Podcasts about Dusty Springfield

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

Carol Decker - another Smash Hits cover star on the podcast! T'Pau are playing dates this summer and autumn and she talks here – hilariously - about life on the ‘80s package tour circuit and the first shows she ever saw and played, which stops off at …. … does any audience beat a Butlin's Mid-Weeker on their third pint? … from Black Mirror to PG Tips: the afterlife of a hit. … seeing Rod & the Faces in Stoke-On-Trent and Dire Straits in a Wrestling Hall. … “Appearing In An A&E Near You!”: accident-prone ‘80s stars, a sitcom waiting to happen. ... the arcane world of the backing vocalist – “don't distract, nothing too big”. … the grim tradition of headline bands' road crews making the support acts suffer. … ‘80s package tours with OMD, Kim Wilde, Toyah, Clare Grogan and Nik Kershaw. … playing working men's clubs with the Lazers in 1980 - “an unwelcome distraction from the Bingo”. … visits to Dusty Springfield's grave. … “Universal own the world”: when your songs appear in films and ads but you couldn't keep the rights. … more power to the Amnesty for Unrecouped Bands!Find out more about how to help us to keep the conversatiom going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Carol Decker - another Smash Hits cover star on the podcast! T'Pau are playing dates this summer and autumn and she talks here – hilariously - about life on the ‘80s package tour circuit and the first shows she ever saw and played, which stops off at …. … does any audience beat a Butlin's Mid-Weeker on their third pint? … from Black Mirror to PG Tips: the afterlife of a hit. … seeing Rod & the Faces in Stoke-On-Trent and Dire Straits in a Wrestling Hall. … “Appearing In An A&E Near You!”: accident-prone ‘80s stars, a sitcom waiting to happen. ... the arcane world of the backing vocalist – “don't distract, nothing too big”. … the grim tradition of headline bands' road crews making the support acts suffer. … ‘80s package tours with OMD, Kim Wilde, Toyah, Clare Grogan and Nik Kershaw. … playing working men's clubs with the Lazers in 1980 - “an unwelcome distraction from the Bingo”. … visits to Dusty Springfield's grave. … “Universal own the world”: when your songs appear in films and ads but you couldn't keep the rights. … more power to the Amnesty for Unrecouped Bands!Find out more about how to help us to keep the conversatiom going: https://www.patreon.com/wordinyourear

Carol Decker - another Smash Hits cover star on the podcast! T'Pau are playing dates this summer and autumn and she talks here – hilariously - about life on the ‘80s package tour circuit and the first shows she ever saw and played, which stops off at …. … does any audience beat a Butlin's Mid-Weeker on their third pint? … from Black Mirror to PG Tips: the afterlife of a hit. … seeing Rod & the Faces in Stoke-On-Trent and Dire Straits in a Wrestling Hall. … “Appearing In An A&E Near You!”: accident-prone ‘80s stars, a sitcom waiting to happen. ... the arcane world of the backing vocalist – “don't distract, nothing too big”. … the grim tradition of headline bands' road crews making the support acts suffer. … ‘80s package tours with OMD, Kim Wilde, Toyah, Clare Grogan and Nik Kershaw. … playing working men's clubs with the Lazers in 1980 - “an unwelcome distraction from the Bingo”. … visits to Dusty Springfield's grave. … “Universal own the world”: when your songs appear in films and ads but you couldn't keep the rights. … more power to the Amnesty for Unrecouped Bands!Find out more about how to help us to keep the conversatiom going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2017 conversation with Jimmy Webb. ABOUT JIMMY WEBBJimmy Webb emerged as a superstar songwriter and arranger in 1967 when two of his songs – The 5th Dimension's “Up, Up and Away” and Glen Campbell's “By the Time I Get to Phoenix” - were among the five nominees for the Grammy's Song of the Year award. He went on to write a string of major hits for Campbell, including “Wichita Lineman,” “Galveston,” "Where's the Playground Susie,” “Honey Come Back,” and many others. Additionally, he penned “MacArthur Park,” which was a hit for a diverse range of artists, including Richard Harris, Waylon Jennings, Tony Bennett, Andy Williams, and Donna Summer; “The Worst That Could Happen,” which was a Top 5 hit for The Brooklyn Bridge; “Didn't We,” which was recorded by Thelma Houston, Frank Sinatra, Diana Ross, and Barbra Streisand; “All I Know,” which became a Top 10 hit for Art Garfunkel; “The Moon's a Harsh Mistress,” which has been recorded by Joe Cocker, Judy Collins, Linda Ronstadt, and Josh Groban; and “If These Walls Could Speak,” which was recorded by Glen Campbell, Amy Grant, Nanci Griffith, and Shawn Colvin. Others who've covered material from the Jimmy Webb songbook include Diana Ross, Dusty Springfield, Nina Simone, The Four Tops, Roberta Flack, The Temptations, The Association, Tom Jones, Dionne Warwick, Cass Elliot, Harry Nilsson, Nancy Wilson, Cher, Bob Dylan, The Everly Brothers, Nick Cave, John Denver, Kenny Rogers, Sheena Easton, David Crosby, Rosemary Clooney, Michael Feinstein, R.E.M., Aimee Mann, America, Aretha Franklin, Isaac Hayes, Peggy Lee, Bette Midler, James Taylor, Carrie Underwood, Dwight Yoakam, and The Highwaymen (consisting of Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson), who took Jimmy's song “Highwayman” to #1, earning him a Grammy for Country Song of the Year. As an artist, he has released more than a dozen albums. One of the most celebrated songwriters on the planet, Jimmy is the only individual to win Grammy awards for music, lyrics, and orchestration. He was inducted into the Songwriters Hall of Fame, the Nashville Songwriters Hall of Fame, and the Great American Songbook Hall of Fame. Additionally, he has received ASCAP's Lifetime Achievement Award, the Influential Songwriter Award from the National Music Publishers Association, and the Academy of Country Music's prestigious Poets Award. In 2015 he was named among Rolling Stone magazine's 100 Greatest Songwriters of All Time. Jimmy's memoir, The Cake and the Rain, details his formative years and early career through 1973. It's available now from St. Martin's Press. 

