Podcasts about Farewell

MUSICBlack Sabbath and Ozzy Osbourne played their final sets at the Back to the Beginning concert at Villa Park in Birmingham, England on Saturday.Kelly Osbourne got engaged during the show, too. A video shows Slipknot's Sid Wilson popping the question, telling Kelly, "You know I love you more than anything in the world", with Ozzy quipping, "F*** off, you're not marrying my daughter." Oasis opened their reunion tour Friday and Saturday night in Cardiff, Wales by playing some deep cuts -- and making a couple of cracks about ticket prices. Foo Fighters continue to celebrate their 20th anniversary this week, first dropping a cover of Minor Threat's "I Don't Wanna Hear It" with a video sharing images throughout the band's early days. TVLess than two years after its launch, TV psychologist Dr. Phil's Merit Street Media company has filed for bankruptcy, with liabilities ranging from $100 million to $500 million. Craig Robinson from "The Office" is retiring from comedy. He says he's starting some kind of business, but he's being vague about it right now. RIP: Julian McMahon, known for roles in television shows like Nip/Tuck and Charmed, has died. He was 56. MOVING ON INTO MOVIE NEWS:'Jurassic World Rebirth', the seventh film in the franchise, took a bite out of the box office with $26 million earned domestically on July 4th Friday. The dino film earned $147 million over the entire weekend! While it ruled the box office over the July 4th holiday, it's the lowest opening of any 'Jurassic' film to-date. RIP: Actor Michael Madsen has died at 67. AND FINALLYIn celebration of America, let's revisit this ranking of the Top 50 AMERICAN Bands of All Time, according to UltimateClassicRock.com.1. The Beach Boys2. Tom Petty and the Heartbreakers3. Van Halen4. Creedence Clearwater Revival5. Aerosmith6. The Doors7. Talking Heads8. R.E.M.9. Eagles10. Simon & GarfunkelAND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today I dive deep into the incredible weekend of music from the reunion of Oasis to The Farewell of Black Sabbath. Also some Iron Maiden talk on this episode. Thanks for tuning in.  DDR Check out my Stand Up Special 5836 available right now on YouTube https://www.youtube.com/watch?v=nbeaApu4OP0  Also Subscribe to my new Let There Be Talk Clips Page https://www.youtube.com/@LetThereBeTalkClips  My new Tour Dates https://www.deandelray.com/tourdates  Patreon https://www.deandelray.com/patreon 

The Alan Cox ShowSee omnystudio.com/listener for privacy information.

0:00 - Farewell to Amy J 28:20 - Mello Buckzz, "Feel Me" 34:28 - Lake Bluff youth baseball 58:09 - Founder & Principal Broker for HealthInsuranceMentors.com, C. Steven Tucker, breaks down what the BBB means for medicaid and what it actually does, and doesn’t do - "none of this fear mongering is covered in the bill" 01:16:26 - Steven Bucci, visiting fellow in The Heritage Foundation’s Allison Center for Foreign Policy Studies, breaks down the global hot spots—Israel, Iran, and Ukraine/Putin 01:39:46 - Christopher Whalen, chairman of Whalen Global Advisors LLC & editor for The Institutional Risk Analyst, weighs in on the BBB - Trump has done what he promised to do - and for small business people this is a big deal. Check out Chris’ most recent book Inflated: Money, Debt and the American Dream – 2nd Edition 01:56:12 - James Parker Hall Distinguished Service Professor Emeritus of Law, Senior Lecturer at the University of Chicago, Richard Epstein, looks at The Constitution, Parental Rights, and Transgender Treatment for Minors 02:13:45 - Phil Ambrose, founder of HazSim—a training tool for first responders—and a current Battalion Chief in Southern California, discusses the response to the Texas floods and the role of early warning systems. For more on HazSim visit hazsim.comSee omnystudio.com/listener for privacy information.

In the 6 AM hour, Larry O’Connor and Bethany Mandel discussed: DAILY MAIL: Texas Flood Victims Furious as Local Officials Blame Trump's National Weather Service Over Failed Warnings WMAL GUEST: ESPN 630 Host Andy Pollin on the Nationals Leadership Shakeup NY POST: Nationals Fire GM Mike Rizzo, Manager Dave Martinez with Team in Midst of Another Lost Season AP NEWS: Ozzy Osbourne Says Farewell to Live Performance with a Hometown Show for 40,000 Fans Where to find more about WMAL's morning show: Follow Podcasts on Apple, Audible and Spotify Follow WMAL's "O'Connor and Company" on X: @WMALDC, @LarryOConnor, @JGunlock, @PatricePinkfile, and @HeatherHunterDC Facebook: WMALDC and Larry O'Connor Instagram: WMALDC Website: WMAL.com/OConnor-Company Episode: Monday, July 7, 2025 / 6 AM HourSee omnystudio.com/listener for privacy information.

Welcome to the place where we get to let our geek flags fly and talk about all things geek. Basically a fuzzy guide to life, the universe, and everything but mostly geek stuff. Well hey howdy hey. America just celebrated a holiday or at least had a day off to contemplate thing. Whenever this time comes around, my head always turns to one movie. Two notes and you're transported away to a small beach town terrorized. In the spirit of that, Blue and I talk all about Jaws, shark movies, and just sharks in general. A great conversation I hope y'all enjoy as much as we did having it. Hope it's a good time and you don't need a bigger podcast. Until next time, Farewell and adieu to you, fair Spanish ladies.Congrats on completing Level 451 of the podcast! Think positive, test negative, stay safe, wash your hands, wear a mask, and good luck out there. Feel free to contact me on social media (@wookieeriot). You can also reach the show by e-mail, laughitupfuzzballpodcast@gmail.com. All other links are easily findable on linktr.ee/laughitupfuzzball for merch, the Facebook group, etc. I'd love to hear from you. Subscribe to the feed on Spotify, Apple podcasts, Google podcasts, or any of the apps which pull from those sources. Go do your thing so I can keep doing mine. If you feel so inclined, drop a positive rating or comment on those apps. Ratings help others find the madness. Tell your friends, geekery is always better with peers. Thank YOU for being a part of this hilarity! There's a plethora of ways to comment about the show and I look forward to seeing your thoughts, comments, and ideas. May the force be with us all, thanks for stopping by, you stay classy, be excellent to each other and party on dudes! TTFN… Wookiee out!

