Podcast appearances and mentions of Dolly Parton

What better way to start the weekend than with this episode of Parenting Out Loud? Because if parents are thinking about it, we're talking about it. On the show today, Jessie Stephens and Amelia Lester are joined by friend of the pod, and Mamamia's Deputy Editor, Stacey Hicks, to chat all things:

Bobby Bluebell remembers the “cuddly duffle-coat friendship” of Glasgow bands in the early ‘80s and the Bluebells' second act rebooted by the Volkswagen ad. The band are touring again and an even bigger part of the city's thriving musical community, and he looks back here at the first gigs he ever saw and played, along with … … singing “When I'm Dead And Gone' in an old folks home.   … on the town with Siobhan Fahey, her sisters and boyfriends Kevin Rowland and Gary Crowley. … buying Rocket Man and Wee Neil Reid's Mother Of Mine, aged 13. And Elton John at Glasgow's Kelvin Hall. … his side project The Golden Tree (with Grahame Skinner of Hipsway) playing ‘Scottish' songs by Marmalade, Strawberry Switchblade, Ewan MacColl, Coldplay, the Easybeats, Talking Heads and the Bay City Rollers. … “Glasgow had six gangs. You had to choose your route home carefully if wearing Kickers.” … Clare Grogan's sister's part in the Bluebells' fortunes. … Edwyn Collins and Alan Horne holding HIT and MISS signs in the front row of an Oxfam Warriors gig. … “A cuddly duffle-coat friendship”: the Glasgow bands of the early ‘80s and memories of Altered Images and Peter Capaldi's Dream Boys. … why Dolly Parton was ditched and ‘Young At Heart' chosen for the Volkswagen ad. … playing the Old Grey Whistle Test with the Psychedelic Furs. … “the best way to get an audience to stop talking is to entertain them.” … “All hits are luck”. … his Golden Rule when playing festivals. The Bluebells tickets here: https://www.songkick.com/artists/315250-bluebells/calendar The Golden Tree: https://open.spotify.com/artist/7HO0TGE0vgPgwDoaBUMAJF?si=LUsXAtrURVWYjEkzDpI0mQ&nd=1&dlsi=65dddbf6bf6c45e4Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Earlier this week, Broadacres Marketplace announced it was closing indefinitely due to the thread of ICE raids — this hub of the Valley's Hispanic community attracts over 15,000 people each weekend, so what ripple effects will we see from the closure? Co-hosts Sarah Lohman and Dayvid Figler sit down with TheList.Vegas creator Andrew Kiraly to discuss. They also tackle this week's ceremonial groundbreaking at the (possible, future, likely?) A's Stadium site, and universally beloved star Dolly Parton's upcoming residency in Las Vegas. Learn more about the sponsors of this June 27th episode: Southern Nevada Water Authority Want to get in touch? Follow us @CityCastVegas on Instagram, or email us at lasvegas@citycast.fm. You can also call or text us at 702-514-0719. For more Las Vegas news, make sure to sign up for our morning newsletter, Hey Las Vegas. Looking to advertise on City Cast Las Vegas? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about your ad choices. Visit megaphone.fm/adchoices

Another week, another Parenting Out Loud episode where if parents are thinking about it, we're talking about it. On today's show, Jessie Stephens and Amelia Lester are joined by friend of the pod, and Mamamia's Deputy Editor, Stacey Hicks, to discuss whether or not kids ruin your adult friendships. Also, to what extent should children's entertainment figures be apolitical, and why is YouTube's Ms Rachel so controversial right now? Plus, the dumb phone. Between landlines, 'brick' phones and a yearning for the '90s, it seems nostalgia is the newest tech trend for parents. And, in this week’s reccos: Amelia wants you to try a special storytelling collection, Jessie is recommending daycare with a twist and Stacey is all over Dolly Parton's 'imagination' library. Support independent women's media WHAT TO LISTEN TO NEXT: Parenting Out Loud Ep 1: Grandparents — It's Time For Your Performance Review Parenting Out Loud Ep 2: The Death Of The Dining Table & 'Outdated' Schooling Parenting Out Loud Ep 3: A New Co-Parenting Rule & The 100% Work Dilemma How to Build A Universe: From Media To Friends, How To Manage Your Child's External Influences This Glorious Mess: Why Your Obsession With Bluey Is Deeper Than You Think (Bonus) WHAT TO READ: Rachel Accurso's son struggled with a speech delay, so she started making videos online. ‘I was a total a**hole’. An open letter to the women who became mums before me. 'I didn't know how to keep my kids safe on their phones, until an expert shared these three hacks.' 'I'm a psychologist. This hidden phone setting kills your endless scrolling addiction.' Worried about what your kids see online? These 5 tips make digital parenting easier. 'I don't have a kid, but I told my workplace I do.' 'Why I refuse to use a smartphone.' 2006 called and it wants you to buy your kid a dumb phone. THE END BITS: Mamamia studios are styled with furniture from Fenton and Fenton GET IN TOUCH: Share your feedback! Send us a voice message or email us at podcast@mamamia.com.au Join our Facebook group Mamamia Family to talk about the show. Follow us on Instagram @mamamia_family Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

The coach Wimp Sanderson made his weekly visit with us on 3 Man Front to discuss the time he got to hug Dolly Parton, Johni Broome being drafted by the 76ers & if he was surprised to see Mark Sears go undrafted. See omnystudio.com/listener for privacy information.

Joel and Dave sit down with Broadway star Tricia Paoluccio, who's in Australia to play none other than Dolly Parton in her brand new show Here You Come Again. Tricia... LEARN MORE The post Thursday Breakfast: Tricia Paoluccio (aka Dolly Parton) Interview (26th June 2025) appeared first on JOY Breakfast.

Brim and Mr. Greer are back at it again. Apart from all the usual shenanigans, the gang chats about everything pop culture with all the trimmings and is joined by the legendary Jim Cummings (Winnie the Pooh, Tigger, Darkwing Duck) to discuss his enormous career, voicing the most iconic array of characters, and his podcast Toon'd in with Jim Cummings. They also chat about Toys 'R Us and toy store days of old, and how things may never get back to the way that they were. The cast talks about the Matrix and Terminator supposedly being connected and ask why the Dolly Parton and Motley Crue update of Home Sweet Home is so epic. The crew also discusses the Imaginary Invalid with Emily Swallow, Martin Kove of Karate Kid biting his co-star at a con, Anne Burell passing and the mystery of Anne Heche... was she dead or alive. The cast chats about AI getting way too good, is Spirit Catcher 93 a real game, and if it is... is it cursed. They discuss potential WW3, and what is currently going on in the world. The crew chats about entertainment news, opinions and other cool stuff and things. Enjoy.Wherever you listen to podcasts & www.thegrindhouseradio.comhttps://linktr.ee/thegrindhouseradioThe Grindhouse RadioFB: @thegrindhouseradioTW: @therealghradioInstagram: @thegrindhouseradio

Send us a textWe go one-on-one with Athletics Baseball Owner, John Fisher at the baseball stadium ground breaking. The new stadium is expected to be ready for the 2028 Major League Baseball season. It's located on the former site of the Tropicana Hotel and Casino on the Las Vegas strip. We have a FULL rundown of Fourth of July events! Fireworks, parties, and shows. There is a lot going on! Dolly Parton announces an extended run of show in December. There are tons of local deals right now for all of your staycation needs. A popular restaurant opens a downtown location. And... we admit, we go off the rails a bit this episode! Enjoy it. If your home was damaged in the California wildfires, Galindo Law may be able to help you get more compensation. Call 1-800-251-1533 or visit galindolaw.com If your Texas home was damaged by hail or a hurricane in the past 2-years, Galindo Law may be able to help you get more insurance compensation. Call 1-800-251-1533. Or, visit GalindoLaw.com VegasNearMe App is the only app you'll need to navigate Las Vegas! Support the showFollow us on Instagram: @vegas.revealedFollow us on Twitter: @vegasrevealedFollow us on TikTok: @vegas.revealedWebsite: Vegas-Revealed.com

WBS: Having a Heatwave, a Tropical Heatwave #315 6-26-2025 -- The gang is at it again. Brimstone is joined by his wing-man Alex DaPonte, Meg Suss and Brim's wife Danielle as they chat about a recent trip into Manhattan to see the Off-Broadway presentation of the Imaginary Invalid with Emily Swallow, Danielle explains how much fun it was and urged everyone to get there before it's over, why Meg took a solo trip to a local waterpark, and what did it have to do with Hershey Park. They discuss the new version of Home Sweet Home by Motley Crue… with Dolly Parton, a very bite-y Martin Kove, and the rules of biting friends, or co-stars. They discuss life-sized Pokemon, fear of what the internet will end up doing to them, and they discuss doing another Salem trip. They also chat about celebrity softball, and potentially doing something wrestling soon. Brim explains what gets Within Brim's Skin.

Send us a textOn this episode we our participation in an upcoming bar game, our first big gig of the season, the passing of Bad Company guitarist/songwriter Mick Ralphs and we look at new music releases for July. We also hear new music from Motley Crue with Dolly Parton, yup, you read that correctly; and Dean Deleo of STP. O'Brien introduces us to a new band and we play MixTape and climb the Wall of Tunes for a band that will be the first big rock concert for his 17 year old son. #defleppard #badcompanyhttps://www.facebook.com/obrienanddoug/ https://instagram.com/obrien_and_doug

INTRO (00:23): Kathleen opens the show drinking a Daytime Crisp Session IPA from Lagunitas Brewing Company. She reviews her weekend in Palm Springs and looks forward to the July 4th holiday week.    TOUR NEWS: See Kathleen live on her “Day Drinking Tour.”   COURT NEWS (17:21): Kathleen shares news announcing Dolly Parton's limited residency in Vegas, Mattress Mack walks out with Morgan Wallen at Wallen's Houston show,    TASTING MENU (1:52): Kathleen samples Lowcountry Mustard BBQ Kettle Chips and Ritz Hot Honey crackers.    UPDATES (28:22): Kathleen shares updates on Black Sabbath's final concert being live streamed from Birmingham UK, Lori Daybell is convicted on more murder charges, climate activists splash paint on a Picasso in Montreal to protest Canadian wildfires, Mobland is renewed for another season,    HOLY SHIT THEY FOUND IT (41:53): Kathleen reveals that Canadian lynx kittens have been found in Northern Washington for the first time in 40 years.    FRONT PAGE PUB NEWS (48:07) : Kathleen shares articles on Florida Panthers head coach Paul Maurice showing that he's a cat dad, the Dallas Cowboys Cheerleaders get a 400% raise, a study says daytime naps slow brain aging by up to 6.5 years, a hotel in China uses red pandas to wake up guests, the NFL now has 12 female owners, Pablo Escobar's jet is now an Airbnb, FedEx founder Fred Smith rescued the company playing blackjack, Shakira cancels her San Antonio concert, 10 restaurant chains have the happiest workers, there's a massive problem with Bluesky, and LSU crushes Rocco's Jello Shot Challenge competition at the College World Series.    STUPID TOURIST STORIES (45:19): Kathleen reads about the Louvre revealing that they are implementing new additional fees to see the Mona Lisa due to overtourism.    SAINT OF THE WEEK (1:09:08): Kathleen reads about Saint Padre Pio.    WHAT ARE WE WATCHING (25:58): Kathleen recommends “Trainwreck: The Mayor of Mayhem” on Netflix.  FEEL GOOD STORY (1:03:27): Kathleen reads about a cat surviving a 3-week trip from China to Minnesota in a shipping container. 

Join Lynn Hoffman on this Music Saved Me episode with award winning, Grammy nominated singer, songwriter Sandy Knox. She has had songs recorded by Dolly Parton, Reba McEntire, Neil Diamond, Donna Summer and she is releasing "Weighting-My Life if it were a musical" which is a new groundbreaking audio book that also includes 21 original songs. You'll love Sandy's authenticity and she clearly knows the healing power of music in our lives. A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore next. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

On this episode of Bounced From The Roadhouse:Special Guests in 4B:Coffee TalkDolly Parton in VegasWhat to Drink in the HeatStupid CriminalDear SnarkyNightmares that Kill18th Century PortraitOld People SmellSwearing ParrotThat's a Great QuestionTop Ranked CarsGarden PlantedQuestions? Comments? Leave us a message! 605-343-6161Don't forget to subscribe, leave us a review and some stars Hosted on Acast. See acast.com/privacy for more information.

Join Lynn Hoffman on this Music Saved Me episode with award winning, Grammy nominated singer, songwriter Sandy Knox. She has had songs recorded by Dolly Parton, Reba McEntire, Neil Diamond, Donna Summer and she is releasing "Weighting-My Life if it were a musical" which is a new groundbreaking audio book that also includes 21 original songs. You'll love Sandy's authenticity and she clearly knows the healing power of music in our lives. A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore next. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSee omnystudio.com/listener for privacy information.

Thanks solely to Dolly Parton, the 9-to-5 work week receives much more goodwill than it deserves. And sure, it serves all sorts of purported purposes – it maximises productivity, boosts the economy, et cetera, et cetera.But… is that REALLY still the case? After all, new technologies and increases in productivity have radically altered the labour market. Is the 9-to-5 work week still as vital as when Dolly released her seminal track in 1980? Join us to hear the Get Rich Slow Club's take!@tashinvests@anakresina@getrichslowclub@pearlerhqGet Rich Slow ClubPearlerYouTubeHow To Not Work ForeverDisclaimerAny advice is general and does not consider your financial situation needs, or objectives, so consider whether it's appropriate for you. You should also consider seeking professional advice before making any financial decision.Natasha Etschmann is an Authorised Representative #1299881 of Guideway Financial Services Pty Ltd AFSL#420367. Read the FSG available from https://tashinvests.com/linksPearler is an Authorised Representative #1281540 of Sanlam Private Wealth Pty Ltd AFSL #337927. Read the FSG available from https://pearler.com/financial-services-guideIf you are considering any of the products we spoke about during the show, be sure to read the Product Disclosure Statement & Target Market Determination available from the product issuer's website before deciding. Hosted on Acast. See acast.com/privacy for more information.

June 25, 2025 - Tanya Andricks of Crossing Healthcare joined Byers & Co to talk about how the extreme heat impacts health, Millikin's exciting future, 4th of July fireworks, and Dolly Parton in Las Vegas. Listen to the podcast now!See omnystudio.com/listener for privacy information.

The news to know for Tuesday, June 24, 2025! We're talking about Iran firing back at the U.S. and how, so far, Americans have been able to fend off any real damage. And there is word of a potential deal that could bring some calm to the Middle East.  Also, we'll tell you what the Supreme Court decided about immigrants being deported to countries far from home.  Plus: the heatwave is testing America's power grid; health insurance companies are promising changes, and a country music legend who doesn't tour anymore is making one exception.   Those stories and even more news to know in about 10 minutes!    Join us every Mon-Fri for more daily news roundups!  See sources: https://www.theNewsWorthy.com/shownotes Become an INSIDER to get AD-FREE episodes here: https://www.theNewsWorthy.com/insider Get The NewsWorthy MERCH here: https://thenewsworthy.dashery.com/ Sponsors: Go to HiyaHealth.com/NEWSWORTHY to get 50% off your first order of their best-selling children's vitamin. Get 15% off OneSkin with the code NEWSWORTHY at https://www.oneskin.co/ #oneskinpod To advertise on our podcast, please reach out to ad-sales@libsyn.com

Was Miley Cyrus rude to fans? New albums from Maroon 5, Cardi B, and Good Charlotte, plus a surprise from Dolly Parton and Motely Crue and we play a game featuring Dollyisms.

Jesse J reveals that she has been battling breast cancer and is recovering from surgery. Cardi B is releasing a new album on September 19th. And, Dolly Parton announces a Las Vegas residency!See omnystudio.com/listener for privacy information.

Dolly Parton is headed to Vegas!

Nancy is still packing up her house to move this weekend, but she doesn’t know if they are moving Saturday or Monday. Kristen Chenoweth sang the National Anthem at an NBA game and a lot of people hated it. Joey and his wife had a misunderstanding about their marriage app on their phones. We are giving away tickets for the Zach Top concert all week! We describe a popular country song in one vague sentence and whoever guesses the song title wins. Hot Tea: Brad Pitt went to AA after his divorce from Angelina Jolie. Sammy Kershaw was fined $5k for accidentally trying to bring a loaded gun through TSA. A guy named Looney Toon is on the run from the cops after a high-speed chase. Nancy’s older son has started a clothing company and doesn’t want Nancy’s help... even though she owned a clothing store for years. Dolly Parton is doing a short residency in Las Vegas! Lucky 7 A man fell in love with an AI chat bot. Karly tries flirting with an AI chat bot to see how it would work. Old people can be cured of the “old people smell” by eating mushrooms. What Makes You Special? We are Professional Wrestlers! A hiker is currently stuck inside an active volcano. See omnystudio.com/listener for privacy information.

We start off today's show talking about the amenities that the amazing pilots of the B-2s have including a toilet and snacks.  Then we listen to the latest collaboration between Motley Crue and Dolly Parton, we learn the secret to knowing when the Pentagon is up to something, Talkback Live with spiders, T-Rex Tacos, and a guy named Mackey who makes us cry.  Thanks man! But first, Birthdays!The Treehouse is a daily DFW based comedy podcast and radio show. Leave your worries outside and join Dan O'Malley, Trey Trenholm, Raj Sharma, and their guests for laughs about current events, stupid news, and the comedy that is their lives. If it's stupid, it's in here.The Treehouse WebsiteGet a FREE roof inspection from the best company in DFW:Cook DFW Roofing & Restoration Defender OutdoorsUse code TREEHOUSE to unlock special discounts at Defender Outdoors!CLICK HERE TO DONATE:The RMS Treehouse Listeners FoundationLINKS:B-2 bomber pilots had toilet, microwave and cooler for snacks on 37-hour Fordow bombing raidDolly Parton & Mötley Crüe Team Up To Reimagine The Band's 1985 Hit “Home Sweet Home” In An Effort To Raise Money For Charity | Whiskey RiffPentagon Pizza Report may have predicted US strikes on Iranian nuclear sites | Fox News

Discover the latest happenings both globally and in Colorado, featuring stories such as Dolly Parton's upcoming residency in Las Vegas, the Dallas Cowboys Cheerleaders earning significantly higher salaries, and a celebrity who bit a fan.The fun continues on our social media pages!Jeremy, Katy & Josh Facebook: CLICK HERE Jeremy, Katy & Josh Instagram: CLICK HERE

In hour 2, Mark discusses Fred's new shoes and shares a puppy update. Sue then hosts, "Sue's News" where she discusses the latest trending entertainment news, this day in history, the random fact of the day, and much more. He is later joined by George Rosenthal, a Co-Owner of Throttle. He discusses what types of cyber attacks Iran could try against the US in light of Saturday's attack. Also, how did the US military confuse Iran on its radar leading up to the attack?