Dusty Springfield was one of the most powerful voices in pop music—and one of the most complicated women behind the scenes. In this episode, Stauney and Sadie take a closer look at her career, her image, and the emotional weight of being a closeted queer woman in the spotlight. From her iconic sad ballads to her private struggles with identity and perfectionism, Dusty's story is one of longing: for love, for freedom, and for control over her own life and legacy. Join us as we break down her biggest hits, her influence on modern music, and why her story still matters today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Campaigners are calling for the ingredients of sourdough to be laid out in law. So are there too many loaves on sale that are more sourfaux than sourdough? Leyla Kazim investigates.This programme features a visit to the Batch event at the Long Table in Stroud to meet baker and author David Wright as well as Chris Young from the Real Bread Campaign. Nutritionist Dr Vanessa Kimbell discusses how sourdough impacts on our gut health and bread historian Professor Steven Kaplan chews over whether more regulation is strictly necessary and questions how it would be enforced.Cereal scientist Stanley Cauvain shines a light on a huge moment in British baking - the invention of the Chorleywood process - and Jules Chambe from the award-winning Wild Frog Bakehouse in Oxfordshire looks to his native France where the government did act to protect the beloved baguette.Produced in Bristol by Robin Markwell for BBC Audio Featuring the "Happy Knocker-Upper" 1960s Mother's Pride television advert featuring Dusty Springfield

Taylor Rowley returns with a copy of the debut album by English singer-songwriter Lesley Duncan. Perhaps best known as a backing vocalist for artists as diverse as Dusty Springfield, Elton John, and Pink Floyd, we learn that Lesley's solo albums are hidden gems of the dollar bin.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!

durée : 00:59:16 - Banzzaï du vendredi 16 mai 2025 : Libres comme l'air - rediffusion - par : Nathalie Piolé - Ce soir, comme Dusty Springfield, on n'appartient à personne !

Aretha Franklin got her start at an early age in Gospel music.  As the granddaughter of Gospel great Mahalia Jackson and the daughter of a prominent Baptist preacher, Franklin was heard on her father's "gospel caravan" tours at the age of twelve.  By the time she became an adult in 1960 she had decided that she wanted to go into more pop music, and moved to New York for this purpose.  She signed a deal with Columbia Records, in 1960, but her career would not really take off until moving to Atlantic Records in 1966.  By 1968 she was considered by many to be the most successful singer in the nation, and already crowned the "Queen of Soul."Franklin toured outside the US for the first time in late April 1968 through May 1968.  She performed in Paris on May 7, 1968, and this concert would be released as the live album Aretha in Paris in the fall of 1968.  It was Franklin's second live album, and the first for Atlantic Records where most of her hits were recorded.Some have criticized the backing band as not up to the task of supporting Franklin.  However, this album captures Franklin at the top of her game at a time when she was cranking out some of the biggest hits of her career.  It would be difficult for any supporting band to keep up, particularly one assembled for an overseas tour.  Regardless, this is a great album to explore as a snapshot of Aretha Franklin at the height of success.Lynch brings us a high energy live soul album from the Queen of Soul in her prime for today's podcast. (I Can't Get No) SatisfactionThis Rolling Stones cover is the lead-off track to the album and to the concert.  The Stones had released this song in 1965, and it had become their first number 1 song in the States.  Franklin takes the tempo up for this cover.(You Make Me Feel Like) A Natural WomanCarole King and Gerry Goffin wrote this song for Franklin based on an idea from producer Jerry Wexler.  It originally appeared on Franklin's album "Lady Soul", and went to number 8 on the U.S. charts.  It would make history when it hit the UK charts a week after Franklin's death in 2018, 51 years after the single was first released. (Sweet Sweet Baby) Since You've Been GoneThe original single for this live song was released on the "Lady Soul" album, and reached number 5 on the Billboard Hot 100.  This song was written by Franklin and her then-husband Teddy White. The studio version of this song utilized the talents of the Muscle Shoals Rhythm Section, who were flown in from Alabama to record in a New York City studio.Chain of FoolsSongwriter Don Covay wrote this song in his youth, and presented it to producer Jerry Wexler as a song for Otis Redding.  Wexler decided to have Franklin record it instead of Redding.  It was a big hit, taking the number 1 slot on the R&B charts for four weeks, number 2 on the Billboard Hot 100, and delivering Franklin a Grammy for Best R&B Vocal Performance. ENTERTAINMENT TRACK:Theme from the television comedy show “Laugh In”This sketch comedy show would capture a lot of American counter-culture of the time from Tiny Tim to "sock it to me!" STAFF PICKS:Ride My See Saw by the Moody BluesWayne kicks off the staff picks with a psychedelic song from the second Moody Blues album, "In Search of the Lost Chord."  The song is about leaving school and finding that the world isn't what you thought it would be.  On the album, the song is preceded by a spoken word introduction called "Departure."Harper Valley PTA by Jeannie C. RileyRob's staff pick is a storytelling song written by Tom T. Hall about a widow named Mrs. Johnson and her tangle with the PTA.  When her teenage daughter received a note from the Harper Valley PTA criticizing the way she is living, Mrs. Johnson attends the next meeting and reveals some indiscretions of the other PTA members.Light My Fire by Jose FelicianoBruce features an acoustic cover of the Doors hit single with a Latin twist.  Jose Feliciano is best known for the Christmas song "Feliz Navidad," but this Puerto Rican artist also had a hit with this cover that peaked at number 3 on in late summer 1968.  His album "Feliciano!" is a selection of acoustic cover songs, and his most successful one.  He won "Best Male Pop Vocal Performance" at the 1969 Grammy Awards for this cover.Son of a Preacher Man by Dusty SpringfieldLynch closes out the staff picks with a song that writers John Hurley and Ronnie Wilkins wrote with Aretha Franklin in mind.  When Atlantic Records producer Jerry Wexler heard it, he thought it would be a good fit for Dusty Springfield who was recording her "Dusty in Memphis" album at the time.  INSTRUMENTAL TRACK:And I Love Her by Jose FelicianoWe double up on the Latin acoustic stylings of Feliciano as this Beatles cover takes us out of this week's podcast.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

What's better than one unique voice? Do you have to ask? Here in Top Ten Unique Voices That Sound Great Together, our good friend and returning champion Gabe Scalone lays out his vision for an obvious but awesome topic. Here it is in a nutshell - 2 singers that have unmistakable flair and originality, combining forces like the finest chocolate and some amazing peanut butter to create a taste sensation. Two great tastes that taste great together, as Madison Avenue used to say. Picks 10-6 are revealed here in Part 1.We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. The Old Boy Himself Ryan Blake joined for May's bonus episode.Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295

