Podcasts about A Clockwork Orange

Skeptik is leading the revolt this week as we cover Ralph Bakshi's 1972 animated classic Fritz The Cat. Highly offensive and simultaneously highly thought provoking, this satirical look at the hippie cultural movement of the 60s was the most successful X rated film of its time (next to A Clockwork Orange)! In the terrifying times we're currently living in, please do your absolute best to never be a Fritz. Be loud, be safe, and be genuine. Fuck ICE. TW: racist depictions/language, violence, coercion, SA, drugs, scarily accurate depictions of copsBe sure to sub to our ⁠Youtube channel⁠ for video episodes!Watch PsydeShow on ⁠Twitch⁠!Join the discussion on Facebook (The Devil's Work Podcast) and Instagram/TikTok @thedevilsworkpod Email us your own reviews about the films or your thoughts on episodes at: thedevilsworkpodcast@gmail.com

Author D. Harlan Wilson joins Mike to discuss his latest book, Strangelove Country, a collection of critical fictions examining four of Stanley Kubrick's most influential science fiction films: Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, and A.I. Artificial Intelligence. Blurring the lines between criticism, fiction, and satire, Wilson explores how Kubrick's work continues to shape cultural narratives about technology, violence, human identity, and control.The conversation covers Wilson's experimental approach to writing, the enduring legacy of Kubrick's cinema, and how speculative fiction and critical theory intersect. Together, they examine how Kubrick's visions of the future—and their contradictions—remain as unsettling and relevant as ever.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

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

No guest this week, as we wanted to do an episode with just the two of us, here at the mid-point of our final season. For our reading, we dive into A Clockwork Orange, which Mike had somehow never read. Meanwhile, not only had Tom read it, he wrote a paper about its ending, back in his undergrad days, which by some miracle (or anal-retentiveness?) he still has a copy of.  Also this week: one final installment of Fan Fiction Corner. How has AI affected the fanfic community? Should politics be part of fanfiction? And can a time-traveling Toby Maguire prevent the Kennedy assassination? Thanks, as always, for listening. We've got a few more guest episodes this season, then a final episode that'll just be the two of us. We're also continuing to post bonus content on our Patreon, if you need more Book Fight in your life. Just $5 a month gets you access to loads of bonus content from the last several years: https://www.patreon.com/c/BookFight  

Get ready to Choose Life (and a podcast!), because Season 11 is officially here, and we're kicking off our brand-new theme of 'Drugs' movies with a true behemoth of 90s films: Danny Boyle's iconic Trainspotting (1996). Join us as we unpack why Trainspotting has captivated audiences for decades, despite its characters being, well, mostly "assholes". We dive deep into the film's gritty depiction of heroin use – a portrayal that absolutely, objectively does not glamorize addiction, no matter what Bob Dole (who hadn't even seen it!) might have thought. We'll explore how Danny Boyle's visionary direction, heavily influenced by Kubrick's A Clockwork Orange, delivers a visually experimental and energetic experience despite its heavy subject matter. You'll hear about the famous "Worst Toilet in Scotland", which still manages to skeeve Sarah out to this day and wonder if there is "too much poo" in this movie. We'll dissect the infamous "Choose Life" monologue, which turns out to be far more cynical than many might initially believe. We'll also give our two cents on the film's unique cast, from Ewan McGregor's smug Renton, Robert Carlyle's terrifying Begbie, Jonny Lee Miller's Sick Boy, and Ewen Bremner's surprisingly pure Spud. Here's what you can expect from this episode: We discuss why Trainspotting was chosen to kick things off in season one. Expect a deep dive into the controversial accusations of the film "glamorizing" drug use. We break down the unlikable, yet entertaining, ensemble of characters including Ewan McGregor's Renton, Robert Carlyle's Begbie, and Ewen Bremner's Spud. We consider Trainspotting as a coming-of-age narrative, particularly for Renton. Hear about the infamous feud between Danny Boyle and Ewan McGregor. Season 11 runs until August 11th with 8 episodes Would you like to see the full lineup for season 11? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup. If you do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-10 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023 and 2024.  Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy. If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.   Or come find us on social media: Instagram | TikTok | Threads | YouTube

D. Harlan Wilson's Strangelove Country is a deft, innovative study of Stanley Kubrick's relationship with science fiction that explores how the genre shaped his cinematic identity and how that identity reshaped the genre. Focusing on Kubrick's futurist trilogy—Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange—as well as his collaboration with Steven Spielberg on A.I. Artificial Intelligence, Wilson takes a unique approach that is at once scholarly and defiant of academic stodge. Specifically, he views the “Kubrickian consciousness” through the lens of schizoanalysis and filmosophy, methods of inquiry that he uses to probe how Kubrick's oeuvre forms a singular, autonomous, interstitial “filmind” distinct from the director, with its own way of thinking, seeing, and being. Synthesizing film theory, critical analysis, and novelistic technique, Wilson reaffirms Kubrick's status as one of the twentieth century's greatest auteurs while casting new light on the filmmaker's extraordinary contribution to the history of cinema. Buy the book here. Learn more about your ad choices. Visit megaphone.fm/adchoices