Dean Richards, entertainment reporter for WGN, joins Jon Hansen (in for Bob Sirott) to provide the latest news in entertainment. Jon and Dean share details about Dolly Parton’s residency in Vegas and why a “Cobra Kai” actor bit his co-star. They also talk about Brad Pitt’s reunion with Tom Cruise and his time in an […]

Hot chicken craze. Male over confidence. Non-negotiables for your new job. Sleeping on the job. B/CS Chamber of Commerce update. Unhealthiest salad toppings. Frozen pizzas. School lunch. Ranch dressing. Dolly Parton in Vegas.

Brad Pitt opening up about his alcohol abuse and split from Angelina Jolie. Then, new clues in Chef Anne Burrell's death. Was it a drug overdose? Details on the 100 pills reportedly found at the scene. Plus, leaked messages from Bill Belichick shedding new light on his relationship with Jordon Hudson. And, trouble for Justin and Hailey? A cryptic post and a missing wedding ring. Is a Bieber break-up looming. Then, Ice Spice gets personal about Taylor and Travis. What the rapper says Swifties don't know about their relationship. Plus, MGK the girl dad. His life with a teenager and a newborn. And, the Dallas Cowboys Cheerleaders push back on their paychecks. From making $15 and hour, to a historic raise. How much they're making now. Then, Jay-Z joins Beyonce on stage for the first time in nearly 7 years. Inside their star-studded concert surprise. Plus, Dolly Parton drops news on a Sin City residency. And, Drake's gambling disaster. How he lost $8 million in a month. Why he refuses to stop betting.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Brad Pitt has revealed to Dax Shepard on his podcast, Armchair Expert, what's been happening in his AA meetings. Plus, Dolly Parton shares some exciting news and Chrissie wants to go! See omnystudio.com/listener for privacy information.

MUSICBefore Oasis fans finally get to see Noel and Liam Gallagher on stage together, you can first see them in an ad for Adidas Motley Crue have released a new version of "Home Sweet Home" that features guest vocals by Dolly Parton.· Bonnaroo promoters have announced that ticket holders will get a full refund for the canceled festival. When the cancellation was announced this month, they said fans would get a 75-percent refund since the first night of the festival took place. The promoters added they wouldn't be announcing dates for the next Bonnaroo “at this time.” The promoters of Boston Calling have announced that the festival will take 2026 off and return June 4th through the 6th, 2027. Ex-Skid Row Singer Sebastian Bach told 'Get on The Bus' that it "doesn't make sense" that he can't perform with Skid Row. According to the not-always-reliable British tabloids, Orlando Bloom felt the same way about Katy Perry's space trip as the rest of us did. A so-called "source" says, quote, "He told her the whole thing looked ridiculous. He said it was cringeworthy. Embarrassing." · TVDuring a recent appearance on the "Really Good Podcast", the host asked Nick Cannon to name all 12 of his children, and he had a hard time. RIP: R.I.P. Gailard Sartain from "Hee Haw" RIP: Lynn Hamilton from "Sanford & Son" and "The Waltons" has died of natural causes at 95. RIP: Jack Betts, ‘Spider-Man' Actor and Spaghetti Western Veteran, Dies at 96 MOVING ON INTO MOVIE NEWS:The live-action version of How to Train Your Dragon continued to shine at the box office, for the second straight week at North American theaters, bringing in $37 million. If you've been waiting for Sinners to stream, we now know when that will be. Ryan Coogler‘s hit 2025 horror film will begin streaming on Friday, July 4 on Max. It will debut on HBO on Saturday, July 5. Johnny Depp told 'The Sunday Times' that he felt like a "crash test dummy" for the MeToo movement following abuse allegations made by his ex-wife Amber Heard in 2017. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