Passos curts sobre la pista mentre ballem cl

Whale and dolphin researcher, Barry McGovern's love of sea creatures started in Clare, Ireland, when as a child he met the county's solitary, friendly dolphin, named for the singer Dusty Springfield.Barry grew up in a tiny surfing village where he knew all the bird calls off by heart.His interest in animal science led him to Edinburgh Zoo, where he fed cassowaries and regularly, accidentally spooked a flock of Chilean flamingos.He assisted on a mammal research trip in Namibia, where he learned just how many people are required to take biopsy sample from a giraffe. Eventually he settled on whales, and he learned the lesson that while animals can be lots of fun to study, they come with a heavy research load, and not much time spent out in the wild.Barry has been slapped in the face by a whale's tail and watched mother humpback whales squirt-feed their calves breast milk like cottage cheese. And he couldn't be happier. Today, Barry works at the Pacific Whale Foundation, Australia. This episode was produced by Alice Moldovan. Conversations' EP is Nicola Harrison. Presented by Sarah Kanowski.Conversations Live is coming to the stage! Join Sarah Kanowski and Richard Fidler for an unmissable night of unforgettable stories, behind-the-scenes secrets, and surprise guests. Australia's most-loved podcast — live, up close, and in the moment. Find out more on the Conversations website.

WE've got songs from Jim Reeves, Dusty Springfield, Madness, James Taylor, Marvin Gaye, Slade, The 4 Tops, The Isley Brothers, Earth Wind & Fire, Blondie and loads more for your listening pleasure on todays Show !

Una obra mestra. Poseu un volum amable, tirant a molt alt, i a gaudir.

My co-host today is Foster Kid advocate and mentor Amira Therese, With Foster Fierce Alum, Host of Interview with a Foster Kid.  You can watch at Youtube Interview with a foster Kid podcast on YouTube or listen on spreaker  Interview with a foster kid podcastAn excellent Podcast!National Eggs Benedict day.  Entertainment from 1982.  Lincoln freed all the slaves in Washington DC, LSD invented, Texas City explosion.  Todays birthdays - Wilber Wright, Charlie Chaplin, Pope Benedict 16, Bobby Vinton, Dusty Springfield, Gerry Rafferty, Ellen Barkin, Dave Pirner, Martin Lawrence, Selina, Akon.  Madam Tussaurd died.Intro - God did good - Dianna Corcoran  https://www.diannacorcoran.com/ Eggs Benedict song - FNAF Sister Location RapBenny and the Jets - Elton JohnA very special love song - Charlie RichBlue velvet - Bobby VintonI only want to be with you - Dusty SpringfieldStuck in the middle with you - Steelers WheelRunaway train - Soul AsylumBidi Bidi Boom Boom - SelenaDon't matter - AkonExit - Never have I ever - Elyse Saunders   https://www.elysesaunders.com/ countryundergroundradio.comHistory and Factoids website

Another two hours of great music from Artistes such as Pink Floyd, Arlo Guthrie,  Soft Cell, Lady A, The Move, Manfred Mann, Dusty Springfield, Roy Orbison, Chuck Berry, Jerry Lee Lewis and loads more

Funny how a song named “Draggin’” can really lift you up. This works because of singer-songwriter Hannah Cohen’s magical way of blending disparate ideas. The song is off her newly minted album Earthstar Mountain, and was produced by her partner and collaborator Sam Evian. The album draws from the pair’s combined wide palette of musical taste which includes Dusty Springfield, Gal Costa, Minnie Ripperton, and Sly & The Family Stone. 

Justin and Bec forego a typical main topic this week, opting instead for effectively two main topics with absolutely massive, iconic Songs of the Week! Bec's Song of the Week is "You Don't Have to Say You Love Me" and she explores the roots of it from the 1965 Italian ballad "Io che non vive (senza te)" through to Dusty Springfield's hugely successful English adaptation and eventually to Elvis's famous performances of it in the 1970s, across his 1970 Nashville sessions, the concerts filmed for "That's The Way It Is," and even much later and deeper into the decade. Justin then traces the lineage of Jerry Leiber and Mike Stoller's legendary "Trouble," originally featured in the 1958 film "King Creole," but increasingly recognized over the years as one of Elvis's most enduring recordings, symbolizing the myth of him as a rebellious rocker, most prominently recently featured in Baz Luhrmann's "Elvis." We go deeper, though, touching on the history of stop-time in Dixieland jazz and, most influentially on Leiber/Stoller, in Muddy Waters's "Hoochie Coochie Man." Understanding the history behind that song, the hoochie coochie itself, and the way Trouble has become representative of expressions of both masculinity and femininity unlocks a deeper sense of the song's significance as one of the all-time masterpieces of Elvis's entire recorded works. Oh yeah, and the duo react to the first trailer for Disney's live action remake of Lilo & Stitch! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Segunda entrega de canciones que alcanzaron su puesto más alto en listas norteamericanas de pop en este mes de hace 60 años. Quedaron muchas cosas fuera del primer episodio que no podíamos pasar por alto.Playlist;(sintonía) THE ARROWS feat DAVIE ALLAN “Apache 65” (top 64)ROGER MILLER “King of the road” (top 4)BOBBY GOLDSBORO “Little things” (top 13)JOHNNY RIVERS “Midnight Special” (top 20)JOHNNY CASH “Orange blossom Special” (top 80)HERMAN’S HERMITS “Can’t you hear my heartbeat” (top 2)GERRY and THE PACEMAKERS “Ferry cross the Mersey” (top 6)THE BEATLES “I don’t want to spoil the party” (top 39)GEORGIE FAME and THE BLUE FLAMES “Yeh Yeh” (top 21)THE NASHVILLE TEENS “Find my way back home” (top 98)THE KINGSMEN “The Jolly Green giant” (top 4)DEL SHANNON “Stranger in town” (top 30)RICK NELSON “Mean old world” (top 96)IAN WHITCOMB and BLUESVILLE “This sporting life” (top 100)JEWEL AKENS “The birds and the bees” (top 3)ROY ORBISON “Goodnight” (top 21)RODDIE JOY “Come back baby” (top 86)DUSTY SPRINGFIELD “Losing you” (top 91)STEVE ALAIMO “Real live girl” (top 77)Escuchar audio