Welcome back to a brand new episode of The Dive, Driven by Kia. MSI 2025 is already delivering some exciting games, and the crew is here to break it all down. They take a look at standout moments from every region, including an unforgettable showdown between NA and EU, an impressive showing from the LCP, and absolute bangers featuring LCK and LPL powerhouses. The team also looks ahead to Week 2's high stakes matchups, spicy storylines, and discusses which teams are heating up and which ones might be in trouble.Who's looking the strongest? Who needs to bounce back? Let us know what you think in the comments below!MSI continues July 7 at 5PM PT/8PM ET. Timestamps:0:00 - Intro & Farewell to Europe3:23 - Champion Win rates at MSI9:31 - FlyQuest vs G2 Esports Recap26:05 - Gen.G vs Anyone's Legend Recap30:37 - The Evolution of Champion Strategies44:00 - Movistar KOI vs CTBC Flying Oyster Recap46:46 - T1 vs BLG Recap1:08:59 - CTBC Flying Oyster's Impressive Showing 1:17:43 - CTBC Flying Oysters vs Anyone's Legend Preview1:29:57 - FlyQuest vs BiliBili Gaming Preview1:37:42 - Gen.G vs T1 Preview

Nations sometimes win a war but lose the peace. This was Joshua's fear for Israel at the end of his life, and Christians today often find the test of prosperity more difficult than the test of adversity. On The Bible Study Hour, Dr. James Boice discusses the need to live for God and serve God in peace-time as well as in war. To support this ministry financially, visit: https://www.oneplace.com/donate/81/29

Final episode for John Steppe as the Hawk Off the Press Podcast host

Giulio & Ryan wrap up the podcast with a reflection on how impactful OOPS has been on both of their lives. From every iteration, to every email - thank you for being a part of this amazing experience.  Go to lucy.co/oops & use code OOPS for 20% off your first order! INSTAGRAM: https://www.instagram.com/oopsthepodcast TWITTER: https://twitter.com/OopsThePodcast TIK TOK: https://www.tiktok.com/@oopsthepodcast COME SEE GIULIO:  WEBSITE: https://www.giuliogallarotti.com/ INSTAGRAM: https://www.instagram.com/notjulio/ TIK TOK: https://www.tiktok.com/@notjuliog TWITTER: https://twitter.com/Notjulio PRODUCED BY RYAN LYNCH: INSTAGRAM: https://www.instagram.com/ryanisreallypolite TWITTER: https://twitter.com/ryanispolite TIK TOK: https://www.tiktok.com/@ryanisreallypolite?lang=en

PERU TRIPScott's new fav athletic brandIn this podcast episode, Joy and Claire celebrate Scott's birthday and reminisce about past birthday celebrations, including a memorable Irish cake from a gas station and a surprise party organized by Cian. They discuss Scott's recent concert experience at a Metallica show and share Joy's humorous attempt to buy a birthday gift that Scott secretly had in his cart. Additionally, they delve into topics like Nordstrom's anniversary sale, fragrance products, the dramatic metabolic aspects of Ozempic, and the hilarious pros and cons of high-tech bidet systems that analyze one's health through stool samples.00:00 Scott's Birthday Celebration00:26 Memories of Past Birthdays01:33 Scott's Metallica Concert Experience03:24 Gift Dilemmas and Surprises06:31 Exploring Castle Rock07:45 Scott's New Favorite Athletic Brand11:22 Thrift Shopping and Fashion Preferences17:30 Neighborhood Block Party22:56 Public Lands Policy Discussion33:36 Misunderstandings About Euthanasia34:13 The Complexity of Shelter Labels34:53 Navigating Opinions and Agendas35:36 Addressing Feedback on Ozempic36:19 Personal Reflections on Diet Culture42:47 Menopause Brain Story43:03 The Saga of Ordering Contacts51:54 Spicy Sauvignon Blanc Trend55:07 Nordstrom Anniversary Sale and Home Fragrances58:42 AI-Powered Toilet Seat01:02:49 Concluding Thoughts and Farewell

We take a closer look at the moving song that Sam finds himself singing unbidden in the terrible Tower of Cirith Ungol, all alone. Learn more about your ad choices. Visit megaphone.fm/adchoices

As we begin wrapping up season 5, we're answering the question, "What now?" We've looked at all seven types through the lens of three influential models, but how do we actually apply it? As we say our goodbyes, we ask our six teachers how their models contribute to growth and transformation, as well as their hopes for the future evolution of the Enneagram.Awareness to ActionEnneagram on Demand - Certification ProgramMario Sikora: IG: @mariosikoraTikTok: @mariosikoraWeb: mariosikora.comSubstack: mariosikora.substack.comMaria Jose Munita: IG: @mjmunitaWeb: mjmunita.comPodcasts:Awareness to Action Enneagram in a MovieThe Narrative TraditionTerry Saracino:Web: https://www.narrativeenneagram.org/team/terry-saracino/Christopher Copeland:Web: illuminatingpaths.comNarrative Podcasts:Heart of the EnneagramThe Somatic EnneagramFrom Armor to EaseThe Enneagram InstituteGayle Scott: Email - gayle@enneagrammysteryschool.comMichael Naylor:Web - enneagrammaine.comYou Tube - Enneagram Maine Interviews—Fathoms | An Enneagram Podcast: Serious Growth for Unserious Humans—Help Fathoms, By Supporting Us Here: Fathoms Membership CommunityCo-hosts: Seth Abram, Seth Creekmore, Lindsey MarksProduction/Editing: Liminal PodcastsFollow us on Instagram: @fathoms.enneagramFollow Abram:

