orchid Candle Company reveals how decades of strategic business experience can ignite an entrepreneurial flame.After years of feeling like "just another asset" in corporate America, Sherry embraced her passion for candle-making—discovering that creating the perfect candle requires a delicate dance between science and art. She explains the crucial differences between mass-market candles that burn black, sooty smoke and her premium, sustainable creations using coconut, apricot, and soy waxes that burn cleaner and last longer. Beyond building a thriving business with impressive customer retention, Sherry's story illuminates how entrepreneurship enables purpose-driven work. Through her WOW Academy, she brings STEAM education to young people, teaching emotional regulation and mindfulness alongside candle science. Her private labeling services help fellow small businesses create memorable branded products that outlast traditional promotional items.The conversation delves into the intersection of business strategy and social impact, offering practical wisdom for anyone considering their entrepreneurial journey. As Sherry says, "You truly are the master of your own destiny," emphasizing the importance of surrounding yourself with people who help you level up rather than hold you back.Ready to explore how your skills might fuel an unexpected business opportunity? Visit wildorchidcandles.com to discover how science, sustainability, and strategy come together in perfect harmony.Thanks for tuning in to this episode of Follow The Brand! We hope you enjoyed learning about the latest marketing trends and strategies in Personal Branding, Business and Career Development, Financial Empowerment, Technology Innovation, and Executive Presence. To keep up with the latest insights and updates from us, be sure to follow us at 5starbdm.com. See you next time on Follow The Brand!

The bite on Devils Lake is heating up and professional guide Johnnie Candle joins Scott and Kyle to share some tips and tactics to put walleyes in the boat on the famous North Dakota lake. See omnystudio.com/listener for privacy information.

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It's Two Wick Tuesday and this week, Selena chats with her hometown pal Jessamyn Violet (@jessamynviolet on Insta) the author of VENICE PEACH (out 6/6) and member of Movie Club (@movieclubband on Insta). They take a long walk down memory lane that includes Gap candles, tapers, Hot Topic vs. Scream, the Natick Mall, Angel by Thierry Mugler, fostering your creative spirit, standup comedy, and more! Catch Movie Club performing in NYC on 8/3! Please subscribe, rate, and review, candleheads! (Music: bensound.com) 

Lindsay Gould is the burning bright force behind and owner of Candle Bar 111 in Santa Barbara, CA and she's the definition of creative. This episode is another adventure outside the studio as we met up face-to-face and over coffee to talk the plusses and minuses of following our dreams, living the business owner life, and embracing failure as anything but failing. We had the pleasure of taking a class with her and building our own candles from scratch - Gooooooo, Science! - and there's even a guest star appearance from the train that goes right through town. If you've been thinking about trying something new with your own amazing idea, let this conversation be the one to light your fire. _______________________ Steve is busy at work on the third book in his cozy mystery series, THE DOG WALKING DETECTIVES. Grab the first two and get caught up: Book 1: DROWN TOWN Amazon: https://amzn.to/478W8mp Barnes & Noble: https://bit.ly/3Mv7cCk & Book 2: MURDER UNMASKED Amazon: https://shorturl.at/fDR47 Barnes & Noble: https://shorturl.at/3ccTy