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The Scariest Movie EVER Made? Well upon its initial release forty-five years ago, not many critics saw it that way INCLUDING the author of the original novel which this film was based on, Stephen King.  But over time, this psychological thriller directed by the late, great Stanley Kubrick (2001: A Space Odyssey, A Clockwork Orange, Eyes Wide Shut) has garnerned not only a devoted following but a never-ending stream of speculation about what it meant.  Many love it for the memorable main lead performance by Oscar-winner Jack Nicholson (Chinatown, One Flew Over the Cuckoos Nest, Batman)  as Jack Torrance, an aspiring writer whose family ends up situated at a VERY remote location known as the Overlook Hotel....he's an aspiring writer but as the winter progresses, he starts to lose his mind.  Also with him are his beleaguered wife Wendy played by the late, great Shelley Duvall (Popeye, 3 Women, Roxanne) and their young son Danny (Danny Lloyd) who has begun to experience a sort of psychic power known as.....THE SHINING. :o Also co-starring Scatman Crothers, Joe Turkel, and Barry Nelson, this horror classic has launched spin-off documentaries, weak imitations, and loads of memes - let's head to the Overlook Hotel! Host & Editor: Geoff GershonEditor: Ella GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

High School Murder Tournament - Kinji Fukasuku's Battle Royale  This week Mr. Chavez & I look back to the beginning of the new millennium and an examination of the paranoia, violence, and uncertainty societies all over the world were facing. In 2000 Japanese director Kinji Fukasuku would bring to the screen one of the most controversial, thought-provoking, and challenging films of the new century. Battle Royale would stun and anger audiences in Japan and - later - throughout the world with its (seemingly) hopelessly dystopian look at a future not very distant from our own. Societies are breaking down and youth violence is running rampant; In the tradition of Kubrick's A Clockwork Orange as well as considerable debt to William Golding's 1954 novel, The Lord of the Flies, Fukasuku combines his influences in a world that resembles "reality television" without the cameras. It's a difficult and challenging movie that rewards its viewer with a sense of purpose that could have easily been overlooked. Take a listen as we remember Fukasuku's game-changing Battle Royale. As always, we can be reached at gondoramos@yahoo.com. Many Thanks. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards. 

Neal discusses having something in common with Dan Rather, sidewinder glass lengths, the Mandela Effect on Special K cereal, a memorable brush with law enforcement, one person operated toilets, finding sponsors for death sports, recreational scratching, a special sponge, remembering an old urination segment, the trouble with wheelbarrows, Hamburger Helper, back seat configurations, a new kind of tooth gap, why flying car owners are going to hate us all, why you may have to choose betwen potholing and the Clockwork Orange treatment, potholing versus coalmining, the respecful way to serve a meat pie and more. CONTACT THE SHOW: Visit IntoYourHead.ie/Contact. EBOOK: A Selection of Original Modern Nonsense Verse by Neal O'Carroll - free at IntoYourHead.ie/Vanity LOW BITRATE EDITION: For a lightweight ALT feed of this show see IntoYourHead.ie/Low. INTO YOUR HEAD SHORTS: On YouTube, TikTok, Insta or on site - Go to IntoYourHead.ie/Shorts LICENSE: Creative Commons BY-NC-ND 4.0 - Attribution: Neal O'Carroll - Far future humans can find hundreds more shows on Archive dot org.

Thursday Thistory! Today we are diving into the history of the classic novel & movie "A Clockwork Orange," and the effect it had on public perceptions of Behavioral Psychology. Go to www.grandviewforgood.org to learn about this month's highlighted nonprofit, working on public awareness of mental health and increasing access to care.   

We Review: The Shining, 2001: A Space Odyssey, A Clockwork Orange, Paths of Glory, Barry Lyndon, Spartacus"Here's Johnny!" The seminal horror film The Shining is celebrating its 45th anniversary this month. We honor it by discussing that film and then delving into our favorites from one of (if not the) best film director of all time: Stanley Kubrick.Subscribe on YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/@moviesshapedpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠follow us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/moviesshapedpod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chapters:00:00:00 Intro00:01:00 Stanley Kubrick Thoughts00:15:19 The Shining00:31:45 A Clockwork Orange00:44:33 2001: A Space Odyssey01:02:40 Paths of Glory01:20:29 Spartacus01:36:59 Barry Lyndon01:58:00 Next Episode Preview & Outro

If you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more!My guest this week is Vermont-via-Chicago producer, multiinstrumentalist, and record shop owner Greg Davis, also known by his beatmaking alias, Asterisk. We spoke about Perfect Days, the Star Wars franchise, particularly Revenge of the Sith, Legend of Ochi, A Clockwork Orange, falling in love with hip-hop, how studying music in college set him up to expand his vision, running a record store, bridging the gaps between the old and the new, and the creative process behind No School, his return to the world of hip-hop beatmaking. Come fuck with us. No School is currently available exclusively on Greg's Bandcamp. Find it on all other DSPs starting June 6. Follow Greg on Instagram (@gregorytylerdavis) and Twitter (@asterisk_802), follow his record store, Autumn Records, on Instagram, and check them out if you're in the Vermont area.My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.Reel Notes stands in solidarity with the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Palestine Children's Relief Fund,  The Palestinian Youth Movement, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti.  For information about contacting your representatives to demand a ceasefire, finding protests, and other tools, check out CeasefireToday!Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), Bluesky (@cinemasai.bsky.social), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped into all things Dylan Green.  Support the show

Welcome…I'm going to give you a trivia question that I'll bet you will not know the answer to.  Who was the voice of John Lennon in the animated film “Yellow Submarine?” He is a man whose talent has graced the big screen. And he has written some thrilling novels. He had unforgettable roles in classics like “A Clockwork Orange” and “The Italian Job.” But he was also a bestselling author, a storyteller with a brilliant sense of humor, and an artist with a fascinating career. John Clive was a fantastic guest that will make you laugh, think, and be entertained.

Special guest Rémy Bennett joins us to go One F'ing Hour on Stanley Kubrick's psychedelic social satire of mind control & ultra-violence – A CLOCKWORK ORANGE (1971). SIGN UP FOR THE OFH PATREON: https://www.patreon.com/onefuckinghour

In this episode, we welcome Steven C. Miller. Steven is a veteran director with credits including Werewolves, Line of Duty, First Kill, Marauders, Silent Night, and Under the Bed. In our chat, he shares about his early days, education, and pathway into filmmaking. He also takes us behind-the-scenes of creating his recent horror film, Werewolves, starring Frank Grillo, Katrina Law, and Lou Diamond Phillips. In addition, Steven offers many insights for filmmakers getting in the game and working their way up. “The Making Of” is presented by AJA:Explore AJA's New Solutions for Next-Gen Production and BroadcastAhead of NAB 2025, AJA debuted innovative solutions for production and broadcast professionals, including the BRIDGE LIVE 3G-8 IP video bridge for remote workflows/streaming/backhaul, the DANTE-12GAM IP audio embedder/disembedder, and KUMO 6464-12G compact SDI router. Find out how your facility, pipeline, or project can benefit from the flexibility these new tools provide here.OWC Powers Indie Horror-Comedy ScreamboatFrom set to post, the Screamboat team trusted OWC to keep their horror-comedy production running smoothly. Atlas media cards captured the action, while Envoy Pro FX and ThunderBlade drives enabled fast offloads. In post, the ThunderBay Flex 8 anchored their workflow with high-capacity, high-performance storage. Explore how OWC powered this ambitious indie project every step of the way. Read more hereFeatured Filmmaking Book: Kubrick: An OdysseyThe definitive biography of the creator of 2001: A Space Odyssey, The Shining, and A Clockwork Orange, presenting the most in-depth portrait yet of the groundbreaking filmmaker.The enigmatic and elusive filmmaker Stanley Kubrick has not been treated to a full-length biography in over twenty years.Stanley Kubrick: An Odyssey fills that gap. This definitive book is based on access to the latest research, especially Kubrick's archive at the University of the Arts, London, as well as other private papers plus new interviews with family members and those who worked with him. It offers comprehensive and in-depth coverage of Kubrick's personal, private, public, and working life. Stanley Kubrick: An Odyssey investigates not only the making of Kubrick's films, but also about those he wanted (but failed) to make like Burning Secret, Napoleon, Aryan Papers, and A.I. Read more hereZEISS Introduces the Otus ML:The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. Inspired by the legendary ZEISS Otus family, the new lenses bring ZEISS' renowned optical excellence combined with precise mechanics to mirrorless system cameras. Thanks to the distinctive ZEISS Look of true color, outstanding sharpness and the iconic “3D-Pop” of micro-contrast, your story will come to life exactly like you envisioned. A wide f1.4 aperture provides outstanding depth of field directing attention to your focus area, providing a soft bokeh that elegantly separates subjects from the background. The aspherical design effectively minimizes distortion and chromatic aberrations. Coupled with ZEISS T* coating that reduce reflections within a lens, minimizing lens flare and enhancing image contrast, and color fidelity.Learn more hereA New Solution from Videoguys:The SanDisk Extreme Portable SSD is built for adventure, fitting seamlessly into your mobile lifestyle while delivering blazing-fast NVMe performance with read speeds up to 1050MB/s and write speeds up to 1000MB/s. Designed for content creators and on-the-go professionals, this high-capacity drive is tested and compatible with iPhone, making it easy to free up space on your smartphone. Its rugged design offers up to three-meter drop protection, IP65 water and dust resistance, and a durable silicone shell for extra security. Backed by a 5-year limited warranty, the SanDisk Extreme Portable SSD is now available in an impressive new 8TB capacity at Videoguys.com. Check it out hereFeatured Event:Cine Gear Expo LA | Universal Studios LotJune 6-7, 2025A revered film and television production mecca, Universal Studios Lot is known for their legendary stages, beautifully appointed theatres, and outdoor city streets, parks & squares— seen in countless film and television spectacles. "We are excited to welcome the Cine Gear community to this iconic destination," announces Cine Gear Expo Co-Founder/CEO Juliane Grosso. “The Universal Lot offers an abundance of everything we look for to create a valuable and unforgettable experience."A crossroads of filmmakers and cutting-edge technology, Cine Gear Expo is known globally as the best place in filmmaking to discover groundbreaking innovations, connect with top-tier creatives, and discover the latest gear from mainstay brands and next-gen innovators at hundreds of industry booths. Attendees can hone their skills at hands-on equipment demos, pick up tips at filmmaker panels, and enjoy educational sessions, screenings, and guild & association presentations — topped off by world-class mingling with friends & colleagues. Beyond the expo, other offerings include Cine Gear's Film Series Screenings and a Master Class featuring renowned filmmaker instructors.Register here Podcast Rewind:April 2025 - Ep. 74…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 152K filmmakers, video pros, TV, broadcast and live event production pros reading this newsletter, email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

With Black Mirror returning to our screens Dee Reddy takes a look at the best dystopian movies, from Clockwork Orange to Blade Runner and Idiocracy.

In this third Episode on Glasgow city, we have just come to the end of University Avenue, arriving at Byers Road, a favourite place for University Students to eat and drink. What is the scandal surrounding the Tennant Pub? And what does a Clockwork Orange have to do with Glasgow's underground railway system, the third oldest in the world. I'll be mentioning the conversion of 19th century Town Houses to hotels and find out where Kylie Minogue stays when she is visiting Glasgow. Down on the waterfront we will visit the Scottish Exhibition Centre to see an arena that looks like a spacecraft and the other one that looks like an Armadillo. Across the other side of the River Clyde, we will visit the science centre and I'll tell you about the Glasgow Tower that earned the Guinness World Record, for its ability to be rotated 360 degrees in the presence of wind. We will also be visiting a couple of the 20 art galleries and museums that adorn Glasgow which has some of the most eminent collection of arts and historical antiques in Europe. Oh, and don't forget the musical arts centres where our opera house sits opposite Scotland's centre for bagpipes. Could one say that the sounds are not dissimilar?  

Caleb and Eric once again return to their long running Kubrick retrospective, this time arriving at A Clockwork Orange! Isaac joins them again discuss this one, coming in for his first time seeing it. What will your hosts think of this one? Find out now!   This episode was recorded on Sept. 29th, 2024.   Email the show at thenoviceelitists@gmail.com or reach out to us on twitter @CalebAlexader   Check out Eric over on The Best Picture Podcast.  The Best Picture Podcast | Libsyn Directory As well as other shows, such as The 1001 Movies Podcast: https://1001moviespodcast.libsyn.com/ And Romulan's Bearing Gifts: Romulans Bearing Gifts: The Star Trek Podcast | Libsyn Directory And follow Eric on twitter @Bullitt33  

For our final season, we're covering the short life of Martin Goodman's Atlas/Seaboard comics by reviewing all the debut issues from their line.  What do you get when you make a stew out of Orwell's 1984 heavily seasoned with Bradbury's Fahrenheit 451 and generous pinches of A Clockwork Orange and a dash of The Time Machine? Why, Michael Fleisher's crazy dystopian body horror sci-fi book MORLOCK 2001, of course! You can read all 3 issues here: https://archive.org/details/morlock-2001-complete/Morlock%202001%2001 Watch it on YouTube with BEAUTIFUL ART! https://youtu.be/syhSwk8EcIw MAIL: bronzeagemonsters@gmail.com  STORE: https://bronzeagemonsters.threadless.com/ SUPPORT THE SHOW: https://www.patreon.com/BronzeAgeMonsters DISCORD: https://discord.gg/wdXKUzpEh7

The glowing reviews of Adolescence all say it’s a ‘tough watch’. But is it fair to boys - and parents? Luckily our expert Tim Douglas has watched it for us - and today we dive deep into the misogyny, toxic masculinity and storytelling techniques in Netflix’s four-part series that has taken the world by storm. Find out more about The Front podcast here. You can read about this story and more on The Australian's website or on The Australian’s app. This episode of The Front is presented by Claire Harvey, produced and edited by Jasper Leak who also composed our theme.See omnystudio.com/listener for privacy information.

Writer and podcaster Will Sloan of THE IMPORTANT CINEMA CLUB joins us today as our guide through the early underground films of Andy Warhol. We'll be covering some of the legendary pop artist's most radical and (for at least one of us) punishing cinematic experiments: 30 minutes of couples sucking face in 1964's KISS; 27 minutes of, well, something else, in BLOW JOB; and 1965's VINYL, an early adaptation of A CLOCKWORK ORANGE that makes Kubrick's version look like Marvel movie.You can find more from will at:https://letterboxd.com/will_sloan/https://x.com/WillSloanEsqUnwatchables is hosted by Marc Dottavio and Seth Troyer, produced by Tony Scarpitti, featuring artwork by Micah Kraus.You can support us on Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/unwatchables to get access to exclusive bonus content and weigh in on what we watch next.Find us online at www.unwatchablespod.com or shoot us an email at unwatchablespodcast@gmail.com. We're on Instagram and Twitter under @unwatchablespod.

We're back and March Madness continues with Stanley Kubrick's dystopian thriller A Clockwork Orange!

Following the release of Stanley Kubrick's' ‘A Clockwork Orange' in 1971, it was subsequently banned in Ireland; a ban which was only lifted in the year 2000.Movie Critic Brian Lloyd joins Kieran to talk about the other movies which have been banned in Ireland.

Victoria Brooks is a queer nonbinary author living in London, UK, and parent to an octopod (2 year old identical twins)—an identity-shifting experience they recently wrote about for  W0rms. Their first queer sci-fi novel, Silicone God, was published by MOIST Books in the UK, and was recently published in the US (House of Vlad Press). They have also published various essays on writing trauma and trauma-writing, time-travel and ethics, as well as short fiction, usually relating to trans-dimensional and futuristic sexuality. They are working on their next novel which is A Clockwork Orange meets Judith Butler. Their portfolio can be found here. Grab a copy of Silicone God  on Asterism or Bookshop.org. Rate Textual Healing on Spotify OR Apple Podcasts Take a look at Mallory's other work on her website: https://mallorysmart.com/⁠ beats by God'Aryan

In this episode, Luke Annand and guest Dr. Philippe Mather journey through the filmography of Luke's favorite filmmaker, Stanley Kubrick.  Along the way, they bring up the best "I'm Spartacus!" parody, compare the Stargate sequence to the Club Silencio scene in Mulholland Drive and do Cinema Inception with Twister, The Shining, Summer of '42 and Now, Voyager.Mark Ayres "March (From "A Clockwork Orange")

Episode 152 Chapter 13, Edgard Varèse and The Listener's Experiment. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: CLASSICAL MUSIC WITH ELECTRONICS Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape. 24:49 01:36 2.     Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack. 05:07 26:28 3.     Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape. 10:29 31:24 4.     Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.  08:39 41:50 5.     Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds. 07:03 50:36 6.     Jacob Druckman, “Animus III” (1971). For clarinet and tape. 15:44 57:34 7.     Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius.  Analog electronic orchestration. 12:52 01:13:18 8.     Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration. 07:10 01:25:58 9.     Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment. 30:15 01:33:10 10.   William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work. 09:34 02:03:26     Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Victoria Brooks is a queer nonbinary author living in London, UK, and parent to an octopod (2 year old identical twins)—an identity-shifting experience they recently wrote about for W0rms. Their first queer sci-fi novel, Silicone God, was published by MOIST Books in the UK, and was recently published in the US (House of Vlad Press). They have also published various essays on writing trauma and trauma-writing, time-travel and ethics, as well as short fiction, usually relating to trans-dimensional and futuristic sexuality. They are working on their next novel which is A Clockwork Orange meets Judith Butler. Their portfolio can be found here.  Grab a copy of Silicone God on Asterism or Bookshop.org. Rate Textual Healing on Spotify OR Apple Podcasts Take a look at Mallory's other work on her website: https://mallorysmart.com/⁠ beats by God'Aryan

n this CRYB! SPOTLIGHT, Chris and Steven discuss DC Comics' batshit-crazy SKREEMER (1988). This proto-Vertigo classic blends noir, cyberpunk, and family tragedy in a retro gangster apocalyptic fable created by Peter Milligan, Brett Ewins, and Steve Dillion. A science fiction comic that makes A CLOCKWORK ORANGE look G-rated.This clip was taken from our full-length SKREEMER episode:https://youtu.be/gfcvYF0aCd0?si=E5H1E0EfawK1tM17.COMICS ROT YOUR BRAIN! is a deep dive into ‘80s comics (plus a few notable exceptions). Screenwriters Chris Derrick (STAR TREK: PICARD) & Steven Bagatourian (AMERICAN GUN) discuss their favorite books, runs, and creators from the Bronze Age.+ We appreciate your support of the show via Patreon: https://www.patreon.com/ComicsRotYourBrain

Here I go again, Bivol the magnificent, reading the signs, the tragedy of the five seasons, viddy well little brother, beer is overrated, a new drug on the horizon, an epic dig from Johnny Carson, I'm big in Paris, the rhythm method, the genius of Michel Legrand, the amazing Agnes Varda, a goofy ass yet enjoyable Pierce Brosnan curio, it's all about the traction, more made up quotes, and some wisdom from George Carlin. Stuff mentioned: Whitesnake "Here I Go Again" (1982), Dmitry Bivol vs. Artur Beterviev II (February 22, 2025), Derek and the Dominos "Bell Bottom Blues" (1970), Somebody Up There Likes Me (1956), The Box (2009), Frankie Valli and the Four Seasons "Opus 17/Don't You Worry 'bout Me" (1966), A Clockwork Orange (1971), Danny Sugerman and Jerry Hopkins No One Here Gets Out Alive (1980), Anthony Burgess A Clockwork Orange (1962), The Chevy Chase Show (1993), Hudson Hawk (1991), Howard the Duck (1986), An American in Paris (1951), Liza: A Truly Terrific Absolutely True Story (2024), Gene Kelly "I Got Rhythm" (1951), Michel Legrand "The Windmills of Your Mind" (1968), The Thomas Crown Affair (1968), The Thomas Crown Affair (1999), Die Hard (1988), The Umbrellas of Cherbourg (1964), The Young Girls of Rochefort (1967), Michel Legrand "Devant le Garage" (1964), Michel Legrand "Chanson des Jumelles" (1967), Cleo from 5 to 7 (1962), Vagabond (1985), The Gleaners and I (2000), Taffin (1988), and Sayonara (1957).