National Egg McMuffin day. Entertainment from 1957. Importing slaves into US banned, Peonage banned, Puerto Rico citizens granted US citizenship. Compact disc went on sale. Todays Birthdays - Dr. Seuss, Desi Arnaz, Lou Reed, Karen Carpenter, Jon Bon Jovi, Daniel Craig, Chris Martin, Luke Combs. Dusty Springfield died.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/McDonalds TV commercialYoung Love - Tab HunterYoung Love - Sonny JamesBirthdays - In da club - 50 Cent     http://50cent.com/Bobalu - Desi Arnaz and his orchestraWalk on the wild side - Lou ReedWe've only just begun - The CarpentersRunaway - Bon JoviViva La Vida - ColdplayOne number away - Luke CombsOnly want to be with you - Dusty SpringfieldExit - Home Bar - Douglas Riely  https://www.douglasrileymusic.com/ countryundergroundradio.com

A classe e a categoria de pegar túnel de água salgada.Basta ter uma semana de descanso da WSL que o mundo inteiro se revolta fazendo campeonatos de norte a sul do globo.Capítulo Perfeito em Carcavelos, Nazaré e Natural Selection (campeonato com nome de restaurante vegetariano, segundo o Bruno) nas ilhas atômicas, Taça Brasil no Ceará, teve de tudo.Bruno Bocayuva, João Valente e Júlio Adler, lépidos e fagueiros, cada um no seu canto, espiam as janelinhas em busca de respostas e acabam (como sempre) plenos de dúvidas.Na trilha, ponto alto!, trazemos para seu deleite, a divina Dusty Springfield com Spooky, Psyco On Da Bus com Afropusherman e, um dos nossos obituários, Roberta Flack com Compared To What.Evoé Momo!

With tracks from Sonic Juncture, Dusty Springfield, Ceri, Dombrance, Freydel, Michael Reinboth, Buick Project (Nic Fanciulli & Andy Chatterley), Yotam Avni, GusGus, SIRS, Oscar Sulley & The Uhuru Dance Band, Discogram, Ian Pooley, 6th Borough Project, Fran Deeper, Fort Romeau, Paranoid London & Simon Topping, Pentland Park, Funtom, Joe Cleen. Contact: dj@ribeaud.ch.

Actually is the second studio album by the British synth-pop duo Pet Shop Boys, released on September 7, 1987. Building on the success of their debut album Please, Actually refined their signature blend of electronic dance-pop, witty lyricism, and social commentary.The album features some of their most iconic tracks, including "It's a Sin," a dramatic, confessional anthem about religious guilt; "What Have I Done to Deserve This?", a duet with Dusty Springfield that became one of their biggest hits; and "Rent," a melancholic yet stylish song about transactional relationships. The closing track, "King's Cross," offers a haunting and politically charged reflection on contemporary Britain.With its mix of danceable beats, lush arrangements, and biting observations on love, class, and culture, Actually cemented Pet Shop Boys' status as one of the most sophisticated and innovative pop acts of the 1980s.Listen to the album on SpotifyListen to the album on Apple MusicWhat did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press SubredditFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

After an intensive holiday season, we're taking a week off, so from the TCBCast Patreon archives we bring an episode from December 2023 when Bec and Justin convened to explore the Top 20 hits during the week in early 1969 that "If I Can Dream" peaked at #12, the highest it would reach on the Hot 100. What kept Elvis out of the Top 10? Turns out a lot of really iconic music! Unlike our usual Billboard charts episodes, the duo decide to go for broke and cover all of the Top 20, not just to include Elvis, but numerous other iconic songs of 1969 from acts as far reaching as Dusty Springfield, Jay and the Americans, The Turtles, Marvin Gaye, Sly & the Family Stone, BJ Thomas, Tommy James & the Shondells and many more. Then, we jump in our time machine back to November 2021's bonus episode and hear Gurdip and Justin's "Songs of the Month," as Gurdip spotlights a very Elvis-and-Buddy-Holly-influenced rockabilly cut from Buddy Knox, "Party Doll," while Justin picks "Three Cigarettes in an Ashtray" a beautiful but an otherwise largely overlooked Patsy Cline tune occasionally encountered in a famous video game, and which manages to have a TON of Elvis connections.  If you enjoy this kind of discussion and what we do on TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. This month, patrons are getting an album review of Chuck Berry's "Berry Is On Top" and a discussion on the 3rd episode of the CMT TV Series "Sun Records." We'll be back next week!

In this special episode, Warren Zanes joins us to share the incredible journey of his life—from his teenage years playing in The Del Fuegos to his remarkable career as an author. He talks about his books on Tom Petty, Dusty Springfield, and his latest work, Deliver Me From Nowhere, which is soon to be adapted into a film. The book dives into the making of Bruce Springsteen's iconic Nebraska album.From https://www.warren-zanes.comWarren Zanes is a New York Times bestselling author, a Grammy-nominated documentary producer, and a professor currently teaching at at New York University. As a teenager, Warren Zanes joined The Del Fuegos, making three records for Slash/Warner Bros.. Later, after earning his Ph.D in Visual and Cultural Studies from The University of Rochester, Zanes released Memory Girls, the first of four solo recordings made for Dualtone Nashville. In the non-profit area, Warren was the Vice President of Education and Public Programs at The Rock and Roll Hall of Fame and, for ten years, Executive Director of The Rock and Roll Forever Foundation. His books include Dusty in Memphis, the first volume in the celebrated 33 1/3 Series, Petty: The Biography, Revolutions in Sound: Warner Bros. Records, and his new book about Bruce Springsteen's Nebraska, Deliver Me from Nowhere. With Garth Brooks, Zanes has worked on five books in the artist's Anthology Series. Among his work in film, Zanes was a consulting producer on the Oscar-winning Twenty Feet from Stardom, a producer on the Grammy-nominated PBS/Soundbreaking series, conducted interviews for Martin Scorsese's George Harrison: Living in the Material World, and served as writer for The Gift: The Journey of Johnny Cash. He is an active member of both poet Paul Muldoon's Rogue Oliphant collective and a family that includes his sons, Lucian and Piero.MusicWarren Zanes "I'll Never Forget That Day With You"Additional Music The Charms "So Pretty"The Dogmatics "I Love Rock N Roll"Produced and Hosted by Steev Riccardo

Certain albums serve as a crossroads in an artists career, opening a path towards a new sound or a new audience. Occasionally these records are so impactful, they shift entire genres. On today's show we discuss 3 albums that reshaped an artists career and the musical landscape of the time. Other Diggins What do you […]

Certain albums serve as a crossroads in an artists career, opening a path towards a new sound or a new audience. Occasionally these records are so impactful, they shift entire genres. On today's show we discuss 3 albums that reshaped an artists career and the musical landscape of the time.Beck – Odelay (1996)Dusty Springfield – Dusty in Memphis (1969)Tom Petty – Full Moon Fever (1989)Other DigginsSkinner – New Wave Vaudeville (2025)Moonchild Sanelly – Full Moon (2025)The Devil Makes Three – Spirits (Feb 2025)Ringo Starr – Look Up (2025)Tremonti – The End Will Show Us How (2025)Mink DeVille – Coup De Grace (1981)What do you think of these records? What great albums redefined the career of an artist you love? Let us know on our website, albumnerds.com or email us, podcast@albumnerds.com.Listen to more episodes and suggest topics for the Wheel of Musical Discovery on albumnerds.com. Follow us on Instagram, Facebook and Bluesky.Thanks for listening!!!

-It's a Bugaboo Tuesday….what's bothering Bill today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Son of a Preacher Man" - Dusty Springfield (1969)Show sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week Tangential Music delivers an eclectic blend of timeless classics and exciting new tracks, spanning Soul, Jazz, Funk, and beyond. Tune in for an unforgettable journey that kicks off with soulful favorites from the likes of Dusty Springfield and The Impressions, before diving into jazzy grooves from artists like Bill Frisell and Quincy Jones.Expect a mix of mid-tempo gems, Northern Soul vibes, and funky rhythms from legends such as Idris Muhammad, alongside fresh cuts from emerging talents like Lagos Thugs and Kris & Jerry. With everything from reissues to rare finds, this week's show promises to be a rich tapestry of music for every listener.For more info and tracklisting, visit: https://thefaceradio.com/tangential-music/Tune into new broadcasts of the Tangential Music, 3rd Saturday from 8 - 10 AM EST / 1 - 3 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

HNY bitchez

Girly House Things with Lana Del Rey , Bilie Eilish , Beyonce , Black Box , Gaga , Sabrina Carpenter , Dua Lipa , Nelly Furtado , Angie Stone , Dusty Springfield and more

Part 2 with keyboard magic-dust provider, ~Andy Richards with more hits, more number ones (including a potential 2 more to make the full 10).And so much brilliant 80s pop…5. GEORGE MICHAELAn opportune meeting, a Sunday afternoon session and more immortality as Andy works with George on the iconic Careless Whisper. A later session with David Cassidy (on yet another top 10 smash) allows him the opportunity to work with George again.6. PET SHOP BOYSA triple whammy of number one singles between July 87 - April 88 as Andy works on It's a Sin, Always on my Mind and Heart (which he also produces). Not forgetting more hits in Suburbia and Rent as well as working on the Actually album.Later he works on the Liza Minelli album, Results (produced by the Pets) ‘resulting' in another top 10 hit in Losing My Mind.Comparisons are made between working with Liza and Dusty Springfield (who he produced on her Reputation album).7. CHRIS DE BURGHFrom the great experience working on the sublime pop of the Pets to the more problematic cheesy monobrow of The De Burgh.Another massive number one single with The Lady In Red (with a little help from George Michael) but at some cost.Despite the experience (and like mothers forgetting the pain of childbirth) Andy returns and works on another top 3 hit in Missing You. Plus discussion at the end on where else George Michael appears in the ARoeuvre.8. PREFAB SPROUTAndy produces the wonderful “Hey Manhattan!” By The Sprouts from their From Langley Park To Memphis album.Discussion on Paddy's views of the track (and why he is wrong, bless the little genius).9. PRODUCINGAs well as being the keyboard maestro go-to guy, Andy also produced many artists in the 80s.Here we go through some of them, from less successful experiences (Berlin) to yet more chart success with Fuzzbox and Holly Johnson. 10. MISCELLANEOUS80s odd and sods including the start of his film/TV work and a chance to mop up any other  hits worked on, including a potential 10th number one (Foreigner's I Want To Know What Love Is being the potential 9th). THE 80SOGRAPHY QUICKFIRE ROUNDAnd why not.For more on Andy - andyrichards.comTo help fund the pod or say hi - 80sography@gmail (PayPal)Vaughn George. Neil Tennant vocal analysis “Heart”.https://www.youtube.com/watch?v=BtMjGpyzAIsSend us a text