In Part 2, we unpack our thoughts on what the Enneagram teachers shared in our last episode. You'll hear us compare and contrast the models, and share what resonated with us, as well as what we'd like to see evolve, and we explore how we plan to synthesize all we've learned and carry it forward. We are so very grateful to our six teachers for their gift of time and knowledge, and their incredible generosity. Mental Health Toolkit: Tools to Bolster Your Mood & Mental HealthAwareness to ActionEnneagram on Demand - Certification ProgramMario Sikora: IG: @mariosikoraTikTok: @mariosikoraWeb: mariosikora.comSubstack: mariosikora.substack.comMaria Jose Munita: IG: @mjmunitaWeb: mjmunita.comPodcasts:Awareness to Action Enneagram in a MovieThe Narrative TraditionTerry Saracino:Web: https://www.narrativeenneagram.org/team/terry-saracino/Christopher Copeland:Web: illuminatingpaths.comNarrative Podcasts:Heart of the EnneagramThe Somatic EnneagramFrom Armor to EaseThe Enneagram InstituteGayle Scott: Email - gayle@enneagrammysteryschool.comMichael Naylor:Web - enneagrammaine.comYou Tube - Enneagram Maine Interviews—Fathoms | An Enneagram Podcast: Serious Growth for Unserious Humans—Help Fathoms, By Supporting Us Here: Fathoms Membership CommunityCo-hosts: Seth Abram, Seth Creekmore, Lindsey MarksProduction/Editing:

Sorry everyone, I've been ill, but here's a new mix! Love you all ❤️❤️❤️Farewell,Bamf.Tracklist:0:00 Mujo - Buttlerfly1:40 Knowmadic - Slide3:03 Knowmadic - Back4:58 Nuncc, Flitz&Suppe - Summertime7:10 Philanthrope - DROMEDA9:18 Philanthrope - Peace11:12 Kupla, Flitz&Suppe, Beats for Trees - Deep in the Woods13:40 mell-ø - a place together15:35 Casiio, softy - Savannah17:57 MyceliumBug - Celestial Samurai20:00 Bcalm, Dryden - cloud garden22:10 Juliàn - First Bloom24:12 Delayde, softy - the unfurling horizon27:00 fluttr, Bcalm - fairytales28:59 Juliàn, Hoogway - petals30:45 Bcalm, Dontcry - you & me33:12 MyceliumBug, Heal Your Universe - Anemoia34:53 Chiccote's Beats - Away37:27 pajama boy - moonlit hills39:11 amies - Visions40:55 slowburn - sunflowers (in june)Playlists: https://bamf.biglink.to/PlaylistsDiscord: https://discord.com/invite/7MBfHrRs39Instagram/Twitter: itsBamf

The week of July 2, 2025 on The Metallica Report… Metallica is just days away from performing at Back To The Beginning, Black Sabbath's long-awaited reunion and farewell show in Birmingham, England, with a heavy-hitting lineup of Sabbath-admirers. Ramping up in the excitement, Steff and Renée hear James, Lars, Kirk, and Robert share their earliest memories of hearing Sabbath's mighty music. Robert also shares his true behind-the-scenes insight into what it's like to tour, play, and write with Ozzy, and offers a personal perspective on what makes him such a special artist and person.  The Metallica Report – your official, weekly guide for all things Metallica, straight from the source. New episode every Wednesday.  Black Sabbath: blacksabbath.com  Back to the Beginning: backtothebeginning.com  Black Sabbath Rock and Roll Hall of Fame Induction Speech: youtu.be/AAlUd3MTNWA Metallica - “Iron Man - Live” R&R HOF Induction: youtu.be/NvNdYRDCe4w Metallica - “Sabbra Cadabra” - Garage, Inc.: youtu.be/K5Wv0Yty1z4 Infectious Grooves ft. Ozzy Osbourne - “Therapy”: youtu.be/h4eqC3DX_oE?si=akxJa-l61kcah5nZ  Robert in Ozzy's Band - "Believer" at Budokan 2002: youtu.be/FUI7Au4MxQo Upcoming Tour Dates: metallica.com/tour    Music from The Metallica Report: metallica.lnk.to/TMR-music  Wanna be featured on a future episode? Submit your questions or comments: metallica.com/podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Jason Smith and Mike Harmon explain why the Pacers' best days may already be behind them. Jason feels bad for the Dolphins. And Fever star Sophie Cunningham throws shade on Cleveland and Detroit! See omnystudio.com/listener for privacy information.

00:00 - 25:42 – JMV is back in the saddle, and he kicks things off by reacting to the news that Myles Turner is signing with the Milwaukee Bucks. He gives his take on the move, where the Pacers go from here, and what Turner’s legacy in Indy will be. 25:43 – 40:52 – Greg Rakestraw from the ISC Sports Network and more joins the show! Greg and JMV react to the Myles Turner news, and look ahead to what next season will be like for Indiana. They also wonder what the Pacers offer to Turner was, and if they let him walk or got outplayed. 40:53 – 46:43 – JMV wraps up the 1st hour of the show! 46:44 – 1:08:46 – John talks more about the Myles Turner news, how Turner will fit with the Bucks, and if he will have the same amount of success playing without Tyrese Haliburton. He takes some calls from listeners as well! 1:08:47 – 1:23:46 – JMV goes back to the phone lines as the show keeps rolling! 1:23:47 – 1:29:56 – JMV wraps up the 2nd hour with another phone call! 1:29:57 – 1:50:12 – Kevin Pelton of ESPN joins the show! Kevin and JMV try and make some sense of Myles Turner going to the Bucks, and try and figure out who will fill the hole at center? They also discuss the financial aspects of the deal for Milwaukee, and how they managed to swing this move. 1:50:13 – 2:08:56 – Evan Sidery of Forbes Sports and more joins the show! Evan and JMV discuss the Myles Turner news, what the Pacers do from here, and how we got to this point where the longest-tenured Pacer on the roster is now leaving for a hated divisional rival. 2:06:57 - 2:12:04 – JMV wraps up the show! Support the show: https://1075thefan.com/the-ride-with-jmv/See omnystudio.com/listener for privacy information.