AITA: For telling my co-worker not to trauma dump? DIRT ALERT: Hailey Bieber/Justin Bieber drama, BOOB TUBE: "RuPaul's Drag Race All-Stars," and Dolly Parton gets a mini-Vegas residency See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We did it! Tom Cruise is getting an honorary Oscar alongside Dolly Parton, Debbie Allan, & Wynn Thomas at the Governors Awards. Plus, we talk Venice Bound Films, AI Rules, great trailers for Springsteen, IKWYDLS & Spaceballs 2 +++ reviews for 28 Years Later, How To Train Your Dragon, and Elio. NEWS: Governors Awards Recipients Announced for Tom Cruise & Dolly Parton - 1:14 Jafar Panahi calls for end to Iran/Israel Conflict - 6:18 MPSE Golden Reel Awards bans AI Noms - 11:50 Blumhouse acquires the Saw franchise - 15:40 Kathyrn Bigelow's House of Dynamite gets a release date - 18:36 Variety reports on 9 Venice Bound Films + MPAA Ratings for other Contenders - 21:32 TRAILERS: Springsteen: Deliver Me From Nowhere - 26:23 I Know What You Did Last Summer - 32:27 The Toxic Avenger - 38:59 Him - 42:43 Spaceballs 2 - 47:51 WHAT WE'RE WATCHING // BOX OFFICE REPORT How To Train Your Dragon Review - 50:36 28 Years Later Review - 52:47 Elio Review - 58:26 Rest of the Top 10 + What To Watch On Streaming + Naked Gun Rewatches - 1:05:52 OUTRO: M2 breaks M1's chops about watching much more TV than Film. We own our hypocrisies and High School nicknames. Then you should leave us a 5 Star Review if you're enjoying the show. Thank you for that. Plus, we discuss Mike 1's upcoming vacation. But you shouldn't get any interruption in your MMO because we banked some episodes. https://linktr.ee/mikemikeandoscar

We keep you up to date on all the things going on around the world including Dolly Parton making a comeback! The fun continues on our social media pages!Jeremy, Katy & Josh Facebook: CLICK HERE Jeremy, Katy & Josh Instagram: CLICK HERE

Melissa Manchester joins Steve Dale to discuss her several collaborations with iconic artists including Kenny Loggins and Dolly Parton, as well as how she writes songs that all generations can relate to.

What do you think will be the song of the summer? Drake is a big loser, when it comes to gambling, Dolly Parton talks about meeting the real Jolene years later and throws shade. Plus, what are the best places to live in the world, and many folks still don't know what Juneteenth is.

Fat Joe is in an $20 million lawsuit over sexual assault allegations. Chris Brown appeared in London for court for assault charges. Also, Dolly Parton is collaborating with Mötley Crüe... Listen now!See omnystudio.com/listener for privacy information.

Send us a textIntro song: Magical Mystery Tour by Chicago5. Here Comes the SunCover 1: Nina SimoneCover 2: Colbie CaillatCover 3: Ghost4. BlackbirdCover 1: Bobby McFerrinCover 2: Sarah McLachlanCover 3: Boyce Avenue3. Come TogetherCover 1: The MetersCover 2: Michael JacksonCover 3: Gary Clark Jr. 2. Ob-La-Di Ob-La-DaCover 1: Peter BelliCover 2: House of HeroesCover 3: Himesh Patel1. Eleanor RigbyCover 1: Aretha FranklinCover 2: Chandler LeightonCover 3: Cody FryOutro song: Let It Be by Dolly Parton (feat. Paul McCartney & Ringo Starr)Link to Take Cover!! episode with "Let It Be"

Dave and Chuck the Freak talk about Dave sucking on his water bottle, Aquarium Day, daytime talk show about woman’s dead father not being her real father, update on kid who left his graduation to work Burger King shift, guy proposed to his AI girlfriend and it agreed, local reporter being investigated for making advances on man giving him massage, firefighter charged with exposing himself, cruise ship broke away from dock during storm, Nintendo Switch consoles stolen from semi-truck, guy found $50k winning Power Ball ticket while cleaning out his car, Hulk Hogan addresses rumors that he’s dying, NBA playoffs, little leaguer nicknames Mike Trout, update on Anne Burrell passing, Kelsey Grammer to be a dad again at 70, Hugh Jackman jumped into a random car to get away from fans, Charlie Sheen autobiography, Joel McHale talks about procedures to keep his hair, man who was stalking Eminem gets sentenced, Johnny Depp dresses up as Jack Sparrow for kids, Tom Cruise and Dolly Parton to receive honorary Oscar, Willie Nelson gave up smoking and only takes edibles, 84-year-old tries to get out of ticket by saying he’s FBI, organizer of Tulip Festival arrested for hiding cameras in bathroom, lumber jack cut off dong after supplement incident, guy wearing world’s greatest farter shirt to court, banker with doll fear after boss left Chucky doll on her chair, teacher has spent more than $150k on tattoos, world’s oldest body builder, old guy took wrong turn in Rome and get stuck on steps, update on nudist murders, teens caused $3k in damage to parked car twerking, Jason is Bo from Superstore, and more!