In episode 1869, Jack and guest co-host Blake Wexler are joined by comedian, actor, and writer, Titi Lee, to discuss… The Enhanced Games Are Coming to Vegas, A Punk Band Just Released An Album That Smells Like Gwenyth Paltrow’s Vagina Candle, Almost Half of Young People Would Prefer A World Without Internet--UK Study Finds, Will The Eighth Mission: Impossible Really Heal America? And More! Titi Lee: Good Girl Gone Baddie The Enhanced Games Are Coming to Vegas Donald Trump Jr. Invests in Thiel-Backed ‘Olympics With Drugs’ Enhanced Games Promo A Punk Band Just Released An Album That Smells Like Gwenyth Paltrow’s Vagina Candle Gwyneth Paltrow Is Still Defending Goop’s ‘Smells Like My Vagina’ Candle: ‘Women Are Socialized to Feel a Lot of Shame and I Loved This Punk Rock Idea’ Almost Half Of Young People Would Prefer A World Without Internet--UK Study Finds Tom Cruise Sidesteps Talk About Trump’s Hollywood Tariffs at ‘Mission: Impossible’ Press Stop: ‘We’d Rather Answer Questions About the Movie’ Simon Pegg - "Mission: Impossible - The Final Reckoning" | The Daily Show Who is the enemy in ‘Top Gun: Maverick’? Let’s investigate Top Gun: Maverick director Joseph Kosinski: ‘Of all Tom Cruise’s characters, Maverick might be closest to his real personality’ The War on Our Screens 25 years later, how ‘Top Gun’ made America love war Top Gun is the sleekest, horniest recruitment ad of the 1980s TOPGUN: The Navy’s First Center of Excellence ‘Top Gun’ and the Complicated Legacy Facing ‘Maverick’ Why Tom Cruise Is Such An Effective Propaganda Tool CIA may have used contractor who inspired ‘Mission: Impossible’ to kill RFK, new book alleges MAHEU SAYS HE RECRUITED MAN FOR C.I.A. IN CASTRO POISON PLOT ClandesTime 270 – The CIA and Mission: Impossible How the CIA Hoodwinked Hollywood Mission: Impossible—a Post-Cold War Deconstruction of the ’60s Ideology and Cold War Identity in Mission: Impossible Mission: Impossible Is 25 Years Old: Its Big Twist Would Cause Outrage Today On “Mission: Impossible” and Unaccountable Government Mission: Impossible - Fallout Is The Franchise's Most Political Movie To Date The U.S. tried to change other countries’ governments 72 times during the Cold War Mission: Impossible—Fallout’s Wolf Blitzer Cameo and the Possible Perils of Fake Fake News Op-Ed: Journalists need to stop playing themselves in movies LISTEN: Cominthru by S. FidelitySee omnystudio.com/listener for privacy information.

Jon shares stories about glowing-eyed little people, a possible earth elemental, shadow people, the Copperman, and more.If you would like to help us continue to make Strange Familiars, get bonus content, t-shirts, stickers, and more rewards, you can become a patron: http://www.patreon.com/StrangeFamiliars If you would prefer a one-time payment to help us out, here is a PayPal.me link - you can change the number 25 in the URL to any amount: https://www.paypal.me/timothyrenner/25Strange Familiars merch: https://www.strangefamiliars.com/merchGIVE THE GIFT OF STRANGE FAMILIARS: https://www.patreon.com/StrangeFamiliars/giftOur Strange Familiars / Lost Grave etsy shop has art, books, patches, t-shirts, and more ... including original art done for Strange Familiars: https://lostgrave.etsy.comFollow us on Whatnot: https://whatnot.com/invite/strangefamiliarsEpisode 531 notes and links:Kiya's gofundme: https://gofund.me/f2d72fc8Episode art by Timothy:The original illustration can be purchased from our etsy shop: https://lostgrave.etsy.com/listing/4308951010Please support Kiya.Life and their work at Pine Ridge.KIYA.LIFE: https://kiya.lifeLancaster Conservancy: https://www.lancasterconservancy.orgProtect Cuff's Run: https://www.lancasterconservancy.org/protect-cuffs-run/Riverbend Comics: https://www.riverbendcomics.comRiverbend Comics Instagram: @riverbendcomicsTimothy's books: https://www.amazon.com/Timothy-Renner/e/B072X44SD5Chad's YouTube channel: https://www.youtube.com/channel/UCNB7MSJ2F1SRBPcQsEFLnvg (make sure to subscribe to Chad's channel, Ruck Rabbit Outdoors.)Chad's etsy shop: https://www.etsy.com/shop/RuckRabbitOutdoorsTo help with the Capuchin Day Center's work with the homeless you can donate here: https://www.capuchindaycentre.ieand here: https://www.cskdetroit.orgContact us via email at: strangefamiliarspodcast@gmail.comhttp://www.facebook.com/strangefamiliarsJoin the Strange Familiars Gathering group on facebook: https://www.facebook.com/groups/strangefamiliars/instagram: @strangefamiliarshttp://www.strangefamiliars.comIntro and background music by Stone Breath. You can find more at http://stonebreath.bandcamp.comThe closing song is Candle, Corpse, and Bell by Timothy from Fallow: https://stonebreath.bandcamp.com/album/fallowSupport this podcast at — https://redcircle.com/strange-familiars/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy