Podcasts about Fleetwood Mac

The Rage Select Podcast is STEPPING INTO THE RING this week as Bryce and Jeff discuss Bryce's deep dive into the mysteries of The Golden Idol, Jeff's obsession with Clair Obscur Expedition 33, as well as all the news of the week and much, MUCH MORE! Check out Bryce and Jeff's new podcast about the Fleetwood Mac album Tusk on all the podcast apps or right here: https://twotusks.transistor.fm MP3 here - http://traffic.libsyn.com/rageselect/RageSelectEpisode605.mp3 RSS feed here - http://rageselect.libsyn.com/rss iTunes here - https://itunes.apple.com/us/podcast/rage-selects-podcast/id657490976 Email address for your questions: mail@rageselect.com FOLLOW Tessa on Instagram - https://www.instagram.com/tessamorrison FOLLOW Matt on Twitter! - https://twitter.com/spankzilla85 FOLLOW Brian Salisbury on Twitter! - https://twitter.com/JunkfoodCinema FOLLOW Jeff on Twitter - https://twitter.com/RageSelect FOLLOW Grant on Twitter - https://twitter.com/BaronVonGrant LIKE Rage Select on Facebook - https://www.facebook.com/RageSelect Listen to our podcast and if you enjoy it, SUBSCRIBE! Check out the full website at http://www.rageselect.com #rageselect #podcast

Coldplay Kiss Cam caught a CEO in Boston. Two Members of Fleetwood Mac are getting back together. Netflix is casting for some fit people for a new series.Make sure to also keep up to date with ALL our podcasts we do below that have new episodes every week:The Thought ShowerLet's Get WeirdCrisis on Infinite Podcasts

Songs can transport us, and for Stevie Nicks, "Gypsy" is a powerful portal to her past. Join Janda on this episode of Behind The Song as she unpacks this unforgettable Fleetwood Mac hit, from its origins as a raw reflection on Nicks' early days with Lindsey Buckingham, to its deeper meaning as a heartfelt remembrance of her late friend, Robin Snyder Anderson.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hocus Focus Mix met Naughty Boy, Sam Smith, Mike Mago,  Dragonette, Fleetwood Mac, Foo Fighters, Martin Garrix & Bonn

Rock & Roll Hall of Famer Dave Mason chats about his early days in Traffic, writing the classic "Feelin' Alright?", working with Delaney & Bonnie, and so much more. PART ONEScott and Paul chat about Dave Mason's unique role in the rock & roll pantheon.PART TWOOur in-depth conversation with Dave Mason.ABOUT DAVE MASONAfter recording background vocals with The Spencer Davis Group on such hits as "Gimme Some Lovin'" and "I'm a Man," Dave Mason became a founding member of the British rock group Traffic alongside Steve Winwood, Jim Capaldi, and Chris Wood. He wrote some of the band's best-known songs, including “Hole in My Shoe” and “Feelin' Alright?” which went on to be covered in a memorable version by Joe Cocker. After touring and recording with Delaney & Bonnie (who recorded Dave's song “Only You Know and I Know”), he joined an early version of Eric Clapton's Derek & The Dominos. Dave soon left to pursue a solo career, beginning with the Alone Together album. He has released three Gold-certified solo albums and one Platinum album, Let It Flow, which featured the hit “We Just Disagree.” In addition to his solo releases and a duet album with Mama Cass Elliot, Dave has appeared on such legendary recordings as “Street Fighting Man” by the Rolling Stones, “All Along the Watchtower” by Jimi Hendrix, “Listen to What the Man Said” by Paul McCartney and Wings, as well as George Harrison's All Things Must Pass album. In the 1990s Dave spent time as a member of Fleetwood Mac, contributing original songs to the band's Time album in 1995. He has recorded with Michael Jackson, Graham Nash, Stephen Stills, Donovan, Phoebe Snow, and many others. Dave was inducted into the Rock & Roll Hall of Fame as a member of Traffic and, in 2024, published his memoir, Only You Know and I Know. 

you thought we were just a movie podcast, huh? think again: it's HAIM time! three jewish sisters with musical chemistry to put Fleetwood Mac to shame. and yes, this isn't just a whimsical foray into music journalism. olivia and i are huge, huge fans of HAIM, going all the way back to 2014 when they released Days Are Gone, their first album. remember that cover art, the three of them sitting posed in sync on lawn chairs in the sunshine? we share some fun clips from their best music videos with walter, who i don't think really ended up being sold on the band, but then again, its not really his speed. we still love him. essentially, this is a normal-length episode where we give a brief overview of the band, our top 10 songs and styles across each album, and review i quit - their new album. 

This week marked 50 years since Fleetwood Mac's 1975 self-titled album, often ranking as one of the best rock albums of all time in various music lists. We celebrate by turning back the pages, and also look to the future with new releases and emerging artists! Dublin punks DC Dolls' guitarist Abi joins us to talk about the band's year and new single Blame Me, and we hear music fromFleetwood Mac, Muse, Olivia Dean, The DSM IV, Wunderhorse, Gulp, Pompadour, Highway 56, Sprints, Car Boot Sale, Ms Mohammed, Africa Express, Kneecap, Kokoroko, DC Dolls.Find this week's playlist here. Try and support artists independently through buying their music, merch, going to shows!Touch that dial and tune in live! We're on at CFRC 101.9 FM in Kingston, or on⁠ cfrc.ca⁠, Sundays 8 to 9:30 PM! Listen back to full shows in the linked CFRC archive for 3 months from broadcast.Like what we do? ⁠Donate⁠ to help keep our 102-year old radio station going!Get in touch with the show for requests, submissions, giving feedback or anything else: email ⁠yellowbritroad@gmail.com⁠, Twitter @⁠YellowBritCFRC⁠, IG @⁠⁠yellowbritroad⁠⁠.PS: submissions, cc ⁠music@cfrc.ca⁠ if you'd like other CFRC DJs to spin your music on their shows as well.

It was my honor recently to speak with music writer Andrew Wild, who has written books about the likes of Queen, Fleetwood Mac, Dire Straits, and Pink Floyd, as well as about the iconic Live Aid concert festival. Andrew just released his second book about the 1980s "neoprog" era in England, chronicling six British bands that kept the progressive rock torch alive when the 1970s bands were either fading out or pivoting to more pop-oriented sounds. Those bands are: Marillion, IQ, Pallas, Pendragon, Twelfth Night, and Solstice. The book, A Playground of Broken Hearts: the Progressive Rock Revival 1984 to 1989, is a sequel to his A Mirror of Dreams: the Progressive Rock Revival 1981 to 1983. Andrew spoke to me about his music history, how he came to write about these six bands, how those groups kept the prog scene alive, and much more (including his upcoming book about Big Big Train!). Learn more about Andrew's work at https://www.andrew-wild.co.uk/ or follow him on Facebook at Andrew Wild - Author. Please hit the like button and/or leave a rating/review wherever you consume this podcast. You can read my Michael's Record Collection newsletter for free by signing up at michaelsrecordcollection.substack.com. Follow MRC on Twitter (@MikesRecords), like it on Facebook, and follow on Instagram, Bluesky, and/or TikTok. Have questions or comments or want to suggest a topic? Hit me up at michaelsrecordcollection@gmail.com. I'd love to have your support for this independent podcast. You can become a patron of this show by becoming a Michael's Record Collection Patreon subscriber starting at only $2 per month at the MRC Patreon page. Supporter benefits escalate at each level, providing more value the more you support the show. For example, you will know about interviews in advance and at some levels you can submit questions for the artists, come on the show to co-host, enter prize drawings, and more. 

Send us a textJoin Ed and Jared as they wrap up Disc 4 of the Diamonds and Pearls Super Deluxe collection with plenty of fun detours along the way—from the sci-fi dreams of Ray Bradbury to Fleetwood Mac singles showdown, a wild Bob Dylan/Michael Jackson collab what-if, and a few hot takes on sports documentaries. It's a whirlwind of music, mayhem, and deep cuts—don't miss it!Support the showA deeper dive into Prince than you probably wanted

Early access to this weeks podcast and it's a zinger ! Ambient fruit!  Goldilocks zone! Clogged teeth Horse mints!  Phil Cool Rubbery face!  Stage names Harry Yaris!  Toyota chit chat The moderate theme park The Soother!  No small cars? Piano exam Kinky Boots review Stage door meetings Kia Picanto?!  Work in progress theatre! Fleetwood Mac the musical Tech failures!  Drop us a line! bwtbpod@gmail.com Join our Patreon for exclusive episodes and early access here! https://www.patreon.com/bwtbpod A 'Keep It Light Media' Production Sales, advertising, and general enquiries: hello@keepitlightmedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Migs just got into Fleetwood Mac because of some teenagers. What band did you get into for a weird reason?

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song:  Fire by The Jimi Hendrix Experience (1967)Song 1: Your Southern Can is Mine by The White Stripes (2000)Song 2: Fluffhead (Live at the Clifford Ball) by Phish (1996)Song 3: Beauty of My Dreams by Del McCoury Band (1992)Song 4: For Emily, Whenever I May Find Her by Simon & Garfunkel (1969/1972)Song 5: As It Was by Harry Styles (2022)Song 6: Surfin' U.S.A. by The Beach Boys (1963)Song 7: Like Crying by Fleetwood Mac (1969)Song 8: Cure For Me by AURORA (2021)Song 9: Farewell Transmission by Song: Ohia (2003)Song 10: In the Heights by Cast of the Original Motion Picture Soundtrack (2021)

Paper Flowers: Remembering Fleetwood Mac is an exceptionally talented tribute band featuring Allison McCready, Cary Beare, Brian Burke, and Kosh—musicians recognized as some of the finest in the industry. Together, they bring the legendary music of Stevie Nicks, Lindsey Buckingham, Christine McVie, Mick Fleetwood, and John McVie to life with passion and precision. Their performance is a heartfelt homage to the iconic sound and enduring influence of Fleetwood Mac. Get to know the band members and discover what led them to this incredibly successful venture. To find out where you can catch their next show, visit paperflowersmusic.com or contact ian@atomicmusicgroup.com. Note: We experimented with a new setup for this complex recording and encountered some technical challenges. We've worked hard to minimize them in post-production.

St Georges School - George Top5 Fleetwood Mac with NO Full Tunes

Hello Listeners!In this episode, we had the opportunity to have a conversation with Dru ChenFollowing the introspective journey of his 2019 debut album “Mirror Work”, Singapore based singer-songwriter Dru Chen returns with “Mirror Work 2” , honest and open album exploring themes of identity, perfectionism, and the search for self-worth. Across eleven tracks, Dru Chen blends the emotional intensity of Jeff Buckley, the masterful guitar stylings of Jeff Beck and Eric Clapton, the psychedelic soul of Prince, and the melodic storytelling of Fleetwood Mac and Jimi Hendrix. The result is a rich, raw listening experience that fuses rock ballads, neo-soul grooves, and the sincerity of indie music.Dru Chen offers glimpses into his soul with featured tracks like “Not Bad Is Not Good Enough,” which portrays the pain of feeling invisible in a toxic relationship accompanied by an emotional music video visualizing the inner turmoil of the song. Dru Chen release Album Featuring Collaborations with Singapore's Finest Artists.Listen full episode on Bingkai Suara with Lusiana and don't forget to follow our podcast on any podcast platforms, our Instagram Bingkai Karya, and stay updated with our recent news on www.bingkaikarya.com

Send us a textWhat if your favorite movie wasn't just entertainment, but a mirror of your soul, your childhood, or your resilience? In this deeply nostalgic and fun episode of Girls Gone Gritty, the hosts unpack how movies, especially those driven by music, shape our memories, emotions, and even life decisions. From classics like Sound of Music, Flashdance, and Saturday Night Fever, to modern heart-punches like A Star is Born, The Greatest Showman, and Daisy Jones & The Six, this episode is a heartfelt mixtape of cultural icons and personal connections.You'll laugh, reminisce, and maybe shed a tear as the girls reflect on the emotional impact of music biopics, soundtracks that raise the roof, and the gritty beauty behind the struggles of iconic artists. They also highlight Hunter Woodhall's inspiring journey as this week's “gritmaker”, a reminder that life's setbacks can become your greatest strength.Episode Highlights:(0:00) Intro(0:50) AI grief bots and emotional disconnect(2:25) Man-made eclipses and scientific overreach(3:12) F1 controversy and Hollywood whitewashing(5:10) The nostalgic power of music movies(6:15) Classics like Sound of Music and Frozen(8:40) Dirty Dancing, plastic surgery, and beauty standards(9:10) The Greatest Showman's lasting impact(10:11) Mamma Mia, broadway, and feel-good soundtracks(11:31) Saturday Night Fever and disco's ripple effect(12:27) The Bodyguard and timeless love songs(13:16) Queen, Bohemian Rhapsody, and musical genius(14:28) Tragic artist biopics: Elvis, Johnny Cash, Bob Marley(15:10) A Star is Born and the pain of fame(17:00) Daisy Jones, Stevie Nicks, and Fleetwood Mac(18:16) Almost Famous and the real Penny Lane(20:07) Purple Rain and the myth of autobiography(21:01) Disney's Descendants, Moana, and modern musicals(22:03) Flashdance, Footloose, and turning points(23:24) Soundtrack obsessions and old school hip-hop(24:19) Eminem, 8 Mile, and Straight Outta Compton(25:09) Gritmaker of the Week: Hunter Woodhall(27:00) Song of the Week: “Messy” by Lola Young(28:33) OutroFollow us: Web: https://girlsgonegritty.com/ Instagram: https://www.instagram.com/girlsgonegritty/ More ways to find us: https://linktr.ee/girlsgonegritty

Looking for things to do this weekend? The Jumbo Shrimp host the Nashville Tides for a baseball series. How will it wash out? If you're a fan of comics and graphic novels, check out the First Coast Comic Con at the Herbert Center at UNF. If music is your thing - The Jacksonville Rock Orchestra presents the music of Fleetwood Mac ad the Florida Theatre, and the Direct from Sweden: The Music of ABBA show rocks the Moran Theatre. Looking for some family fun? Check out Jurassic Quest at the Prime Osborn for great dinosaur adventures. All this and more is detailed in the WOKV Weekend Spotlight story!

As we take a breather between seasons of Music Rewind, I'm beyond excited to share a fresh project that's been simmering in my mind for a while now: the Album Archives Podcast. This micro-podcast is a love letter to the albums that have shaped our lives, and I'm thrilled to dive into this new adventure with all of you — our incredible Music Rewind community. So, what's Album Archives all about? Picture this: short, punchy episodes — 7 to 10 minutes each — where we unpack the stories, sounds, and significance of the Top 300 Albums of All Time, as voted on by you, the fans of Music Rewind. You've spoken, and we've listened, curating a list that spans genres, eras, and emotions. From timeless classics to groundbreaking game-changers, this countdown is a celebration of the albums that have left an indelible mark on music history. Enjoy this crossover introduction with #300 Fleetwood Mac's self-titled 1975 album, and #298 Thin Lizzy's Jailbreak from 1976.   So, where can you find Album Archives? It's available wherever you get your podcasts — Spotify, Apple Podcasts, Youtube, Pandora, and all the others. Search for Album Archives Podcast, hit subscribe, and join me every week as we climb the charts. The first three episodes are ready for you to dive into, and I'd love to hear your thoughts — reach out on social media or through the Music Rewind community to share your reactions, memories, or even your guesses about what's coming next on the list. You can see the full list at www.musicrewindpodcast.com/albumarchives. If you are really craving more ahead of schedule, there are a lot of future episodes up on the Patreon, from Outkast to Billy Joel. Connect: Share this episode or leave a review wherever you listen! Find us on X and IG @albumarchives  ---------------------- More from the Sidereal Media Group. I wrote a book! Get it here: Music Rewind Sessions: The Soundtrack Of Our Souls The Music Rewind Podcast: Fans, Musicians and Industry Experts talk about their favorite Music Album. https://pod.link/1591608428  Cinema Decon Podcast: Deconstructing and Overthinking the movies of our younger years. https://pod.link/1564671835  ---------------------- Get 15% all your Music apparel, posters, etc at Old Glory! https://oldglory.com/discount/MUSICREWIND  ---------------------- “No ownership of music material. All credits go to its rightful owner. Copyright Disclaimer Under Section 107 of the Copyright Act in 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. All rights and credit go directly to its rightful owners, no copyright infringement intended.” #FleetoodMac #ThinLizzy #MusicHistory #AlbumArchives

Jenn and Frank explore Fleetwood Mac's journey from blues roots to Rumours, uncovering the relationship drama and creative tension behind their legendary album.Hello Horror Fanatics! Welcome to Oh...The Horror! A weekly podcast for all things horror, supernatural, scary and downright creepy.We hope you give us a listen and add us to your regular rotation of podcasts.You can learn more about our podcast, connect to your favorite podcast platform, social media presence, and donations using the link below:https://linktr.ee/ohthehorrorpodcastPlease email any show ideas, comments and suggestions to oth@seriouslydecent.comProud to be listed in the Top 100 Horror Podcasts on Feedspot.

ReferencesGuerra. DJ. 2025. Unpublished LecturesFront. Immunol.,2024. 22 February Sec. Multiple Sclerosis and Neuroimmunology Volume 15 .Annals of Clinical & Laboratory Science.2022.vol. 52, no. 5 pp763-771.Mol Biosyst. 2014 Oct;10(10):2505-8. Frey/Henley. 1973. "Desperado" The Eagleshttps://music.youtube.com/playlist?list=OLAK5uy_k3UBMdBe0k-PWX6y1VCLJZVJogoUaKEco&si=9kkmSQG5xcdpbINRWelch, B 1973. "Emerald Eyes" Fleetwood Mac.Mystery to Me lp.https://music.youtube.com/watch?v=DnQM535xV-U&si=sRsNuXaEJ1A4VWPJ

En la sección Curiosidades del rock abrimos y cerramos este capítulo de En tierra de Nadie con el album Rumors de Fleetwood Mac. Choque emocional y obra maestra del pop rock. En el contenido central del programa hacemos un viaje por el soul blanco de los 60 de la mano de intérpretes femeninas y referencias de grupos igualmente femeninos de origen afroamericano. El soul de los sesenta quedó desprovisto de la esencia cultural y social de su origen pasando a ser una tendencia puramente estilística. Hay intérpretes y canciones que merecen la pena. Adelante con este episodio de En tierra de Nadie de Radio 7fm y disfrútalo.

Don't drink? Don't smoke? What do you do? THE VINYL DIARIES follows Pete Crighton's journey from a closeted goody two shoes to a blissfully self-possessed lover of queer community, queer joy, and queer sex, while keeping track of the key pop music that resonated along the way. For this episode, Pete Crighton (The B-52s' Cosmic Thing) discusses releasing a memoir as a first-time writer, processing a lifetime of trauma through art, and the role music has played in the whole process. Writer-bookseller Justin Remer asks about the bands and artists that meant a lot (Adam Ant, Fleetwood Mac, Yoko Ono) and those that... well... didn't (Madonna, HAIM). They also talk about how Pete wrote his forthcoming 33 1/3 book on The B-52s in 90 days.  Pick up a copy of the book from Skylight Books or order the audiobook version from Libro.fm.  Hosted and produced by Justin Remer.  Recorded remotely via Zencastr.  Opening music: "Optimism (Instrumental)" by Duck the Piano Wire.  Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band. 

On this week's show, Steve, Julia, and guest host Sam Adams are off to races with F1:The Movie, the new Brad Pitt racing vehicle featuring lots of racing vehicles. Is the thrill ride more than the sum of its sports movie cliches, high-octane action sequences, and perpetually handsome movie-star? Does the answer even matter? Next, they're joined by Slate senior supervising producer Daisy Rosario to decode the particularly British charms of Taskmaster, the UK panel/game-show now in its 19th season. Finally, what's more fun to pick apart than a best of list? Dana Stevens hops in to dissect the New York Times's 100 Best Movies of the 21st Century interactive feature. In an exclusive Plus bonus episode, the topic is: sex! Specifically, the hosts discuss the status—and seeming decline—of sex in Hollywood movies.  Endorsements: Sam: Drinking the anise-flavored aperitif pastis, the French brand Henri Bardouin is a good one to try. Julia: The delicious Los Angeles restaurant Tomat in the most unlikely of locales: a strip mall by LAX International Airport. Steve: The album Cunningham Bird by Andrew Bird and Madison Cunningham and the song Sara by Fleetwood Mac. Dana: The production of Shakespeare's As You Like It available to stream on National Theatre at Home. Our Panelist's Top Ten(ish) Movies of the 21st Century: Dana: 4 Months, 3 Weeks, 2 Days The Act of Killing Atanarjuat (The Fast Runner) Bright Star Children of Men Grizzly Man Parasite Portrait of a Lady on Fire Moonlight There Will Be Blood Julia: I'm Still Here Mean Girls Get Out Do Not Expect Too Much from the End of the World Crouching Tiger, Hidden Dragon Zombieland Once Upon a Time… in Hollywood Erin Brockovich The Act of Killing Portrait of a Lady on Fire Sam: In the Mood for Love The Act of Killing The Grand Budapest Hotel The Gleaners and I Eternal Sunshine of the Spotless Mind A Serious Man It's Such a Beautiful Day The New World Hedwig and the Angry Inch The Death of Stalin Stephen: Anora Spotlight Toni Erdmann The Lives of Others Paddington 2 Meyerowitz Stories Spirited Away Get Out There Will Be Blood Mulholland Drive Parasite A Separation Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Steve, Julia, and guest host Sam Adams are off to races with F1:The Movie, the new Brad Pitt racing vehicle featuring lots of racing vehicles. Is the thrill ride more than the sum of its sports movie cliches, high-octane action sequences, and perpetually handsome movie-star? Does the answer even matter? Next, they're joined by Slate senior supervising producer Daisy Rosario to decode the particularly British charms of Taskmaster, the UK panel/game-show now in its 19th season. Finally, what's more fun to pick apart than a best of list? Dana Stevens hops in to dissect the New York Times's 100 Best Movies of the 21st Century interactive feature. In an exclusive Plus bonus episode, the topic is: sex! Specifically, the hosts discuss the status—and seeming decline—of sex in Hollywood movies.  Endorsements: Sam: Drinking the anise-flavored aperitif pastis, the French brand Henri Bardouin is a good one to try. Julia: The delicious Los Angeles restaurant Tomat in the most unlikely of locales: a strip mall by LAX International Airport. Steve: The album Cunningham Bird by Andrew Bird and Madison Cunningham and the song Sara by Fleetwood Mac. Dana: The production of Shakespeare's As You Like It available to stream on National Theatre at Home. Our Panelist's Top Ten(ish) Movies of the 21st Century: Dana: 4 Months, 3 Weeks, 2 Days The Act of Killing Atanarjuat (The Fast Runner) Bright Star Children of Men Grizzly Man Parasite Portrait of a Lady on Fire Moonlight There Will Be Blood Julia: I'm Still Here Mean Girls Get Out Do Not Expect Too Much from the End of the World Crouching Tiger, Hidden Dragon Zombieland Once Upon a Time… in Hollywood Erin Brockovich The Act of Killing Portrait of a Lady on Fire Sam: In the Mood for Love The Act of Killing The Grand Budapest Hotel The Gleaners and I Eternal Sunshine of the Spotless Mind A Serious Man It's Such a Beautiful Day The New World Hedwig and the Angry Inch The Death of Stalin Stephen: Anora Spotlight Toni Erdmann The Lives of Others Paddington 2 Meyerowitz Stories Spirited Away Get Out There Will Be Blood Mulholland Drive Parasite A Separation Learn more about your ad choices. Visit megaphone.fm/adchoices

Big Rich, TD, and Fletch dive headfirst into the chaos and comedy of midlife—aches, attitudes, and why naps are suddenly elite. Then it's time to crank up the volume for a "Top of the Rock" showdown: Fleetwood Mac vs. The Eagles—who's more iconic and who rules the classic rock roost? Plus, Rich throws down the spatula with his ultimate BBQ tips to make your weekend grill game legendary. Smoke, songs, and soul-searching—it's all on the menu!

Part 1 of my conversation with guest Jay Breitling about our favorite music of 2025 so far. Show notes: Drinking some Italian beer Rock is dead commercially Billboard album chart contains nearly no rock Fleetwood Mac's Rumours still riding high for some reason Festival cancellations: Bonnaroo, Boston Calling next year, Lollapalooza Too many festivals, high ticket prices Black Sabbath farewell show Lots of big rock deaths: Brian Wilson, Sly Stone, David Johansen, Marianne Faithfull, etc. We saw Hallelujah the Hills recently and it was glorious Kumar saw some shows: Frank Black, Shannon/Narducy, Gang of Four, Bob Mould Breitling will see Oasis in Mexico, as one does Who's the Who's drummer? Breitling's bubbling under albums: Whirr, Winter, Lunchbox, Pink Floyd reissue, Rough Francis, The Get Quick, Autocamper, Viagra Boys, Thalia Zedek Band Kumar's list: Kinski, Ty Segall, Civic, Cameron Keiber, Dean Wareham, Pulp, Psychedelic Porn Crumpets, The Bug Club, Turnstile, The Tubs, Kestrels, Lifeguard, Hotline TNT Breitling's #10: An electronic collab between Mark Pritchard and Thom Yorke Kumar's #10: Sophomore release from Horsegirl explores mellower sounds So much music to listen to these days Breitling's #9: Ambient situation delivered by William Tyler Of Bills Frisell and Laswell Kumar's #9: Post-punk ripper from Charm School Kurt Loder is still with us Kumar's #8: Heavy Spoon influence on the new album from The Convenience Breitling's #7: Dean Wareham is still bringing it To be continued  Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

In this episode, Jock Bartley, founding member and guitarist of the legendary 1970s soft rock band Firefall, joins the show to discuss the band's storied career, including hits like "You Are the Woman" and "Just Remember I Love You." Bartley shares insights on Firefall's latest albums, Friends & Family and Friends & Family 2, which feature covers of classic songs by bands like Fleetwood Mac and The Byrds, reflecting their deep musical connections. Jock was a funny, laid back guy with tons of insight on the music industry to share.     In one of the craziest episodes to date, we dive deep into Mike's voices, a pretzel story, a game about the Burlew household, and Mike needing his dad, Big Wild Hank's help, only to be gifted rotten chicken.  Insane episode.  Have a listen!

This weeks program features tunes from Oasis, ,XTC, Supertramp, John Mellencamp, Tom Petty, Gin Blossoms, Wallflowers, Blondie, Jackson Browne, Pat Benatar, Spin Doctors, Mahavishnu Orchestra, Jean Luc Ponty, Graham Parker, Cream, Buffalo Springfield, Grateful Dead, Rolling Stones, Fleetwood Mac, Seatrain and Crosby Stills & Nash.

Fleetwood Mac's mid-'70s merger with the musical duo of Lindsey Buckingham and Stevie Nicks changed the course of the band forever, propelling them to Top 40 mega-fame and cocaine-fueled excess. At the core of it all were rampant Rumours — both the album and the literal gossip. Breakups, divorce, drama: the same intra-band personal dynamics that stressed the group simultaneously led to the creation of one of the top-selling albums of all time. For Fleetwood Mac, Rumours was how the truth came out. And over 40 years later, there's still a lot that needs clearing up. To see the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠. This episode was originally published on September 21, 2021. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com/membership⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Es gibt keine Band mit so einer außergewöhnlichen Geschichte wie Fleetwood Mac. Das können wir nach 106 Episoden dieses Podcasts mit Fug und Recht behaupten. Ein persönlichkeitsverändernder LSD-Trip, eine zerschmetterte Gitarren backstage, ein Gitarrist, der sich auf Tour spontan einer Sekte anschließt, eine Affäre mit der Frau eines anderen Bandmitglieds – und das alles, noch bevor sie die Fleetwood Mac wurden, die wir heute kennen. Bevor das Traum-on-off-Paar Lindsey Buckingham und Stevie Nicks dazukam, die ihre eigene Beziehung, bzw. deren Ende, auf dem sagenumwobenen Jahrhundertalbum „Rumours“ verarbeiteten. Genauso wie John und Christine McVie ihre Ehe. Das Album ist ein nicht enden wollender, Kokain-befeuerter Kreativ-Flow an Songs, mit dem sich die Bandmitglieder den Schmerz von der Seele schrieben, sangen und spielten – genau wegen dieser Authentizität und Nahbarkeit ist dieses Album bis heute bei hunderten von Millionen Fans so beliebt. Mal ganz abgesehen davon, dass mit „Dreams“, „Don't Stop“ und „Go Your Own Way“ einige der besten Pop-Kompositionen aller Zeiten drauf sind. Fleetwood Mac erlebten seit einigen Jahren ein verdientes Revival, mit einem Skateboard-Fahrer in a mood, dessen Clip zu „Dreams“ viral ging, und mit dem Bestseller-Buch / der erfolgreichen Serie „Daisy Jones & The Six“, angelehnt an die Geschichte der Band. Dann starb Christine McVie und alles war vorbei. Aber die Legende lebt weiter und der wollen wir uns widmen. Stereo.Ur.Typ Tilmann Köllner ist diesmal wieder dabei, er ist ein großer Fan der Band, vor allem von „Rumours“. Je nachdem in welcher Stimmung man ihn fragt, ist „Dreams“ für ihn der beste Song aller Zeiten – also eigentlich immer. Aus der Band erzählen Mick Fleetwood und Christine McVie von den goldenen Zeiten, die zugleich auch die traurigsten waren. #107FleetwoodMac jetzt überall, wo es Podcasts gibt.

Few bands can boast a rock 'n' roll lore at the level of Fleetwood Mac. The band lost not one but two guitarists to cult-like religious freaks. Two band members were arrested on gun charges. They encountered doom brought on by drugs, money, and Jesus Christ. Most famously, the band involved themselves with each other romantically in ways that brought on jealousy, distrust, anger, divorce and resulted in one of the most successful albums of all time. From their earliest days as an English blues band to the pop superstars they would become in the mid to late '70s, one thing about Fleetwood Mac never faltered: They always had talent — and drama — to spare. To see the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠. This episode was originally published on September 14, 2021. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com/membership⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Show Date: 6/26/25Dan and Andy review the 1979 album "Tusk" by Fleetwood Mac.Sports and Songs Podcast Links:https://www.facebook.com/sportsandsongs1https://twitter.com/SportsandSongs1https://www.instagram.com/sportsandsongs/https://www.sportsandsongspodcast.com/

On today's show we're off the rails as Jase discovers his marriage is full of lies, Mike takes on Uber Eats drives everywhere and Pugs massively cocks it all up. TIMENSHTAMPEN: (00:30) Intro- Pugs nails the start(04:18) Fleetwood Mac vs Alice and Chains(07:07) message from Keyzie(11:49) Whats on the telly!(15:39) Case of Keyzies(19:17) Another close fight(20:44) Intro - Pugs actually nails the start(21:59) Mogey's Uber dramas(26:21) Pug's personal question(29:57) Zombie dicks in the outback(34:03) Leftovers chat with Hoytey J(38:17) Intro - Mogey is still sick(40:51) Team list Wednesday (44:43) Meatpattienips69@gmail.com(49:46) Day Tripper(50:42) Follow us on insta Follow The Big Show on Instagram: https://www.instagram.com/haurakibigshow Subscribe to the podcast now on iHeartRadio, YouTube, or wherever you get your podcasts! Featuring Jason Hoyte, Mike Minogue, and Keyzie, "The Big Show" drive you home weekdays from 4pm on Radio Hauraki. Providing a hilarious escape from reality for those ‘backbone’ New Zealanders with plenty of laughs and out-the-gate yarns. Download the full podcast here: iHeartRadio: www.iheart.com/podcast/1049-the-hauraki-big-show-71532051/?follow=true Apple: https://podcasts.apple.com/us/podcast/the-hauraki-big-show/id1531952388 Spotify: https://open.spotify.com/show/20OF8YadmJmvzWa7TGRnDI See omnystudio.com/listener for privacy information.

https://ontargetpodcast.caThis week on On Tar­get, Mod Marty's spread­ing the love with a heavy dose of hand­picked vinyl from his trust­ed cohorts. You'll hear more stand­out tracks from Mod Myke down in St. Louis and a fresh stack of grooves from David Suede in New York. It's a trans-continental col­lab­o­ra­tion packed with deep soul, raw R&B, and unde­ni­able ener­gy. Marty's behind the wheel, but he's got some seri­ous help in the pas­sen­ger seat.-----------------------------------------------The playlist is:"Got To Get You Into My Life"The Baby Dolls- Hollywood"At The Head Of The Crowd"The Royal Lancers- ABC-Paramount"There'll Come A Day"Clarence Reid- Dial"And Get Away"The Esquires- Bunky"Shindy Butterfly"Randolph Walker - Black Prince"Love Charms"Larry Williams- Specialty"Teardrop Avenue"Bette Booth- Falew"Livin' Lovin' Wreck"Ian & The Zodiacs- Philips"When The Wind Arises"The Rokes- RCA-Victor"Black Magic Woman"Peter Green's Fleetwood Mac- pic"I Feel Strange"The Wonderettes- United Artists"Achin' All Over"Randolph Walker- Mala"Picture Me Gone"Madeline Bell- Mod"Take Me Back"Freddie Gorman- Ric-Tic"(Our Love) Is In The Pocket"J.J. Barnes- Revilot"There Ain't Nothing I Wouldn't Do For You"Dee Dee Sharp- Cameo"Fred Perry Fanatic"45 Adaptors- Longshot"Love Like Fire"Boomtown United- Boss Hooligan"Don't Stay Away"Murder City Players- Sound

National swim a lap day. Entertainment from 1969. Women allowed to drive in Saudia Arabia, St. Johns dance hits Europe, Target started, 1st recorded UPF. Todays birthdays - Al Molinaro, Jeff Beck, Colin Blunstone, Mick Fleetwood, Andy McClusky, Curt Smith, Sherry Stringfield, Glenn Medeiros, Mindy Kaling. Jackie Gleason died.Intro- God did good - Dianna Corcoran     https://www.diannacorcoran.com/Swimming song - CocomelonThe Reflex - Duran DuranI can tell by the way you dance - Vern GosdinBirthdays - In da club - 50 Cent     http://50cent.com/ Theme from the Odd CoupleCause we've ended as lovers - Jeff BeckShe's not there - The ZombiesGo your own way - Fleetwood MacIf you leave - OMDNothings gonna change my love for you - Glenn MedeirosExit - I wish you were a cowboy - Christie Lamb     https://www.christielamb.com/ countryundergroundradio.comhistory and factoids website

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

HAIM machen Schluss. Aber nicht öppe als Band. Angetrieben vom Breakup mit Produzent Ariel Rechtshaid fertigten Danielle Haim und ihre beiden Schwestern eine Liste an von Dingen, mit denen man endlich aufhören will: u. a. «Nikotin», «Vorurteile», «unbegründete Ängste» stehen da nun drauf. Verpackt werden diese Vorsätze in das übliche musikalische Gewand irgendwo zwischen Fleetwood Mac, Sheryl Crow und Vampire Weekend. Heisst aber noch lange nicht, dass HAIM auf ihrem vierten Album deswegen auf der Stelle treten – man nehme da nur mal die unerwarteten Samples (George Michael! U2?!), die es in den insgesamt 15 Songs zu entdecken gibt. So etwas haben wir von den Kalifornierinnen noch nie gehört! «I quit» ist das neue Sounds! Album der Woche. Vinyl? CD? Dein Lieblingsformat gibt's diese Woche bis Donnerstag ein Mal pro Sendung zu gewinnen.

This week, it's Bob Welch's first solo effort, "French Kiss." This Platinum Album was released in September, 1977 at the height of the Disco Era, and about the same time as the release of the mega-hit soundtrack to "Saturday Night Fever." Bob Welch, the former member of Fleetwood Mac, enlisted the help of former bandmates Lindsey Buckingham, Mick Fleetwood and Christine McVie. Enjoy!

Das gleichnamige Album von Fleetwood Mac war ein Wendepunkt für die Band und es war das erste Album mit Sängerin Stevie Nicks und Gitarrist Lindsey Buckingham. 1975 haben Fleetwood Mac ihr selbst betiteltes Album herausgebracht und mit dem Dazustoßen von Lindsey Buckingham und Stevie Nicks hat sich die Band auch musikalisch sehr stark verändert. Von einer Bluesband finden Fleetwood Mac jetzt den Weg zu einem Westküsten-Pop-Rock Sound. Das hören wir nicht nur hier auf Fleetwood Mac, sondern auch auf dem Nachfolgealbum "Rumours". Neubesetzungen und Nachbesetzungen waren für Fleetwood Mac eigentlich nichts Besonderes. Nachdem die Band von Schlagzeuger Mick Fleetwood 1967 gegründet wurde, gab es bis 1975 insgesamt neun Umbesetzungen. Die prägendste war allerdings die Veränderung durch Stevie Nicks und Lindsey Buckingham. Mick Fleetwood war Anfang der 70er in den Sound City Studios in Los Angeles. Dort hat er auch den Produzenten Keith Olsen getroffen, der gerade mit Stevie Nicks und Lindsey Buckingham ihre Duo-Platte aufgezeichnet hat. Der Produzent Keith Olsen hat Mick Fleetwood einen Song daraus vorgespielt und der wollte unbedingt Lindsey Buckingham als Gitarristen für seine Band haben. Lindsey Buckingham sagte zu, unter der Voraussetzung, dass auch seine damalige Bandkollegin und Lebenspartnerin Stevie Nicks zur Band dazustoßen darf – Mick Fleetwood war einverstanden. Unter dem offiziellen Bandnamen "Fleetwood Mac" hatte es bis zu dieser Platte 1975 schon neun vorherige Alben gegeben, alle davon waren höchstens mittelmäßig erfolgreich. Mit dem Dazustoßen von Lindsey Buckingham und Stevie Nicks hatte sich für die Band ganz viel verändert und man könnte eigentlich sagen, dass das Album "Fleetwood Mac" für die Band ein kompletter Neustart gewesen ist – mit der Ausrichtung: Megastars! __________ Über diese Songs vom Album "Fleetwood Mac" wird im Podcast gesprochen: (14:14) – "Monday Morning"(25:57) – "Warm Ways"(32:43) – "Rhiannon"(47:13) – "Say You Love Me"(51:16) – "Landslide"__________ Alle Shownotes und weiterführenden Links zur Folge: https://1.ard.de/fleetwood-mac __________ Ihr wollt mehr Podcasts wie diesen? Abonniert "Meilensteine – Alben, die Geschichte machten"! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

The Rage Select Podcast is GOING BANANAS this week as Bryce and Jeff dig into the latest Nintendo Direct, as well all the gaming news of the week, and much, MUCH MORE! Check out Bryce and Jeff's new podcast about the Fleetwood Mac album Tusk on all the podcast apps or right here: https://twotusks.transistor.fm MP3 here - http://traffic.libsyn.com/rageselect/RageSelectEpisode601.mp3 RSS feed here - http://rageselect.libsyn.com/rss iTunes here - https://itunes.apple.com/us/podcast/rage-selects-podcast/id657490976 Email address for your questions: mail@rageselect.com FOLLOW Tessa on Instagram - https://www.instagram.com/tessamorrison FOLLOW Matt on Twitter! - https://twitter.com/spankzilla85 FOLLOW Brian Salisbury on Twitter! - https://twitter.com/JunkfoodCinema FOLLOW Jeff on Twitter - https://twitter.com/RageSelect FOLLOW Grant on Twitter - https://twitter.com/BaronVonGrant LIKE Rage Select on Facebook - https://www.facebook.com/RageSelect Listen to our podcast and if you enjoy it, SUBSCRIBE! Check out the full website at http://www.rageselect.com #rageselect #podcast

The One where Dave goes WILD for a Venom vs Cap America Marvel Legends figure. Signal of Doom was voted #13 in the Top 100 Comic Book Podcasts on Feedspot! Check it OUT! https://podcast.feedspot.com/comic_podcasts Please support the show on Patreon! Every dollar helps the show! https://www.patreon.com/SignalofDoom Follow us on Twitter: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost Follow Dave on X: @redlantern2051

Voicing Impa There are not many people in this world who can say that their life began on tour with Bob Dylan ... Andi Gibson can. Andi explains how this happened in the interview, so I will let Andi tell that story. However, Andi is a tremendous voice actor and singer, best known for voicing Impa in the beloved Legend of Zelda video games by Nintendo. Andi tells us how she got into voice acting, what her favorite lines from Impa are, how she ended up in classic music videos from Fleetwood Mac, The Tubes and Olivia Newton-John among others, and so much more. For more on Andi Gibson, please visit the following - Website - www.andigibson.com Instagram - @gibson.andi TikTok - @andigibson00 For more on our show partners - Bones Coffee - http://www.bonescoffee.com/FSFPOPCAST and use code FSFPOPCAST Idea Farm - www.ideafarm.store - use discount code FSF15 Level Up Sabers https://bit.ly/FSFLevelUpSabers Win free loot - sign up here - www.fsfpopcast.com/contact For more on our Show - Join our Patreon: https://patreon.com/fsfpopcast Join our Discord! https://discord.gg/cpry4fCDTq Visit our website: https://www.fsfpopcast.com FSF PopCast on BlueSky, Instagram, and Threads - @fsfpopcast This podcast is powered by Pinecast.

Voicing Impa There are not many people in this world who can say that their life began on tour with Bob Dylan ... Andi Gibson can. Andi explains how this happened in the interview, so I will let Andi tell that story. However, Andi is a tremendous voice actor and singer, best known for voicing Impa in the beloved Legend of Zelda video games by Nintendo. Andi tells us how she got into voice acting, what her favorite lines from Impa are, how she ended up in classic music videos from Fleetwood Mac, The Tubes and Olivia Newton-John among others, and so much more. For more on Andi Gibson, please visit the following - Website - www.andigibson.com Instagram - @gibson.andi TikTok - @andigibson00 For more on our show partners - Bones Coffee - http://www.bonescoffee.com/FSFPOPCAST and use code FSFPOPCAST Idea Farm - www.ideafarm.store - use discount code FSF15 Level Up Sabers https://bit.ly/FSFLevelUpSabers Win free loot - sign up here - www.fsfpopcast.com/contact For more on our Show - Join our Patreon: https://patreon.com/fsfpopcast Join our Discord! https://discord.gg/cpry4fCDTq Visit our website: https://www.fsfpopcast.com FSF PopCast on BlueSky, Instagram, and Threads - @fsfpopcast This podcast is powered by Pinecast.

Un viaje en el tiempo en la historia del Rock. Semana entre el 16 y 22 de Junio.

Episode 5 of Season 13 brings us one of the best debut albums of the 80s for sure--"Bella Donna" by Stevie Nicks! Frank and I love this album, and we have some very interesting things to say about it. And we'll have a little tribute to some of the musical artists who have passed away so far in 2025. Plus, our other features come your way as well! Next week, 1977's "French Kiss" by former Fleetwood Mac'er Bob Welch.

Watch the best scene reading: https://www.youtube.com/watch?v=Di-SUrGZcgI https://www.instagram.com/joaomacongo_/ https://www.joaomacongo.com/about Get to know the writer: What is your novel about? The Origin of Humanity: A Real Dream is a deeply spiritual and philosophical novel inspired by a vivid dream I had. It explores the mysterious beginnings of humanity through a cosmic journey of creation, identity, mortality, and divine purpose. The story is both mystical and grounded, merging poetic storytelling with existential questions that challenge the reader to reflect on the meaning of life and the courage to awaken. What genres would you say this story is in? Spiritual Fiction, Metaphysical Fantasy, Philosophical Sci-Fi, Visionary Fiction. How would you describe this story in two words? Divine Awakening What movie have you seen the most in your life? The Matrix — for its blend of philosophy, reality-bending concepts, and spiritual undertones. What is your favorite song? (Or, what song have you listened to the most times in your life?) “Dreams” by Fleetwood Mac — it's timeless, haunting, and resonates with the journey of vision and destiny. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Welcome, readers. We are thrilled to continue this new content from the creators of Currently Reading Podcast! This spin-off podcast series will tackle book to screen adaptations in a spoiler-FILLED format. Be sure you've read the book and watched the film version before listening to the episode, because we don't shy away from strong opinions OR from all the spoilers, unlike our regular episodes. Show notes for this series will not be time-stamped, but will still include links to Bookshop dot org or Amazon for any books or resources referenced in the episode. These are affiliate links, so they kick back a small percentage to us if you buy through them, and help support the work we do on Currently Reading.   The Perks of Being a Wallflower by Stephen Chbosky 1:24 - Setup The Perks of Being a Wallflower by Stephen Chbosky 3:42 - Previews Release date. Sales info and awards. Released in 1999 NYT #1 Bestseller ALA's Best Book for Reluctant Readers in 2000 “Cult classic” Movie name and release date. Box office and awards. Released September 2012 20 Wins, 51 Nominations Budget of 13M, Earned 33M “Cult classic” 6:59 - The Cutting Room Pivotal Book scenes and how they translated to the screen The tunnel Charlie being high Charlie's revelation at the end Changes from Book to Movie Change from love story as secondary plot to main plot  Friendships with Charlie seemed disingenuous in the movie Song in the tunnel is changed from Fleetwood Mac to David Bowie Mary Elizabeth's college acceptance Bill's girlfriend is now his wife in the movie Bill and Charlie's relationship in the movie Left out of the adaptation Charlie doesn't cry in the movie Masturbation scene  Developed relationship between Charlie and his sister Abortion Lack of importance of Rocky Horror The scene where Sam tells Charlie not to think of her that way Added to the movie Charlie's siblings have names Charlie is a “normie” Casting and alternates Charlie: LoganLerman → Freddie Highmore, Thomas Brodie-Sangster, Nicholas Hoult, Asa Butterfield Sam: Emma Watson → Jennifer Lawrence, Sarah Hyland, Emma Roberts, Brie Larson Patrick: Ezra Miller → Timothee Chalamet,  Mary Elizabeth: Mae Whitman →  Rebel Wilson, Alison Brie, Rose McIver Problematic elements Lack of POC Queer representation Excessive drug and alcohol usage  32:41 - Award Season Worst and best parts of the adaptation. Film quality Unbelievable characters due to casting/age Casting - outside main characters 20 years later letter was omitted from the movie (a best part) Paul Rudd Derek's ponytail Charlie's hot brother Worst and best actors. Emma Watson - Sam Paul Rudd - Bill Ezra Miller - Patrick Worst and best book characters. Mary Elizabeth Sam Patrick 44:26 - Book/Flick Energy Book scored on a 5 star scale. Book on Goodreads Movie scored on a 10 point scale. Movie on Rotten Tomatoes Movie on IMDB 50:20 - A Leftover Popcorn Kernel If they made an after school special about our time in high school, what do you think would be the most after school special plot point? (Kaytee) If you could do high school all over again, would you? (Shad) What's your most significant or best memory from high school? (Shad) 56:30 - End Credits The Time Traveler's Wife by Audrey Niffenegger The movie is available to stream on HBO Max for a limited time but is available to rent on other streaming services Connect With Us: Currently Reading Podcast | Kaytee | Meredith Shad is in the Bookish Friends FB Group (for our Patreon supporters) Our Website | Email Us Support Us: Become a Bookish Friend | Buy Some Merch

Mick Fleetwood is the drummer and a founding member of Fleetwood Mac, one of the most successful rock bands of all time. Fleetwood talks to Alec about how dyslexia led him to the drumming, how supportive parents encouraged his talent and his move to London as a teenager, how his friendship with the band’s founder, guitarist Peter Green, evolved to a life-long friendship, and how Fleetwood Mac balanced the weight of their interpersonal dynamics and the band’s wild, over-the-top success. The band’s 1977 album Rumors broke through Billboard 100 again last year thanks to a Tik Tok of a man on a skateboard lipsyncing to Dreams and introduced a whole new generation to Fleetwood Mac’s beautiful, enduring music. Originally aired January 26, 2021See omnystudio.com/listener for privacy information.

In this episode we are yapping all about our day trip to the Brimfield Flea Market! It was a day filled with nunu nana finds, and elite people-watching. Then we dive into the deeply important story of a cat named Tofu who has a real gold tooth, GoDaddy's undying devotion to Danica Patrick, and the eternal drama of Fleetwood Mac.Want BONUS CONTENT? Join our PATREON!Sponsors:➜ This episode is sponsored in-part by Tropical Smoothie Cafe.This episode is sponsored in-part by Pretty Litter.➜ This episode is sponsored in-part by Thrive Market.➜ This episode is sponsored in-part by Progressive Insurance.Sources:➜ Maria Azzurra Volpe. Cat Gets $5,000 Gold Tooth-Becomes an Internet Sensation, Newsweek, 12 May 2025.➜ Mari Yamaguchi. A Man Airlifted from Japan's Mount Fuji Returns to the Slope Days Later and Is Rescued Again, AP News, 28 Apr. 2025.Camp Songs:Spotify PlaylistYouTube PlaylistSammich's Secret MixtapeSocial Media:Camp Counselors TikTokCamp Counselors InstagramCamp Counselors FacebookCamp Counselors TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.