Food News - New Cheerio's, Dolly Parton Cornbread & CraisinsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Entertainment News - Lakers Sold for 10 Billion & John Fisher Selling The Galaxy & Dolly Parton HotelSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Matt ”Money” Smith from Petros & Money on AM 570 L.A. Sports talks about the Lakers being sold for $10B has a great Chick Hearn story // Costco gift cards – always manipulating the discount. Work-around using Costco gift cards // Tom Cruise is finally getting an Oscar — as will Dolly Parton, Debbie Allen and Wynn Thomas WHIP: How much has Tom Cruise grossed worldwide at the box office // Valley Village murder suspect tied to 2nd Murder and attempted murder -Prosecutors have filed new charges against Erick Escamilla, who was arrested last month after a man was murdered in April at an apartment complex in Valley Village Razor Blade Throat symptom from new strain of covid Nimbus  #PMS #AM570 #MattMoneySmith #Lakers #Costco #Coupons #Discounts #Oscars #TomCruise #DollyParton #WynnThomas #ValleyVillageMurder #RazorBladeThroat #Covid #Nimbus 

Send us a textThis week on The Joy of Cruising Podcast, I am proud to welcome Josh Christina, Recording Artist, scene-stealing, piano-wielding frontman, and veteran headliner of several cruise lines. Listeners know I am as passionate about music and comedy as I am about cruising so when I get a chance to have a conversation with someone who has performed on cruise ships, I am in my glory. Josh Christina is a dynamic and passionate musician whose love for piano rock has taken him on an incredible journey. His musical story began at the age of 7, inspired by the iconic sounds of Elvis Presley in Disney's Lilo & Stitch. It wasn't until age 15, after seeing the Broadway show Million Dollar Quartet and discovering the electrifying Jerry Lee Lewis, that Josh began playing piano, igniting his path as a pianist and performer. Josh's talents caught the attention of Grammy-nominated producer Kent Wells, who has worked with legends like Dolly Parton and Reba McIntire. Kent describes Josh as “such an old soul,” praising the way “the music just pours out of him.” This connection led to Josh recording in Nashville, creating music that resonates with the soul of classic rock and boogie-woogie. His single “Kayla Ann” topped several independent radio charts, and Josh's album Instincts (recorded at the historic Sam Phillips Recording in Memphis, TN) was a testament to his mastery. Produced by Josh and Grammy-winning pianist Jon Carroll, Instincts received high praise, with Jon calling Josh a performer who “does it real well and means every note.” Josh's high-energy performances have taken him across the globe, including a UK tour where he graced the stage of Ireland's Late Late Show. He's headlined major cruise lines, bringing his piano rock show to fans of all ages worldwide. He's also shared the stage with some of the world's top boogie-woogie and rock ‘n' roll pianists, earning admiration from both peers and fans for keeping the genre alive. His latest album, UFO's Over Phoenix, recorded live at Stages Music and Arts in Maryland, has already captured attention for its unique sound. Daryl Davis, former bandleader and pianist for Chuck Berry, describes the album as striking “the perfect balance of a scent of the familiar while being creatively and refreshingly new.” Josh Christina's infectious energy, undeniable talent, and deep respect for rock and roll history have earned him a dedicated following. His music is a celebration of the past, present, and future of piano rock.Support the showSupport thejoyofcruisingpodcast https://www.buzzsprout.com/2113608/supporters/newSupport Me https://www.buymeacoffee.com/drpaulthContact Me https://www.thejoyofcruising.net/contact-me.htmlBook Cruises http://www.thejoyofvacation.com/US Orders (coupon code joyofcruisingpodcast)The Joy of Cruising https://bit.ly/TheJoyOfCruisingCruising Interrupted https://bit.ly/CruisingInterruptedThe Joy of Cruising Again https://bit.ly/TheJoyOfCruisingAgainIntl Orders via Amazon

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Un programa de televisión local y la posibilidad de grandes premios ECDQEMSD podcast episodio 6068 Quiero Ser Millonario Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias del Mundo: Trump pide la rendición de Irán - Rusia ataca Kiev - La UE pide a Washington que no se meta - Sheinbaum y Trump ya se verán - CFK se quedará en su casa - Noticias para Evacuar - Tom Cruise y Dolly Parton al Oscar Historias Desintegradas: Cuando fui a la televisión - Preguntas amarradas - Respuestas estudiadas - Directo al público - En vivo y en directo - El padre de Itatí Cantoral - Soraya Montenegro en María la del Barrio - Un plato de mariscos empanizados - De Chiapas a Yucatán - Miami en los 90 - El sonido del Capitán Crunch - La caja de cereales - Libera Costa Rica - Día del Sushi - Los Caballeros del Zodíaco - Faláfel para todos - De picnic - Waterloo Day y más... En Caso De Que El Mundo Se Desintegre - Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados!! NO AI: ECDQEMSD Podcast no utiliza ninguna inteligencia artificial de manera directa para su realización. Diseño, guionado, música, edición y voces son de  nuestra completa intervención humana.