Bob Schmidt, of Fox Sports Radio, reacts to the start of free agency, and copes with the crushing news that Ty Jerome has agreed to sign with the Memphis Grizzlies.  It's a bleak listen, not gonna lie.  Come on the journey.(0:00) Ty Jerome has agreed to sign with the Grizzlies(18:30) Lonzo Ball is acquired - Bob's thoughts

http//:www.copperplatemailorder.com                    Copperplate Podcast 307                  presented by Alan O'Leary                             www.copperplatemailorder.com                              Miltown Preview 1. Willie Clancy:  The West Wind/Sean Reid's.  The Gold Ring 2. Seamus O'Rocháin & Brid O'Donohue: We'll Meet in Miltown/The Sloping Meadows/Ellis's. We'll Meet In Miltown 3. Bobby Casey & Junior Crehan:  Miss Wallace. Ceol agus Fionn 4. Ciarán O'Gealbháin/Danu:              Bridget Donohugh. All Things Considered 5. Oisin MacDiarmada/Daithi Gormley/Samantha Harvey:          The Sailors Farewell/The Sweathouse/The Steampacket.                Lane to the Glen6. Noel Hill: The Ladies Pantalettes/Ravelled Hank of Yarn/Sean Reid's/The Silver Spearl.    Live in New York 7. Mick Mulvey: The Brook/The Killukin Ghost/Salute to Sherlock.                 The Missing Guest 8. Niamh Parsons:  The West Coast of Clare.  Hearts Desire9. Niall & Brian Crehan: The Stack of Rye/Her Lovely Hair Was Flowing Down her Back. Private Recording 10. Patsy Moloney: Humours of Carrigaholt/Donal O'Phumpa.                        The Temple in The Glen11. Caoinhin O'Fearghail & Paddy Tutty:                       Palm Sunday/Mulqueeny's.   Flute & Fiddle 11. McCarthy Family: An Buachaill Dreoite/Kitty Got A Clinking.                  The Family Album12. Catherine & John McEvoy: The Glentaun/The Templehill/Captain Kelly's.  John McEvoy Irish Trad Fiddle13. Kevin Rowsome:  The Very Man/The Bee in the Bonnett.                       The Musical Pulse of the Pipes 14. Eamon McGivney:  The Hairy Chested Frog/Sean Reid's.                   Eamon McGivney 15. Tim Dennehy:   Farewell to Miltown Malbay.                  Farewell to Miltown Malbay 16. Mick O'Brien & Terry Crehan:  Farewell to Miltown/The West Clare Railway/Sporting Molly.  May Morning Dew

http//:www.copperplatemailorder.com                    Copperplate Podcast 307                  presented by Alan O'Leary                             www.copperplatemailorder.com                              Miltown Preview 1. Willie Clancy:  The West Wind/Sean Reid's.  The Gold Ring 2. Seamus O'Rocháin & Brid O'Donohue: We'll Meet in Miltown/The Sloping Meadows/Ellis's. We'll Meet In Miltown 3. Bobby Casey & Junior Crehan:  Miss Wallace. Ceol agus Fionn 4. Ciarán O'Gealbháin/Danu:              Bridget Donohugh. All Things Considered 5. Oisin MacDiarmada/Daithi Gormley/Samantha Harvey:          The Sailors Farewell/The Sweathouse/The Steampacket.                Lane to the Glen6. Noel Hill: The Ladies Pantalettes/Ravelled Hank of Yarn/Sean Reid's/The Silver Spearl.    Live in New York 7. Mick Mulvey: The Brook/The Killukin Ghost/Salute to Sherlock.                 The Missing Guest 8. Niamh Parsons:  The West Coast of Clare.  Hearts Desire9. Niall & Brian Crehan: The Stack of Rye/Her Lovely Hair Was Flowing Down her Back. Private Recording 10. Patsy Moloney: Humours of Carrigaholt/Donal O'Phumpa.                        The Temple in The Glen11. Caoinhin O'Fearghail & Paddy Tutty:                       Palm Sunday/Mulqueeny's.   Flute & Fiddle 11. McCarthy Family: An Buachaill Dreoite/Kitty Got A Clinking.                  The Family Album12. Catherine & John McEvoy: The Glentaun/The Templehill/Captain Kelly's.  John McEvoy Irish Trad Fiddle13. Kevin Rowsome:  The Very Man/The Bee in the Bonnett.                       The Musical Pulse of the Pipes 14. Eamon McGivney:  The Hairy Chested Frog/Sean Reid's.                   Eamon McGivney 15. Tim Dennehy:   Farewell to Miltown Malbay.                  Farewell to Miltown Malbay 16. Mick O'Brien & Terry Crehan:  Farewell to Miltown/The West Clare Railway/Sporting Molly.  May Morning Dew

We begin today's episode by going track-by-track through the latter half of Aaliyah's self-titled album and thank the lawd for that because the rest of this episode is a tough one - we have come to August 25, 2001; the day Aaliyah died. Many listeners requested a deep dive on this rather than an overview, so here we go. I discuss her final days, relationship with Dame Dash, the background on how and why the plane ended up crashing, conspiracy theories, reactions from fans/friends/celebrities, the other people who were on the plane, her funeral, and so much more. This is one of my most heavily researched and time consuming episodes and I hope you feel I handled this difficult topic well. PATREON Subscribers heard this episode completely ad-free! Join our community at Patreon.com/AshleeAndJessicast for bonus content, commentaries, and more! Starts at $5 a month, cancel anytime. FOLLOW THE PODCASTInstagram & TikTok: @ashleeandjessicastTwitter: @ashleejessicast Send an email at ashleeandjessicast@gmail.comFOLLOW LIA Lia-Russo.com Instagram & Twitter: @capriamoon TikTok: @liarussonyc 

For over 230 episodes of Agbioscience, Mitch Frazier has helped share the stories of leaders and innovators across food, animal health, plant science, agtech and agriculture. One story we've not told, though, is that of the storyteller, himself. Today we close a chapter on this podcast and with all love, turn our pages forward to what lies next. But make no mistake, this is not a chapter we will soon forget. For his final time on Agbioscience, Mitch Frazier joins us. We get into: A look back at the last five years of agbioscience innovation Mitch's vision as a leader and why he chose growth as a focus for AgriNovus The importance of creating the conditions for industry to grow Seizing the opportunity – and which of those opportunities agbioscience should be looking to in the years to come The power of a small team to drive outcomes His favorite part about hosting more than 230 episodes of the podcast Learning from some of Indiana's best and bright leaders while in agbioscience – and what lessons he plans to take with him His favorite down to business – and unserious – moments at AgriNovus Mitch's personal signoff on Agbioscience

In this touching and visionary episode, we explore Celestis, a Houston-based pioneer since 1994 in “space burials”—the practice of sending small portions of cremated remains (or even DNA) into space. We'll unpack how Celestis works, what it offers, and the rising popularity of this futuristic way to memorialize lives.This Week's Featured Hashtag#WhatMakesMeHangryFor More About the Memorial SpaceflightsVisit Celestis WebsiteVisit The Exploration Company WebsiteWatch A Celestis Memorial ServiceOther Interesting ThingsBetty White's Super Bowl Commercial for Snickers (2010)Send a text to The Ebone Zone! Support the showIf you have questions or comments email ebonezonepodcast@yahoo.com Follow the Ebone Zone on Twitter: https://twitter.com/OfficialEBZLike the Ebone Zone on Facebook: https://www.facebook.com/ebonezoneofficial/Visit www.ebonezone.com for more content!

In this special episode of Swan Signal Live, the team bids a heartfelt farewell to longtime host Steven Lubka as he steps away from his regular role. Steven reflects on nearly five transformative years at Swan, building Swan Private and helping onboard thousands of high-net-worth individuals into Bitcoin. Emotions run high as the crew reminisces on shared experiences and growth.The discussion then dives into major Bitcoin developments:Bitcoin in Mortgages: The FHFA is reportedly guiding Fannie Mae and Freddie Mac to recognize Bitcoin as an asset in mortgage underwriting — a shift that could help Bitcoiners qualify more easily without having to sell their holdings.Texas Bitcoin Treasury: Texas becomes the first U.S. state to establish a Bitcoin reserve, allocating $10M in a move widely seen as symbolic but historic.Bitcoin Treasury Companies: The hosts dissect the growing trend of public companies accumulating Bitcoin on their balance sheets, discussing the implications for decentralization, nationalization risks, regulatory arbitrage, and Bitcoin's long-term monetization.ECB's Capital Control Signals: A concerning ECB statement hints at encouraging — or even mandating — retail savings be redirected into government-prioritized capital markets.Institutional Adoption: Billionaire hedge fund manager Philippe Laffont's recent CNBC confession that he regrets not buying Bitcoin sparks a broader conversation about how major allocators are waking up late — but surely — to Bitcoin's potential.Notable Quote:“This is what it looks like when the world really wakes up to Bitcoin” — Steven Lubka Swan Private helps HNWI, companies, trusts, and other entities go beyond legacy finance with BItcoin. Learn more at swan.com/private. Put Bitcoin into your IRA and own your future. Check out swan.com/ira.Swan Vault makes advanced Bitcoin security simple. Learn more at swan.com/vault.

The games come to a close with a devious dinner party. Who will claim victory and potential godhood?   Gain access to an exclusive campaign, Shroud Over Saltmarsh, over on Patreon: https://legendsofavantris.com/patreon The Crooked Moon, a folk horror supplement for 5e, is available for preorder! Get the Crooked Moon at: https://thecrookedmoon.com/ Watch more D&D adventures in the world of Avantris live on Twitch: https://www.twitch.tv/legendsofavantris Check out our merch store: https://shop.legendsofavantris.com  Join our community on Discord: https://legendsofavantris.com/discord Watch our many campaigns on YouTube: https://legendsofavantris.com/youtube  All other links: https://linktr.ee/legendsofavantris   Watch the full episode here: https://youtu.be/9Cn87g0TdcA?si=jbScL_Q_n6BJBBn0

With the recent retirement of our favorite recent boxer, we decided to do an entire podcast reviewing and praising Lomachenko's entire career. If you are a Loma fan like us, grab a drink, sit back, and enjoy the review of Hi-Tech's time as a professional. Farewell, Loma. We thank you for inspiring us.

Feliks Banel's guests on this LIVE REMOTE BROADCAST of CASCADE OF HISTORY from the farewell event for Seattle High School Memorial Stadium include Clay Eals and Jean Sherrard of the Seattle Times' Seattle Now & Then; Northwest sports historian and collector David Eskenazi; and music historian Eric Magnuson. The 1947 stadium, deemed unworthy of landmark status, will soon be demolished and a shiny new stadium built in its place. The structure, designed by noted architect George Stoddard, was dedicated in 1947 to the memory of 800+ Seattle Public Schools alums who died in World War II. Apart from bidding farewell to the doomed (not "domed") stadium, discussion also included the recent passing of Bobby Sherman, who played Jeremy Bolt on "Here Come The Brides" - the 1969-1971 TV series set in 1860s Seattle, which also spawned the song, "(The Bluest Skies You've Ever Seen Are In) Seattle." This LIVE broadcast of CASCADE OF HISTORY was originally presented at 4pm Pacific Standard Time on Thursday, June 26, 2025 via SPACE 101.1 FM and gallantly streaming live via space101fm.org from the rainy and nearly deserted parking lot in front of Seattle High School Memorial Stadium at Seattle Center. Subscribe to the CASCADE OF HISTORY podcast via most podcast platforms.

In this episode of the Herbert Smith Freehills Kramer 'Tax Bites' podcast, host Toby Eggleston alongside Professor Graeme Cooper and fellow partner Ryan Leslie, explore the complexities of the third party debt test as it relates to Australia's thin capitalisation rules. Key discussions include the overview and operational intricacies of the third party debt test introduced to replace the arm's length debt test, the guidance and issues arising from the ATO, and the impact of these changes on the infrastructure and property sectors. Special segments also cover the ATO's draft practical compliance guidelines on related party financing and the tax risk associated with the quantum of debt. In addition, the episode highlights updates on Section 899, U.S. tax policy interactions, and a farewell to fan favourite, Graeme Cooper after his substantial contributions to the firm. 00:10 Introduction and Welcome 00:54 Overview of Thin Capitalisation Rules 02:56 Third Party Debt Test Explained 06:11 Emerging Issues with Third Party Debt Test 12:34 Practical Challenges and Industry Reactions 20:14 Conduit Financing and Swap Costs 28:04 Draft Practical Compliance Guide (PCG) PCG 2025/D2 44:01 Closing Remarks and Farewell

3 million dollars' worth of dairy products sold, 3 million consumer impressions gained, all from two marketing campaigns that put dairy at the forefront of our consumers' minds. Jennie McDowell, the Chief Strategy Officer of Dairy MAX, shares with us their mission drive demand for milk and dairy products, their strategic initiatives, and their innovative campaigns like creating a video game and partnering with the NFL. “What you do in a day may seem so mundane to you, it is absolutely fascinating to the people who are buying and eating your product.” Jennie states as she wraps up an insightful and inspiring conversation on the work Dairy MAX continues to build on.00:00 Introduction and Welcome00:39 Mission and Scope of Dairy MAX03:51 Innovative Campaigns: Fortnite Farm Tycoon09:21 Impact of Influencer Partnerships10:32 Expanding Gaming Efforts13:04 NFL and NIL Partnerships15:40 Taste of the Cowboys Youth Challenge19:06 Dairy Up Close Docuseries21:09 Better With Dairy Platform22:25 Encouragement for Dairy Farmers25:00 Conclusion and Farewell

Jackie Farris ran away from home at just 15 years old and spiraled into a world of addiction, chaos, and prison. But behind bars, her nightmare got worse — she was assaulted by a prison guard. Most people would stay silent… Jackie didn't. She fought the system and won $3 million. This is the story they never wanted you to hear. #PrisonSurvivor #ExposingAbuse #PrisonLawsuit #JusticeForWomen #GuardExposed #PrisonStories #SurvivorSpeaks #truecrimepodcast Thank you to RIDGE for sponsoring today's episode: Upgrade your wallet today! Get 10% Off @Ridge with code LOCKEDIN at https://www.Ridge.com/LOCKEDIN #Ridgepod #sponsored Connect with Jackie Farris: Tiktok: https://www.tiktok.com/@jacquelinefarris?_t=ZT-8xLELEDL0MH&_r=1 https://www.instagram.com/jacquelinefarris_?igsh=ZG80ejZkaml3Z2tj&utm_source=qr Instagram: https://www.instagram.com/jacquelinefarris_?igsh=ZG80ejZkaml3Z2tj&utm_source=qr Hosted, Executive Produced & Edited By Ian Bick: https://www.instagram.com/ian_bick/?hl=en https://ianbick.com/ Presented by Tyson 2.0 & Wooooo Energy: https://tyson20.com/ https://woooooenergy.com/ Buy Merch: https://convictclothing.net/collections/convict-clothing-x-ian-bick Timestamps: 00:00:00 Jackie Ferris: From Chaos to Triumph 00:05:37 From Small Town Struggles to JobCore Milestones 00:11:41 Unexpected Sugar Daddy: Dating a Doctor 00:17:36 Relationship Turmoil and Personal Choices 00:23:39 The Impact of Absent Father Figures on Relationships 00:30:35 End of a Troubled Relationship 00:36:42 Hitting Rock Bottom: From Addiction to Arrest 00:42:13 Unexpected Journey from Boot Camp to Prison 00:48:28 Experience of Abuse by Authority Figures in Prison 00:54:58 Retaliation by the Prison System 01:00:25 Learning Patience and Calm in Prison 01:06:00 Officer Misconduct and Prison Dynamics 01:11:47 Transformative Stories of Faith 01:17:42 Overcoming Challenges After Prison 01:24:12 Life After Prison: From Settlement to Social Media Success 01:30:49 Real Estate Journey: Flipping Houses 01:36:23 Farewell and Safe Travels: A Personal Story Powered by: Just Media House : https://www.justmediahouse.com/ Creative direction, design, assets, support by FWRD: https://www.fwrd.co Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Flower Podcast, Scott Shepherd talks with Carole Patilla of Tuckshop Flowers and co-founder of The Farewell Flowers Directory. They explore the growing movement toward sustainable and foam-free funeral flowers. Carole shares practical tips for florists ready to shift away from floral foam, embrace compostable design, and rethink traditional funeral floristry. This inspiring conversation is all about starting small, building confidence, and making meaningful change in your local community. Whether you're new to sustainable design or looking to expand your eco-conscious offerings, this episode is full of encouragement, resources, and heartfelt advice. We're excited to have Accent Decor as a sponsor of The Flower Podcast. The help florists and farmer florists elevate deigns with their amazing collection of vessels and containers. Visit accentdecor.com and explore all they have to offer. Learn more about today's episode and all of our past guests by visiting TheFlowerPodcast.com  Subscribe to The Flower Podcast on your favorite podcast platform. We are available on Apple Podcasts, Spotify, Amazon Music, and many more! If you have a minute, it would be great if you could leave a review wherever you listen to our podcast. You can also watch our conversations on YouTube, in addition to tip-filled videos and educational Lives. Be sure to subscribe to our channel so you don't miss a minute.

The final episode of Rogue Bogues is here. Bogut and Pro go out with a bang—covering a wild live NBA Draft, breaking news of Kevin Durant's trade to Houston, and OKC securing the NBA title. They unpack Tyrese Haliburton's injury and what it means for the Pacers next season, Sam Presti's potential move, and who was more entertaining in their prime: Harden or SGA? Plus, a look back at the best and worst moments from 4 incredible years of the pod, NBL updates, and a farewell that hits hard. Thank you for riding with us. One last time. 00:00:26 Intro 00:02:28 NBA Draft 00:09:56 Trades & Contracts 00:28:13 Finals Results 00:39:56 Useful or Useless 00:43:21 Fact or Fake News 01:11:46 Thank You 01:18:52 Latest NBL News © 2025 AMB Media

In this episode of Music IV Breakfast, hosts Octavia March, Kia KC, and Relle Roulette dive deep into the recent denial of parole for Yolanda Saldivar, the woman convicted of murdering Tejano music icon Selena Quintanilla-Perez. The conversation explores Selena's lasting cultural impact, her tragic death, and the ongoing influence on her loyal fanbase. The hosts also critique a controversial documentary featuring Saldivar and question the platforms that gave her a voice. If you're a small YouTuber or a fan of hip-hop, pop culture, and music commentary, tune in for an engaging discussion filled with insights, and join the conversation on cultural topics that continue to shape the music world today. #SelenaQuintanilla #YolandaSaldivar #HipHopCulture #TejanoMusic #MusicTalk #PodcastForCreators #SmallYoutubers #PopCultureDiscussion00:00 Yolanda Salvador Denied Parole01:01 Introduction and Welcome02:45 Selena's Legacy and Impact06:33 Yolanda Saldivar's Background11:22 The Tragic Confrontation15:07 Parole Process and Public Sentiment20:31 Final Thoughts and Farewell#music #hiphop #youtube #fyp #trendingCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS

World-renowned and very clever Professor of Short Books, Douglas Ullard...along with his Twenty-Two Minute and Seventeen Second Classic Literature Audio Armchair Theatre Company (or TTMASSCLAATC for short) brings you Ernest Hemingway's "American Classic" in just...well...1,337 seconds.  So if you're wanting to get a real sense of who Papa really was...then read "For Whom the Bell Tolls"...if you need to get this book done and dusted in less than half an hour...then sit back and listen and impress all your friends with your new-found knowledge of a literary classic. Because we can guarantee that your friends haven't read it! Learn more about your ad choices. Visit megaphone.fm/adchoices

Trump's 12-Day War, Liberators, and LunacyJoin Dan, Corey, and special guest Geoff Mehl in this hilariously chaotic episode of Libservative, exploring the insane week that was. Trump's 12-Day War, Muslim socialists, and Trump's controversial moves. The trio humorously navigates through hot takes, brought to you by Trump's whimsical ceasefires and the fleeting sanity amidst the chaos. Perfect for lovers of unpredictable political rants and eyebrow-raising analysis, this episode ensures plenty of laughs and WTF moments!00:00 Welcome to Libservative: The Great Fundamental Issue01:00 Introducing the Guests: Jeff Mel Joins the Show01:24 Technical Difficulties and Pilgrim Podcast Jokes02:04 The Fast-Paced News Cycle and Political Commentary02:56 Trump's Media Presence and Political Impact03:17 Controversial Topics: Muslim Zionist and Bernie's Podcast Rounds05:30 George Santos: The Favorite Politician06:31 Trump's 12-Day War and Weapons of Mass Destruction12:18 Iran's Nuclear Threat and Historical Context28:11 Tulsi Gabbard's Political Stance and Media Critique35:16 Iran's Nuclear Ambitions and Trump's Response36:14 Tulsi Gabbard's Dilemma: Support or Silence?37:23 The Political Game: Resignation vs. Compliance40:59 Trump's Ceasefire and the MAGA Reaction44:47 Historical Context: Comparing Iran to Iraq46:12 The Role of Israel in Middle Eastern Conflicts49:22 The Media's Influence and Manufacturing Consent49:58 Trump's Geopolitical Moves and Future Implications01:04:15 The Presidency's Impact on Policy and Constitutionality01:12:49 Discussing Theo's Genius01:13:38 Political Podcast Insights01:14:28 Bernie Sanders' Political Stance01:18:51 Leftist vs. Capitalist Debate01:21:30 The Left's Internal Conflicts01:33:01 Coalition Building Challenges01:35:54 TikTok Commentary and Humor01:47:43 Concluding Thoughts and Farewell

China's cultural revolution was murderously violent and culturally devastating; millions of people, artefacts and ideas went up in smoke. So what's fuelling today's Neo-Maoist movement and nostalgia for that period?In 1966, the Chinese revolutionary leader Mao Zedong went to war against his own government.What followed was ten years of murderous violence and utter insanity, until Mao's death in 1976.Children were urged to denounce their parents, teachers were beaten to death in front of howling mobs, youths were 're-educated', the economy was ruined, and so much of the precious cultural heritage of a great, ancient society went up in smoke.The 'Great Proletarian Cultural Revolution' left such deep scars on China, that subsequent leaders have tried to bury its memory.But, still some young Chinese people — 'Neo-Moaists' — have a sense of nostalgia for the violent revolution they didn't even live through.In order to understand what's going on in China today, you need to know what happened in those strange and terrifying years, and how it affected President Xi Zinping, who had a front row seat to the terror.Further informationBombard the Headquarters is published by Black Inc.Find out more about the Conversations Live National Tour on the ABC website.This episode of Conversations explores political violence, revolution, propaganda, China, Asia, totalitarianism, Farewell my Concubine, Asia Pacific, Lenin, Marxism, Socialism, civil war, the long march, neo-Maoist movement, great leap forward, political upheaval, class warfare, status quo, drain the swamp, mass murder, infanticide, conspiracy theories, Tiananmen Square, red guards, coup, dictatorship, nostalgia.

Unveiling the Spirit of Six and 20 Distillery with David Rad | Whiskey Wisdom PodcastIn this engaging episode of the Whiskey Wisdom Podcast, co-host Tyler sits down with David Raad, the entrepreneur behind Six and Twenty Distillery. Despite a plumbing emergency, David shares his journey from working overseas to pioneering craft spirits in South Carolina, describing the love story behind the company's name and the unique challenges of the distilling business. Discover their special approach to crafting whiskey, including the unique black seashore rye, and the factors that make their products stand out. David also discusses their strategies for market expansion, the creative process behind their cocktail menu, and the personal philosophies that drive him. Don't miss this deep dive into the art, science, and passion of distilling.00:00 Introduction and Guest Welcome00:18 Overcoming Challenges in Entrepreneurship00:41 The Joy of Cocktails01:19 Journey into Distilling04:35 The Origin of Six and 20 Distillery09:57 The Art and Science of Distilling15:23 Unique Ingredients and Techniques20:52 Exploring Vodka Production21:02 Launching the Whiskey Business22:08 Creating Unique Whiskey Blends24:31 Expanding Market Reach26:48 Challenges in Different States31:09 Understanding Whiskey Flavors35:35 Fostering Creativity in Cocktails37:36 Defining Success and Personal Insights43:15 Final Thoughts and Farewell

So an AI listend to the show and wrote this podcast description... Join Clint, Meg, and Dan for a jam-packed episode filled with hilarious stunts, candid conversations, and surprises. Clint is off to Japan as Cal steps in, and Meg returns with stories of her challenging pregnancy journey. They dive into various fun segments like the 'Postcode Playlist' for Invercargill and recap Dan's epic remote control car stunt, attempting to jump over 10 people. Also, there's a heartfelt discussion about Meg's impending maternity leave and the dynamics of carpooling with coworkers. Don't miss the 'Is It Cheating?' debate and a hilarious game of 'Climax or Crowning.' A tune in for a roller coaster of emotions and laughs! 00:00 Welcome to the Show00:50 Clint's Absence and Meg's Return01:33 Postcode Playlist and Throwbacks05:44 Meg's Personal Struggles08:07 Dan's Good Samaritan Story09:57 Water Volume Challenge14:05 Brad Pitt and Formula 124:01 Is It Cheating?33:30 Jeff Bezos' Wedding Invitation35:55 Jeff Bezos' Controversial Donation to Venice37:56 Dan's Remote Control Car Stunt41:50 Betting on Meg's Baby43:22 Climax or Crowning Game49:26 Dan's Postcode Playlist for Invercargill01:00:39 Debate on Giving Coworkers Rides01:09:15 Meg's Pregnancy Journey and Farewell

Send us a textIn this episode of 'Potholes and Politics,' co-hosts dive into the messy world of local legislative sessions. They tackle intense debates about the state budget, revealing that the budget is safe and no government shutdown looms. Topics also include the dramatic Growth Management Act dialogues, General Assistance reforms, and jaw-dropping housing bills. Major highlights include a tussle over election reforms, public comment periods, and absurdly technical housing legislations. They humorously yet professionally dissect the implications for local governments and commiserate over the absurdities of legislative processes. Finally, the episode bids a heartfelt farewell to colleague Rebecca (aka the Notorious RG) with laughs, reflections, and promises of future guest appearances.

I want to meet YOU in Dallas in September!  This is part 2 of my conversation with Brandie and Ryan of Home+Sort and the How To Summit.  LINKS FOR LISTENERS: Come see us at the Summit in September! Hit this link: howtosummit.org and use code MELISSA10 for $50 off.  _______________________________________________________________________ overview and timestamps: This episode is the second part of a conversation with Brandie and Ryan of Home+Sort and the How To Summit.   They discuss the importance of continuously reevaluating business strategies, whether a solopreneur or a team leader, and how staying adaptable can lead to success. The discussion also highlights the upcoming How To Summit with new speakers, fresh topics, and an improved attendee experience.   The guests share insights on challenges in event planning, particularly under changing circumstances. They also touch on themes like client acquisition, neurodivergent organizing, and the value of community in the organizing industry. The episode aims to inspire and provide actionable strategies for business growth and personal development.   00:00 Introduction and Recap 00:36 What's New at the How To Summit 01:37 The Importance of Change and Adaptability 02:14 Event Planning and Client Experience 04:10 Summit Highlights and Speaker Lineup 06:05 The Value of Community and Networking 08:26 Investment in Personal Development 14:35 Exciting New Topics and Workshops 22:48 Final Thoughts and Farewell

In this bittersweet episode, we're chatting with our co-host Signe as she bids the podcast farewell (as an official co-host) to focus more on her growing young family. We talk about the highs and lows of content creation, her plans for the future, and just have a great hangout as friends as a send off. Thank you to Signe  ⁨@UseLess_dk⁩ for everything over the years! Alyssa and Christina will continue to share weekly slow fashion episodes on the podcast, returning in Sept 2025 for SEASON 4!Please show Signe some love in the comments! We will miss you! -----------------CONTACT US: sustainthispodcast@gmail.comJOIN OUR PATREON: https://www.patreon.com/SustainThisPodcast SIGNE HANSENYoutube: https://www.youtube.com/@UseLess_dkWebsite: https://www.uselesswardrobe.dk/IG: https://www.instagram.com/useless_dk/TT: https://www.tiktok.com/@useless_wardrobeCHRISTINA MYCHASYoutube: https://www.youtube.com/@ChristinamychasWebsite: https://www.minimalist-ish.com/IG: https://www.instagram.com/christina.mychas/TT: https://www.tiktok.com/@christina.mychasALYSSA BELTEMPOYoutube: https://www.youtube.com/@AlyssaBeltempoWebsite: https://msbeltempo.com/IG: https://www.instagram.com/msbeltempo/TT: https://www.tiktok.com/@msbeltempo If you loved this episode please share it on your stories and tag us! We love to see which episodes resonate with you and it helps to spread the word more than you know, xo

This week's episode is a heartfelt one. After six transformative years, Telos' Director of Communications and Christian Engagement, David Katibah, joins us for one final conversation before he steps into a new chapter.David has left an indelible mark on Telos—shaping our mission, growing our story, and living out the work of peace and justice with clarity and conviction. In this farewell episode, he reflects on the journey: what he's learned, what he's holding onto, and what it means to stay rooted in hope amid uncertainty.Though we'll deeply miss his presence on this show and on our team, David leaves us with a call: to continue to work toward a future of mutual flourishing, interdependence, and peace.His work is only just beginning. Show your support on social media as he enters this new season!--If you have benefited from our work, consider becoming a monthly donor to Telos!Subscribe to the Telos NewsletterRead and share the Principles and Practices of Peacemaking Stay in touch with David on Instagram or via his Substack, Awakenings

Send us a textOn this edition of The Brief Case, presented by Spirit Mountain Casino, Trail Blazers beat reporter/Insider Casey Holdahl discusses...• The Trail Blazers wrapping up their pre-draft workouts this weekend• The players who came through Portland for workouts and what that does or doesn't tell us• A plead for some standardization in the pre-draft workout process• A quick roundup of the mock drafts two days before the 2025 NBA Draft• The Kevin Durant trade and whether it matters that the Suns, rather than the Rockets, will be making the pick right before the Trail Blazers• The Oklahoma City Thunder defeating the Indiana Pacers in seven games to win the 2025 NBA Finals• Whether the Pacers run and the weakness of the Eastern Conference is beneficial to a team like the Trail Blazers 

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

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