In this episode of Nephilim Death Squad, we are joined by filmmaker, director, and editor Ryder Lee from Raised by Giants. Ryder shares his deep insights into the hidden messages within Hollywood, mind control programs, and the unseen forces influencing our world. His documentaries, JFK X: Solving the Crime of the Century and A Clockwork Shining: Kubrick's Odyssey III, offer groundbreaking perspectives on historical events and media manipulation, available now on Amazon Prime and Tubi.We explore the subliminal messaging embedded in the works of Stanley Kubrick, particularly The Shining, A Clockwork Orange, and Dr. Sleep. Ryder breaks down Kubrick's cryptic storytelling methods, how they may connect to MKUltra mind control, and the eerie ways his films could be revealing hidden truths about global conspiracies. The discussion also touches on the theory that Kubrick used his films to confess to staging the moon landing and how Hollywood has long been entangled with secret government programs.The conversation expands into the broader implications of predictive programming, where media appears to foreshadow real-world events. Films like White Noise, which depicted an Ohio train derailment eerily similar to an actual event, and the underlying symbology within popular music videos, showcase the deep layers of messaging inserted into entertainment. We also examine the unsettling role of elite figures in Hollywood and their reverence for Kubrick's esoteric storytelling.As the discussion unfolds, we uncover how trauma-based mind control has been used both in entertainment and in real-life covert operations. Ryder shares his extensive research into government-backed remote viewing programs, psychic abilities, and the way media conditions the public to accept narratives that may not be what they seem. We also discuss the controversial nature of Kubrick's filmmaking, his meticulous attention to detail, and the eerie continuity errors in The Shining that might have been deliberate attempts to manipulate the viewer's perception.This episode challenges everything we think we know about Hollywood, history, and the hidden hands shaping our reality. From Stanley Kubrick's cryptic messages to the ways filmmakers subtly communicate with those in the know, we piece together the larger picture of how media is used to control, deceive, and even reveal the truth in plain sight.FOLLOW RYDER:Raised By Giants | Twitter, Instagram, Facebook | LinktreeJOIN THE PATREON FOR AD FREE EPISODES BEFORE THEY DROP AND BECOME PART OF THE GROWING COMMUNITY OF DANGEROUS RTRDs ON TELEGRAM:https://www.patreon.com/NephilimDeathSquadFIND US ON SOCIAL MEDIA:NEPHILIM DEATH SQUAD:Nephilim Death Squad / SpreakerNephilim Death Squad / YouTubeNephilimDeathSquad / Rumble(@NephilimDSquad) / X(@nephilimdeathsquad) / Instagram(@nephilimdeathsquad) | TikToknephilidsquad@gmail.comX Community: Nephilim Watch https://twitter.com/i/communities/1725510634966560797TOPLOBSTA:(@TopLobsta) / X(@TopLobsta) / InstagramTopLobsta.com / MerchRAVEN: (@DavidLCorbo) / X(@ravenofnds) / InstagramWEBSITES:Nephilim Death Squad | Merchnephilimdeathsquad.com OUR SPONSORS:15% OFFRife Technology – Real Rife TechnologyPROMO CODE : NEPHILIM FOR 10% OFFParasiteMovie.com - Parasite Cleanse and Detox – Parasite MoviePROMO CODE: NEPHILIM 10% OFFEmergency Survival Food, Seed, & Supplies | Heaven's Harvest – Heaven's Harvest StorePROMO CODE: NEPHILIM 5% OFFBecome a supporter of this podcast: https://www.spreaker.com/podcast/nephilim-death-squad--6389018/support.

Cat Smiley: Not quite a "bounty" but a real life "Cat Smiley" is being put out. Ask Corey if he will marry Jim and Them at his upcoming appearance at Awesome Con in Washington D.C. Corey's Oopsie: After Corey Feldman announced his old drummer died from a fentanyl overdose last week, the family is rightfully upset. Also, Corey as usual is a dick to his fans on Twitter. Extreme Gong Show: A saint uploaded Corey Feldman and the Truth Movement's performance on the Extreme Gong Show from 1998. Did Corey used to still have it? COREY FELDMAN!, SHOW STOPPER!, LET'S JUST TALK!, DON CHEADLE!, BOOGIE NIGHTS!, SUPERCHAT!, OBAMNA!, PRMIERE!, PATREON!, REACHER SEASON!, TRASHBEAST!, FIRST SUPERCHAT NAME!, KNOB JOCKEY!, HANK MCCOY!, FREE TIER!, CANCELED THEIR FREE TIER!, REDBAR!, BOUNTY!, CAT SMILEY!, CONVENTIONS!, COREY FELDMAN!, FELDMANUAL!, AWESOMECON!, DC!, APRIL!, KILLING THEM WITH KINDNESS!, BRYAN LEE O'MALLEY!, RL STINE!, RIAN JOHNSON!, THE LAST JEDI!, LOOPER!, CHRIS HARDWICK!, PROPOSAL!, ROM COM!, PLOT TWIST!, MEET CUTE!, COREY'S TWITTER!, PERSONAL LOSS!, DRUMMER!, TOP 10 MOVIES FROM GOONIES ACTORS!, DOXXED HER NAME!, DUKE GADD!, STEVE GADD!, CAROL GADD!, HILARY DUFF!, HEATHER DAWN MAY!, COMEBACK KING!, BANGER!, LAYERS!, X!, TWITTER!, HEIGHT!, IMDB!, DARK MEDIA!, CUSTOM TUMBLER!, COURTNEY!, DIVORCE!, DEMANDS CAR!, BAKERISTA!, BREAD CAR!, EXTREME GONG SHOW!, 90S!, HOST!, RUBBER CHICKEN!, TRUTH MOVEMENT!, BILL CLINTON!, MONICA LEWINSKY!, WING AND DING!, LOVE BOAT!, CLOCKWORK ORANGE!, ITTY BITTY TITTIES AND A BOB!, NEW COREY THINGS!, ALICE IN CHAINS!, WASHED OUT MOVIE STARS!, SAXOPHONE!, BACKUP SINGERS!, MIDGET!, HEIGHT!, BIT!, BABE OF THE DAY!, ALLISON MCCURDY!  You can find the videos from this episode at our Discord RIGHT HERE!

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Cinematic Karma - Stanley Kubrick's                     A Clockwork Orange  WatchThis fan and BuyMeACoffee contributor, Alan Lamberg, suggests this week's title, Stanley Kubrick's 1971 controversial (masterpiece - ?), A Clockwork Orange. In the late 60s and early 70s the cinematic landscape was changing and evolving into a very different creature. Arthur Penn's Bonnie & Clyde and Sam Peckinpah's The Wild Bunch would usher in a new era of cinematic violence. Stanley Kubrick would soon pick up the baton and create one of the most polarizing and controversial films ever made. From the novella by Anthony Burgess, Kubrick would create a dystopian England that would change the attitudes and expectations of film audiences. With a powerful and compelling performance by Malcolm McDowell, A Clockwork Orange has riveted audiences since its premiere in 1971. Fifty plus years later we have to ask ourselves if the film continues to offend and frighten as it did those many years ago. Mr. Chavez & I definitely have our opinions and are thrilled to lay it out for you the listener. Sit down, download, and enjoy a spirited discussion on the film, its role in cinematic history, and Kubrick's continuing power as a filmmaker. It's a fun time. As always, we can be reached at gondoramos@yahoo.com - Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