For this latest trip around the turntable, Sam St. John (aka Americana Sam) had the great fortune of sitting down with legendary singer, songwriter and PLATINUM selling artist Tommy James.  In this chat, they discuss his long historic career with Tommy James and the Shondells and iconic hits like "Mony, Mony", "Crimson and Clover", and "I Think We're Alone Now"; songs that have been covered from other legendary artists ranging from Billy Idol, Prince, Dolly Parton, and even Tiffany. Besides regular touring, Tommy has hosted the radio show "Gettin' Together with Tommy James" on SiriusXM 60s Gold (channel 73) for eight years and counting, where he shares stories about songs and artists from the 60s and beyond including his own experiences as a hitmaker, touring, new projects and so much more. The conversation even touches on the mafia-ran Roulette Records, featured in his book "Me, The Mob, and The Music".   Go to www.tommyjames.com for a full list of tour dates, merch and upcoming info! To purchase Tommy's book  "Me, The Mob and The Music": www.officialtommyjames.myshopify.com/collections/tommy-james-autographed-autobiography To purchase vinyl and CDs: www.officialtommyjames.myshopify.com/collections/tommy-james-vinyl-cds  

McSteamy talks about his ALS diagnosis on Good Morning America. Is Katy Perry waiting until the end of her tour to split from Orlando Bloom? Dolly Parton is opening a hotel - it's the only thing she hasn't put her name on yet, so it makes sense. The Valkyries are playing tonight against the Dallas Wings! GenZ is throwing office norms out the window. Plus, these cheap habits might transform your life.

Jenny Hutt steps back Behind The Rope. Jenny is here to mention it all none the least of which is her Long Island, NY childhood friend, Bethenny Frankel. Jenny enlightens us as to what Bethenny was like in college and how, even way back when, she was determined to know and have it all. With so much ado about B's move to Florida, we figure today the perfect day to share this blast from the past chat with the one and only Jenny Hutt. Jenny reminisces some of the Icons she has interviewed over the years such as Dolly Parton and chats highs and low from her time at Sirius. Jenny opens up about the start of her career when she hosted a radio show with Martha Stewart's daughter Alexis, her TV Show on the Hallmark Chanel of the same name and everything and anything in between. Jenny also chats about what it was like to not only work at Sirius when The King of All Media Howard Stern started there but to have been interviewed by Howard on The Howard Stern Show. In other pop culture news, we chat Grey's Anatomy, interviewing Lea Michele, ShaondaLand and oh so much more. ⁠@justjennyhutt⁠ ⁠@behindvelvetrope⁠ ⁠@davidyontef⁠ BONUS & AD FREE EPISODES Available at - ⁠⁠⁠www.patreon.com/behindthevelvetrope⁠⁠⁠  BROUGHT TO YOU BY: RO - ⁠⁠ro.co/velvet⁠⁠ (For Prescription Compounded GLP-1s and Your Free Insurance Check) THRIVE MARKET - ⁠⁠thrivemarket.com/velvetrope⁠⁠ (Get 30% Off Your First Order Of Health Conscious Food, Household Goods, Personal Grooming Products and More) MOOD - ⁠⁠⁠www.mood.com/velvet ⁠⁠⁠(20% Off With Code Velvet on Federally Legal THC Shipped Right To Your Door) DELETEME - (Get 20% Off By Texting VELVET to 64000 - To Take Control Of Your Data & Keep Your Private Life Private) RAKUTEN - ⁠⁠rakuten.com⁠⁠ (Get the Rakuten App NOW and Join the 17 Million Members Who Are Already Saving!  Your Cash Back really adds up!) WASHINGTON RED RASPBERRIES - ⁠⁠⁠⁠Redrazz.org⁠⁠⁠⁠ (Find New Ways To Use American Frozen Red Raspberries & Get More Details On Where You Can Grab a Bag) ADVERTISING INQUIRIES - Please contact ⁠⁠⁠David@advertising-execs.com⁠⁠⁠ MERCH Available at - ⁠⁠⁠https://www.teepublic.com/stores/behind-the-velvet-rope?ref_id=13198 Learn more about your ad choices. Visit megaphone.fm/adchoices