In The Image Maker: Shattering Rock and Roll's Glass Ceiling (2023), Connie DeNave shares her experiences in the public relations world during the British Invasion and the beginning of rock-n-roll marketing. Born in Brooklyn, New York, DeNave graduated from Hunter College and found herself with no job skills. Throughout the mid-1950s to the 1980s, DeNave was rock and roll's first female press agent powerhouse. She revolutionized the public relations business at a time when it was an old boys' club. And she did this all with her—previously unheard of—all female staff. She crashed through the glass ceiling of the music business and represented some of the most influential and popular artists of their time. Her portfolio includes The Rolling Stones, Faces, Herman's Hermits, Dick Clark, Chubby Checker, Nat King Cole, Bobby Darin, and Dusty Springfield. DeNave's memoir examines what it meant to be a women in business at a time when women couldn't even get a credit card. She shares her experiences in the entertainment business and the importance of press agents and public relations in creating a star.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Image Maker: Shattering Rock and Roll's Glass Ceiling (2023), Connie DeNave shares her experiences in the public relations world during the British Invasion and the beginning of rock-n-roll marketing. Born in Brooklyn, New York, DeNave graduated from Hunter College and found herself with no job skills. Throughout the mid-1950s to the 1980s, DeNave was rock and roll's first female press agent powerhouse. She revolutionized the public relations business at a time when it was an old boys' club. And she did this all with her—previously unheard of—all female staff. She crashed through the glass ceiling of the music business and represented some of the most influential and popular artists of their time. Her portfolio includes The Rolling Stones, Faces, Herman's Hermits, Dick Clark, Chubby Checker, Nat King Cole, Bobby Darin, and Dusty Springfield. DeNave's memoir examines what it meant to be a women in business at a time when women couldn't even get a credit card. She shares her experiences in the entertainment business and the importance of press agents and public relations in creating a star.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Image Maker: Shattering Rock and Roll's Glass Ceiling (2023), Connie DeNave shares her experiences in the public relations world during the British Invasion and the beginning of rock-n-roll marketing. Born in Brooklyn, New York, DeNave graduated from Hunter College and found herself with no job skills. Throughout the mid-1950s to the 1980s, DeNave was rock and roll's first female press agent powerhouse. She revolutionized the public relations business at a time when it was an old boys' club. And she did this all with her—previously unheard of—all female staff. She crashed through the glass ceiling of the music business and represented some of the most influential and popular artists of their time. Her portfolio includes The Rolling Stones, Faces, Herman's Hermits, Dick Clark, Chubby Checker, Nat King Cole, Bobby Darin, and Dusty Springfield. DeNave's memoir examines what it meant to be a women in business at a time when women couldn't even get a credit card. She shares her experiences in the entertainment business and the importance of press agents and public relations in creating a star.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In The Image Maker: Shattering Rock and Roll's Glass Ceiling (2023), Connie DeNave shares her experiences in the public relations world during the British Invasion and the beginning of rock-n-roll marketing. Born in Brooklyn, New York, DeNave graduated from Hunter College and found herself with no job skills. Throughout the mid-1950s to the 1980s, DeNave was rock and roll's first female press agent powerhouse. She revolutionized the public relations business at a time when it was an old boys' club. And she did this all with her—previously unheard of—all female staff. She crashed through the glass ceiling of the music business and represented some of the most influential and popular artists of their time. Her portfolio includes The Rolling Stones, Faces, Herman's Hermits, Dick Clark, Chubby Checker, Nat King Cole, Bobby Darin, and Dusty Springfield. DeNave's memoir examines what it meant to be a women in business at a time when women couldn't even get a credit card. She shares her experiences in the entertainment business and the importance of press agents and public relations in creating a star.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In The Image Maker: Shattering Rock and Roll's Glass Ceiling (2023), Connie DeNave shares her experiences in the public relations world during the British Invasion and the beginning of rock-n-roll marketing. Born in Brooklyn, New York, DeNave graduated from Hunter College and found herself with no job skills. Throughout the mid-1950s to the 1980s, DeNave was rock and roll's first female press agent powerhouse. She revolutionized the public relations business at a time when it was an old boys' club. And she did this all with her—previously unheard of—all female staff. She crashed through the glass ceiling of the music business and represented some of the most influential and popular artists of their time. Her portfolio includes The Rolling Stones, Faces, Herman's Hermits, Dick Clark, Chubby Checker, Nat King Cole, Bobby Darin, and Dusty Springfield. DeNave's memoir examines what it meant to be a women in business at a time when women couldn't even get a credit card. She shares her experiences in the entertainment business and the importance of press agents and public relations in creating a star.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Interview with Arlen Roth 2024 Arlen Roth is a true guitar legend; part of the list of who he's recorded and toured with contains folks like Simon & Garfunkel (together and individually), John Prine, Phoebe Snow, Bob Dylan, Bee Gees, Don McLean, Levon Helm, Ry Cooder, Duane Eddy, Danny Gatton, Janis Ian, Dusty Springfield, John Sebastian, Johnny Winter and countless more. He also appeared with Ramblin' Jack Elliot and Patti Smith in the Martin Scorcese Rolling Thunder film, created the guitar parts and was consultant and teacher to Ralph Macchio for the legendary blues film, Crossroads. In 2016, he wrote and performed an acoustic guitar piece with Daveed Diggs and Leslie Odom, Jr. of Hamilton for ESPN. Arlen was voted in the Top 100 most Influential guitarists of all time by Vintage Guitar Magazine and top 50 all-time acoustic guitarists by Gibson.com. Now, on Arlen Roth's 20th solo album and his fifth all-acoustic offering, he's bringing rootsy acoustic music to new heights on Playing Out the String, set for release September 27 and distributed by MVD. The new album was recorded, mixed and mastered by Alex Salzman, who also contributes keyboards to the mix.  Arlen's previous album, Super Soul Session, with bass legend Jerry Jemmott, sat atop the Blues and Soul charts for 22 straight weeks, and was in the Top 5 for 55 straight weeks this past year. Arlen has also been at the forefront of guitar and music education, with 10 best-selling books, and he was the first-ever to offer video instruction with the giants of the music industry through his “Hot Licks” company, which he started in 1979, and has had millions of students worldwide. His column for Guitar Player magazine was voted #1 by the largest margin of readers from 1982 to 1992, and was also turned into a best-selling book, Hot Guitar. On Playing Out the String,  this all-acoustic, mostly solo album is very personal to Arlen and is really like getting an up-close "at home" concert in your living room. On it, he paints with broad strokes across several genres of music he loves. From "Old Timey" Norman Blake material to country blues from Sonny Terry and Brownie McGhee and Tampa Red; he even makes you feel at home with Nilsson's "Everybody's Talkin'" and gives his 12-string guitar a workout on the archetypical, "Walk Right In." https://www.arlenroth.com  

This week's show: Maxïmo Park, Circle Jerks, Cliff & Ivy, Movieland, Humdrum, Idaho, and Sunstack Jones, plus Woody Guthrie, Del Shannon, Turtles, B.B. King, Dusty Springfield, Johnny Bond, and Louis Armstrong & Oscar Peterson; and R.I.P. Phil Lesh (19...

It's Episode 67 of the Friday Night Karaoke Podcast, and the theme of the week was #FNKHocusPocus. It's that spooky time of year again, and Mike and Joe are conjuring up some karaoke magic with a special Halloween-themed episode of the Friday Night Karaoke Podcast: Hocus Pocus! This week's show is packed with eerie vibes, spooky classics, and all the fun you could wish for in a haunted karaoke night. From rock anthems to creepy ballads, these songs will have you dancing with ghosts and howling at the moon. So grab your witches' hats, turn up the volume, and get ready for a night of spine-tingling karaoke fun! FEATURED IN THIS EPISODE ALONGSIDE HOSTS Mike Wiston AND Joe Rubin: Marc Cross kicks off the Halloween party with a classic, delivering a frightfully fun version of "Monster Mash" by Bobby "Boris" Pickett. It's a graveyard smash! Angel Lark sets the spooky mood with her haunting cover of "Spooky" by Dusty Springfield. Get ready for some chills and thrills! Edmond Themeli rocks the mic with a wild and wicked rendition of "Hey Stoopid" by Alice Cooper. It's Halloween rock at its best! Dana LaValle casts a spell with "A Little Wicked" by Valerie Broussard. Her eerie performance will send shivers down your spine! Katie Rose takes things up a notch with an electrifying cover of "Dragula" by Rob Zombie. Prepare for some high-octane, Halloween energy! Lauren Gregg channels her inner Frank-N-Furter with a bold performance of "Sweet Transvestite" from The Rocky Horror Picture Show. Let's do the Time Warp again! Nanna Katajamäki wraps up the show with a magical and haunting rendition of "Come Little Children" from Hocus Pocus. It's enchanting, it's spooky, and it's the perfect way to end the episode! So light your jack-o'-lanterns, grab some candy, and join us for a ghoulishly good time on the Hocus Pocus episode of FNK. With songs that range from creepy to campy, this episode will get you in the Halloween spirit like never before. Let's karaoke—witches and warlocks welcome! Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!See omnystudio.com/listener for privacy information.