We've all felt the squeeze of technofascism scraping our data, suppressing our voices, and forcing our eyes onto their messaging like we're living in A Clockwork Orange. Well, the Media & Messaging Circle of Moneyless Society is plotting some ways out. As the voice and the first point of contact with our organization M&M seeks to inform and connect with our online community -- and now, encourage them to start taking more of their connection offline. Listen in to learn about our goal of making content that is more "vital" than "viral", and how we're seeking greener pastures in the Fediverse as mainstream social platforms become less and less social. We hope you'll come along with us to learn and grow in the real world, so we have a better shot of surviving the collapse we're starting to witness first-hand.

​​Welcome to You Haven't Blanked That! It's Modern Fairy Tales month. We watched A.I. Artificial Intelligence. We talk about Spielberg finishing the movie for Stanley Kubrick, the ending make sense, robot love, imprinting, Martin is an asshole, robostroke, Ministry, Haddonfield, Indiana Jones 4 and 5, Pinocchio movies, Haley Joel Osment, Sixth Sense, Jackass, Kubrick's career path, A Clockwork Orange (book), Ready Player One, Who Would Corey Feldman play? What We Are Blanking: Juror #2, Hail Mary by Andy Weir, The Traitors, Clear Cut, Marvel Rivals, Shrinking, Grifter's Game, Jurassic Park (book), Wake Up And Open Your Eyes, ​​Opening theme by the Assassins ​​Closing theme by Lucas Perea ​​ For more info, click the link bio or below. https://linktr.ee/yhblankthat Email: Yhblankthat@gmail.com

The Casuals discuss AFI #70 A Clockwork Orange.

Ever wonder how we got where we are? Recent events have caused Cinquisitor Ethan to reflect upon how we may have gotten there in a Field Report that examines one of the vilest sources of CINEMANIA yet encountered, Stanley Kubrick's 1972 film "A Clockwork Orange."  Trigger warning: rape, abuse, fascism, psychological manipulation   Written and performed by Ethan Ireland Audio engineering, sound design, and editing by Ethan Ireland Incidental music and sound courtesy of Epidemic Sound Music by Karl Casey at White Bat Audio Tracks used: "Slasher," "Violence," "Safe House"  

On March 7, 1999, Stanley Kubrick — the visionary filmmaker whose groundbreaking works reshaped the art of cinema — passed away at the age of 70, just days after completing his final film, Eyes Wide Shut. Known for masterpieces like 2001: A Space Odyssey, A Clockwork Orange, and The Shining, Kubrick pushed the boundaries of storytelling and cinematography during his brilliant career. Beyond his technical genius, Kubrick's fearless approach to complex themes and meticulous craftsmanship continues to influence filmmakers and challenge audiences around the world. Hosts: Jason Beckerman & Derek Kaufman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sign Up for the Boston Listener Meet Up Joe Boyd was there when Dylan went electric, when Pink Floyd was born, and when Paul Simon brought Graceland to the world. But far from being just another music industry insider, Boyd has spent decades exploring how the world's musical traditions connect and transform each other. His new book And the Roots of Rhythm Remain, is seventeen years in the making, and is in Tyler's words “the most substantive, complete, thorough, and well-informed book on world music ever written.” From producing Albanian folk recordings to discovering the hidden links between Mississippi Delta blues and Indian classical music, Boyd's journey reveals how musical innovation often emerges when traditions collide. He joins Tyler to discuss why Zulu music became politically charged in South Africa, what makes Albanian choral music distinct from Bulgarian polyphony, what it was like producing Toots and the Maytals, his role in the famous "Dueling Banjos" scene in Deliverance, his work with Stanley Kubrick on A Clockwork Orange, his experiences with Syd Barrett and Pink Floyd, how he shaped R.E.M.'s sound on Fables of the Reconstruction, what really happened when Dylan went electric at Newport, how the Beatles integrated Indian music, what makes the Kinshasa guitar sound impossible to replicate, and how he maintains his collection of 6,000 vinyl LPs and 30,000 CDs, what he'll do next, and more. Read a full transcript enhanced with helpful links, or watch the full video. Recorded December 27th, 2024. Help keep the show ad free by donating today! Other ways to connect Follow us on X and Instagram Follow Tyler on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

Buckle up, muchachos! where getting to the trippy possibilities of all things out of this world. For starters alternate dimensions, alien civilisations, and the mysteries of our own minds. From mirror metaphors, to theories about parallel universes: Is there any evidence that paranormal even even real?Are aliens, just cosmic tourists in compact SUVs? Is your reflection more than just a good hair check? Where asking all the questions, cause guess what honey I want my damn answers!Also looking in pop culture classics like A Clockwork Orange and Alien. Exploring dream interpretations and what it means in the bigger picture. To debating whether aliens are curious scientists or just trolling humanity for kicks. Grab your flaming hot Cheetos, light up a joint. It's weird, it's wonderful, and it's out of this world!Get one of Karissa's candles at:https://www.velvetearthshop.com/candles are a must-have for the stoner lifestyle. Tune in, light up a candle (or a joint), and groove with us!We have a magical link below with all our socials and handle so you can find us on your favorite pod spot.https://linktr.ee/lostinthegroove Karissa's name for the week is "stopppp"

محمد أبو سليمان وإسماعيل راضي بيدردشوا عن فيلم Clockwork Orange للمخرج الكبير Stanley Kubrick 

Make sure to check the rest of the description for all of our social media links, including our Patreon (patreon.com/DoNotRelent)!  Slidewhistle, Immunization, and Aaron have returned, a new year awaiting them, to take on the World of Warcraft. Siren Isle activities, the January Trading Post Fashion Review, and just the most ugly, gravity-defying facial coverings you've ever seen (or in this case, heard of) await you in the first episode of DNR's 7th season! Please send all your love mail, hate mail, and Chili's southwest eggroll triple dippers to @DoNotRelentPod (Twitter) or on gmail at DoNotRelentPod@gmail.com! We will respond to literally anything and read it on the pod. Find us at: Patreon: patreon.com/DoNotRelent Linktree: donotrelent.com YouTube: @donotrelent on YouTube (the link is long and ugly) Instagram: www.instagram.com/donotrelent Twitter: twitter.com/DoNotRelentPod Livejournal: donotrelentpod.livejournal.com E-Mail: DoNotRelentPod@gmail.com Finally, if you feel so inclined, please rate us on iTunes and bonusroll.gg. We will take a shot on air in your honor! Every rating helps! :D

The book is shocking, disturbing, entertaining, and unbelievably thought provoking all at once - no wonder Stanley Kubrick decided to turn the book into a movie (which is a must-watch classic in its own right). It's also an unforgettable masterwork of language, as the narrator, Alex, and his droogs speak in slang that is somehow entirely novel and comprehensible at the same time.As always, no spoilers until the end when we get into the full plot explanation and discussion. This episode is sponsored by I Am Machine by Lex Van Der Ploeg, which is available in print or kindle edition here.Join the Hugonauts book club on discord!Or you can watch the episode on YouTube if you prefer videoSimilar books we recommend: Lord of the Flies by William GoldingThe Picture of Dorian Gray by Oscar Wilde1984 by George Orwell

Crossover episode from my other podcast, Alienating the Audience: Brian Brushwood and I discuss the ethics of punishment and rehabilitation in "A Clockwork Orange" by Anthony Burgess.

On today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast we are talking Stanley Kubrick conspiracies hidden in The Shining & A Clockwork Orange with two special guests: Jay Weidner and Ryder Lee! You can't miss this episode because we're talking about their latest film "A Clockwork Shining: Kubrick's Odyssey 3" which will blow the doors off of Kubrick conspiracies! We'll talk about symbolism of MKULTRA mind control, Kubrick's secrets, The Beatles, alchemy, NASA, Operation Paperclip, answering if Kubrick is a good guy or a bad guy and "A Catcher in the Rye" (*stay subscribed to my show because I'll be releasing a book review on it soon that is wild)! Plus stick around until the end because Jay Weidner gives us some clues on a secret society in Denver that he doesn't even want to mention because they're so dangerous...Links:Stream "A Clockwork Shining: Kubrick's Odyssey 3" now: Amazon or AppleTV+ (coming soon to Vimeo also) Amazon link: https://watch.amazon.com/detail?gti=amzn1.dv.gti.40307b30-a310-48b1-9efd-667fdf012954&territory=US&ref_=share_ios_movie&r=webCheck out Ryder Lee's podcast "Raised By Giants" on all podcast platforms and YouTube: https://linktr.ee/raisedbygiantspodFollow Jay Weidner's work at his YouTube: https://www.youtube.com/@REALiTYCHeCK2019/featuredCheck out more of Jay Weidner at his website: http://jayweidner.comShow sponsors- Get discounts while you support the show and do a little self improvement!*CopyMyCrypto.com/Isaac is where you can copy James McMahon's crypto holdings- listeners get access for just $1 WANT MORE?...Check out my UNCENSORED show with my wife, Breaking Social Norms: https://breakingsocialnorms.com/GRIFTER ALLEY- get bonus content AND go commercial free + other perks:*PATREON.com/IlluminatiWatcher : ad free, HUNDREDS of bonus shows, early access AND TWO OF MY BOOKS! (The Dark Path and Kubrick's Code); you can join the conversations with hundreds of other show supporters here: Patreon.com/IlluminatiWatcher (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/hcq13)*VIP SECTION: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! IIt's even setup the same: FREE ebooks, Kubrick's Code video! Sign up at: https://illuminatiwatcher.com/members-section/*APPLE PREMIUM: If you're on the Apple Podcasts app- just click the Premium button and you're in! NO more ads, Early Access, EVERY BONUS EPISODE More from Isaac- links and special offers:*BREAKING SOCIAL NORMS podcast, Index of EVERY episode (back to 2014), Signed paperbacks, shirts, & other merch, Substack, YouTube links & more: https://allmylinks.com/isaacw *STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.  

Harry and Josh are joined by returning guest Properhorrorshow to examine Stanley Kubrick's dystopian masterpiece A Clockwork Orange and his often-ignored period drama Barry Lyndon. Watch the full premium video: https://www.lotuseaters.com/premium-the-career-of-stanley-kubrick-part-iii-16-11-24

Real horrorshow episode for you this week, malchicks and devotchkas! The best-known version of A Clockwork Orange might be Stanley Kubrick's 1975 film, which is based on a version of the story that is missing its last chapter. Burgess wants us all to know that he'd disown this story if he could, but if we're going to read it, we might as well get the ending as originally intended.This episode is sponsored by the PBS American Masters: Creative Spark, find it on your favorite listening app.Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.