More Spooky Sounds from across the decades as Steve brings us another Halloween Show. Dusty Springfield, Blondie, and Frank Zappa are some of the featured artists.For more info and tracklisting, visit: https://thefaceradio.com/the-bridge/Tune into new broadcasts of The Bridge, Every Monday from 10 PM - 11 PM EST / 3 - 4 AM GMT. (Tuesday)//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

BANG! @southernvangard radio Ep416! THANK YOU DJ CLARK KENT, GOD'S FAVORITE DJ. WE THAAAAANK YOU and WE'RE WAAAAALCOME!!!!! Three WORLD EXCLUSIVES this week from MILKCRATE, ANKHLEJOHN, EL GANT, SHYSTE, ILL BILL, JEFF HEFFERNAN & PATEN LOCKE - not to mention a Halloween themed Twitch Only set this week - if ya missed it you're SOL and YOU WAAAAALCOME! #SmithsonianGrade #WeAreTheGard // southernvangard.com // @southernvangard on all platforms #hiphop #undergroundhiphop #boombap Recorded live October 28, 2024 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks Pre-Game Beats - Dirty Art Club Talk Break Inst. - "Children Of The Nomo" - Sol Messiah "Southern Vangard Theme" - Bobby Homack & The Southern Vangard All-Stars "Eyes Closed" - A-F-R-O x Stu Bangas "Money Call" - King Magnetic (prod. Haze Attacks) "Magic" - Philmore Greene ft. RJ Payne (prod. Sir Williams) "Knowledge Born (MiLKCRATE Remix)" - Ankhlejohn ** WORLD EXCLUSIVE ** "Hollah Looyuh" - Spit Gemz (prod. Aye Win) "Let Me Ride" - Kaimbr & DJ Applejac Talk Break Inst. - "Ashoka Movements" - Sol Messiah "Necessity" - El Gant & Shyste ft. Ill Bill (prod. Jim Heffernan)** WORLD EXCLUSIVE ** "Ain't It Great" - DJ Rude One ft. Ynot Dusable "Let The Goblin Out" - Swamp Thing (prod. Savilion) "Widdit" - Paten Locke ** WORLD EXCLUSIVE ** "Three Ronin" - Eff Yoo ft. G.S. Advance & Jus-P (prod. Goldenchild) "I Get's Busy - Mark Ski ft. Homeboy Sandman & Booda French "So Supreme" - Kaimbr & DJ Applejac Talk Break Inst. - "NaZca Pyramid Blaster" - Sol Messiah "The Pepsi Challenge" - Eff Yoo (prod. Wavy Da Gawd) "The Unconquered Sun" - Spit Gemz (prod. Kut One) "Tan Hue" - Bub Styles & Vinyl Villain ft. Lukah "Talking Dirty" - UFO Fev & Spanish Ran ft. Tree Mason & Tek "Don't Need Pants For The Beat It Up Dance" - Chris Crack (prod. HEP) Talk Break Inst. "Vimana Rise" - Sol Messiah ** TWITCH ONLY SET ** "Abracadabra" - Steve Miller Band "She Blinded Me With Science" - Thomas Dolby "Sweet Dreams (Are Made Of This)" - Eurythmics Somebody's Watching Me" - Rockwell "Ghostbusters" - Ray Parker Jr. "Freaks Come Out At Night" - Whodini "Tubular Bells" - Mike Oldfield "Spooky" - Dusty Springfield "Superstition - Stevie Wonder "Bad Moon Rising" - Creedence Clearwater Revival "Mind Playing Tricks on Me" - Scarface, Willie D & Bushwick Bill "Da Graveyard" - Big L "Devil's Son" - Big L

Gotta love those qoutes “We ask a lot out of these guys,” manager Carlos Mendoza said, referring to his starting pitchers. Miracle Mets are still trying to solve their Shohei Ohtani enigma 9 walks in the game Should managers fear 'reliever familiarity effect' in World Series? mlb.com Guys have been throwing a lot of innings and guys can be tired,” said Kahnle, Pitchers are Better than Ever: Boone on Rodon “Obviously, he's pitched in the league now for a long time, has had a lot of success 10 seasons: 2 seaons under 3.75. 6 seasons over 4,00 only 2 under 3.00 Definitin of a lot of success Under the catagory of Sports develop character: Lynx Head Coach Cheryl Reeve When their head coach Cheryl Reeve sat down to the microphone for a bitter postgame press conference on Sunday night, she didn't miss any. “We know we could have done some things, but you shouldn't have to overcome [the officiating],” Reeve said. “This s–t ain't that hard. Officiating? It's not that hard. The Lynx missed 44 of their 70 shots in a championship-deciding WNBA Finals Game 5 loss to the Liberty. 37% shot 67 62 overtime loss NY Post Aaron Rodgers isn't the QB the Jets thought they had Can't compare Apples to Chevolets This Yankees-Dodgers World Series narrative is already so, so tired Joel Sherman Apples to Apples …. not Apples to Chevorlets Post Season 1956 vs. 2024 ….No Gauntlet in 1957 2023 WS 5 rating 4.7. 1978 32.8 It's about Competive Balance during the season not the World Sereis 11 teams drew 2mm or less 37% 9 teams drew less than 1/2 of Dodgers … 1/3 Payroll Equality 1991 vs. 2024 2024: #1 Mets $317 67%+ of Mets payroll: 9 teams = 30% 50%+ of Mets payroll: 15 teams = 50% 8 teams less than 33% of Mets payroll 1991: #1 A's $33mm 67%+ of A's payroll: 17 teams = 65% 50%+ of A's payroll: 24 teams = 93% 0 teams less than 33% A's payroll All pieces of the puzzle not the same size Building the Dodgers: 10 steps that got Los Angeles back to the World Series The Athletic The Dodgers have more than $1 billion invested in Shohei Ohtani, Mookie Betts and Freddie Freeman. runs. Kiké Hernández has as many postseason home runs on his resume as Babe Ruth. It goes on and on. Wishing and Hoping…. Dusty Springfield and Daniel Jones Daniel Jones giving Giants almost no chance to win with end finally in sight It was always going to be a long shot that Jones made it to a seventh year with the team that over-drafted him (No. 6 overall) in 2019. The desire to find the next Eli Manning in temperament, comportment, demeanor and play-style led to an overevaluation of this particular player, but this does not need to be relitigated Doesn't happen overnght 2016 Eli Apple 2017 Evan Engram 2018 Saquon Barkley 2019 Daniel Jones 2020 AndrewThomas 2021 Kadarius Toney 2022 Kayyon Thibodeaux 2023 Deonte Banks Question: Why are Tackles and Edge Rushers headed in the opposite direction How ‘bout them Seminoles The loss dropped the Seminoles to 1-6 on the season — just one year after going 13-1 and winning the ACC.

Episode 028: Gather 'round, you ghastly ghouls and wicked witches! It's time to creep into the Halloween spirit with a bone-chilling episode of Six Picks Music Club. Geoff, Dave, and Russ have brewed up a cauldron of spooky tunes that'll have you dancing in the graveyard. We're conjuring up some witchy vibes with Dusty Springfield, Donovan, and The Bridge City Sinners. But beware! We're also unleashing the grotesque horror of Harley Poe and the gothic darkness of Type O Negative. For those faint of heart, we've included a dash of silly fun with Bobby Boris Pickett's immortal "Monster Mash." It's the perfect soundtrack for your monster bash! But that's not all, you fiendish listeners. Our hosts dare to look beyond the surface of Halloween candy, unearthing secrets that might just give you a sugar rush... or a fright! So, light your jack-o'-lanterns, don your costumes, and join us for a haunting journey through the musical underground. It's a graveyard smash that's sure to raise your spirits! Remember, in the words of the ancient Halloween proverb: "Listen or be cursed!" (Just kidding... or are we?)   Apple Podcasts Instagram Spotify Playlist YouTube Playlist Official Site Listener Listens - Big Bill - Instagram

In this Friday Quick Fix, Sonny discusses some of the many Duets that exist in music over the years. In each volume he will share a handful of his favorites. Let's start with Volume 1. The Friday Quick Fix Concept: The Friday Quick Fix is your single dose of Rock n Roll in 15 minutes or less to get your weekend off to a rockin' start. Every Friday, we will deliver a different segment that focuses on albums, songs, movies, Playlist, and generally just about anything we find entertaining and want to share with you. You will still get a regular full length episode every Sunday as usual Please Consider Supporting The Artist We Feature In This and Every Episode: (You can support them by purchasing Music, Merch, or A Concert Ticket) In This Episode You Heard: Disturbed, Anne Wilson, Pet Shop Boys, Dusty Springfield, Phil Collins, Marilyn Martin, Richie Kotzen Reach Out To Us: Email: growinuprock@gmail.com Follow Us@: Facebook Loud Minority Group Twitter Instagram Website: https://growinuprock.com Pantheon Podcast Network A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Please consider leaving us a five star review in one of the following places to help the podcast get discovered by others: GUR On Apple Podcast GUR On Podchaser GUR On Spotify This Episodes Playlist Learn more about your ad choices. Visit megaphone.fm/adchoices

We remember singer Cissy Houston, who died Oct. 7 at the age of 91. She got her start in gospel and sang backup vocals for Elvis, Dusty Springfield, Wilson Pickett, Van Morrison and Aretha Franklin, most notably on "A Natural Woman." She was also the mother of Whitney Houston. Houston spoke with Terry Gross in 1998. Also, we remember Major League Baseball's Pete Rose, a legend on the field who was banned from baseball because he bet on the game. He died Sept. 30 at the age of 83. Rose spoke with Dave Davies in 2004. TV critic David Bianculli reviews the new film Saturday Night, a dramatization of the first episode of SNL. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Dusty Springfield on Track By Track - legends talking about legends. We're discussing Dusty's 1990 full out pop album 'Reputation' and with a great TBT-appropriate link.

Shelby Lynne is celebrating the 25th anniversary of her landmark classic album I Am Shelby Lynne, which won her a Grammy award for Best New Artist. We recently sat down with Shelby to discuss the evolution of her songwriting, from her early days in Nashville to her recent genre-defying "comeback" album Consequences of the Crown. PART ONEScott and Paul talk about their favorite single lyrical lines, lyrics that bug them from songs they otherwise like, and quibble over one of Kris Kristofferson's best-known lines. Plus, they call on listeners to submit their own choices for discussion on an upcoming episode. PART TWOOur in-depth interview with Shelby LynneABOUT SHELBY LYNNEShelby Lynne won the Grammy award for Best New Artist in the wake of her genre-bending and critically-acclaimed 1999 album, I Am Shelby Lynne. But it was actually her sixth studio album on an artistic path that took time to unfold. Lynne and her sister, fellow artist Allison Moorer, grew up surrounded by country music. As detailed in Moorer's gripping memoir, Blood, they were also surrounded by violence and trauma. Both found escape through music, with Lynne signing her first recording contract at the age of 19. Initially working with legendary producer Billy Sherrill, best known for his albums with Tammy Wynette and George Jones, Shelby released a series of albums from Nashville in the late ‘80s through the mid-‘90s. She won the Academy of Country Music's Top New Female Vocalist Award in 1991, and was nominated for the ACM's Top Vocal Duo of the Year honor with Faith Hill in 1996. Without any major hit singles, however, Shelby eventually took a break from recording. After moving to Palm Springs, California, and partnering with producer Bill Botrell in 1998, she changed direction and found new footing as an uncategorizable artist committed to artistic integrity. The result, I Am Shelby Lynne, has recently been re-released in a 25th Anniversary edition. Follow-up albums Love, Shelby, Identity Crisis, Suit Yourself, and the Dusty Springfield tribute Just a Little Lovin' were well-received precursors to Lynne launching her own record label. Her subsequent albums Tears, Lies and Alibis, Merry Christmas, Revelation Road, and I Can't Imagine all reached the Top 10 on Billboard's Americana/Folk chart, as did her 2017 collaborative album with sister Allison Moorer. Shelby has recently returned to Nashville and has collaborated with Ashley Monroe, Little Big Town's Karen Fairchild, and others to create her seventeenth album, an unflinchingly honest exploration of heartbreak, called Consequences of the Crown. 

This episode is part of Pledge Week 2024. From Tuesday through Saturday this week I'm posting some of my old Patreon bonuses to the main feed, as a taste of what Patreon backers get. If you enjoy them, why not subscribe for a dollar a month at patreon.com/andrewhickey ? (more…)