Podcasts about Folk

It feels like mid July but it's only the start, what's going on Support us on PayPal!

Episode OverviewIn this episode of Spiral Deeper, we air a conversation with Gaby on the podcast, The Other Way. If you listened to episode 40. LIVING IN FLOW with Kasia Stiggelbout, this is her wonderful podcast! We loved this conversation so much we wanted to share it here. Kasia is a graduate of the Institute for Integrative Nutrition, a former Executive Director of TEDxSF, and host of The Other Way, a podcast that explores alternative paths in spirituality, life, health, and business. In her free time, she enjoys spending time in nature, connecting with her husband + pup, and going off-grid (with her LightPhone). In this conversation, Kasia and Gaby talk about creativity, authenticity, intuition, Reiki, and more. Enjoy this conversation! If you feel inspired by our conversation today, Kasia has offered a code for 15% off your In Flow Planner using the code GABY15, link in the show notes.Special OffersCODE - SPIRALOFFLOWERS for 20% off your first month in The Flower Portal!CODE - GABY15 for 15% off your In Flow PlannerConnect and Work with GabyInspiring the connection between Heaven and Earth through Reiki, Tarot, Folk herbalism, Clairvoyance, and Meditation. Together, we co-create harmony, clarity, and alignment with your True Essence. I'd love to support you!Connect with a Flower Essence: gabyazorsky.comFollow me on Instagram: @gaby.azorskyNewsletter: Sign Up HereBook a 1:1 Session: Book HereJoin My Membership, The Flower Portal: Learn MoreWith Spiral DeeperWebsite - Spiral Deeper PodcastInstagram - @spiral.deeperWith Kasia and The Other WayInstagram - @the_other_way_podcastThe Other Way Podcast - **Spotify + Apple**The In Flow PlannerCreditsSpecial thanks to…Music - Connor HayesSpiral Deeper Icon - Kami MarchandCollaborate with UsInterested in advertising or collaborating with Spiral Deeper? Email gabyazorsky@gmail.com for packages and details.Support the ShowPlease rate, review, and subscribe wherever you listen - it means so much. Be sure to tag @spiral.deeper if you share; thank you for your support!

This week on Songwriter Connection, we sit down with award-winning artist Aliza Hava, whose powerful fusion of Folk, Rock, and Soul is making waves around the world—and on the charts. With gut-level honest lyrics and a voice full of passion, Aliza's music is more than just entertainment—it's a vehicle for healing, connection, and global unity.From performing at international events to collaborating on shows for the United Nations, Aliza shares the remarkable journey that has shaped her artistry. We also dive into her new album, Into the Light, which has held the #1 spot on the Roots Music Report's Folk Rock Album Chart for three consecutive weeks.Pull up a chair at the dining room table for this heartfelt conversation and enjoy intimate live performances that bring her story—and songs—to life. Don't miss this inspiring episode about music that moves hearts and builds bridges.Support this podcast at — https://redcircle.com/songwriter-connection/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We don't really block people. We block parts of ourselves we don't know how to face. Every time you press “block,” you're engaging in a ritual—one that masquerades as empowerment but may, in truth, reflect a deeper spiritual amnesia. 

Send a message to the JestersHaving retrived a piece of The First Wolf, our OWI agents progress towards town and their final confrontation, looking for any aid they can get along the way. However, a grim warning awaits them just outside the beast's den.Starring: Sky Swanson (The Creature Keeper), Rachel Kordell (Laura Turner), Andrew Frost (Vernon Hodges), Seth Coveyou (Jon Douglas), Casey Reardon (Elmer Fink), and Nate Brass (Chet).Edit Team: Casey Reardon & Sky Swanson [SFX Artist]Content Warnings: GoreShoutouts! Come see our live show on July 29th over at Sip and Play in Brooklyn. Tickets available at https://square.link/u/Dn3CYLUkNeed more game modules? Check out https://hatdbuilder.com for some fantastic new content to bring to your games! Use the code 'RPJESTERS' for 20% off your order, and to support the show!Want some cool RP Jesters Merch? Check out our website https://rpjesters.com/pages/storeSee more of Nate Brass at https://www.escapethedungeonpod.com/ and https://www.twitch.tv/starcrawlrpg Check out more of Rachel in The House and The Light at The Heart is a Dungeon Podcast https://open.spotify.com/episode/6A9g6ZvBFBVNpgIpIVGbOq or specifically Pleasure and West River https://creators.spotify.com/pod/profile/theheartisadungeon/episodes/Pleasure--West-River--Starting-January-15th-e2t4oqa also check out Folk and Myth https://www.twitch.tv/folkandmythSupport the show directly and get hours of bonus content over at https://www.patreon.com/c/rpjesters/membershipIntro/Outro Music by Seth Coveyou.Additional Music by Monument Studios and YouTube Audio Library.Game System: Old Gods of Appalachia Support the showCheck our socials!

First SB of July 2025 Support us on PayPal!

July 2025's edition of Roots Rendezvous. Playlist: Artist - Album - Track. 1 Cecilia Castleman - Cecilia Castleman - It's Alright. 2 Tracy Bonham - Sky Too Wide - Jumping Bean. 3 Grace Potter - Medicine - That Phone. 4 Kelsey Waldon - Every Ghost - Tiger Lilies. 5 James McMurtry - The Black Dog and the Wandering Boy. 6 BettySoo - If You Never Go Away - What Do You Want From Me Now. 7 SG Goodman - Planting by the Signs - I Can See the Devil. 8 Steve Ryan Gledhill - Now I feel the Rain. 9 The Bones of J.R. Jones - Radio Waves - Car Crash. 10 The Shootouts - Switchback - The Other Side of My Life. 11 The Parachute Testers - Halfway To Everywhere. 12 Autumn Hollow - Say No More - Fever & Fatigue. 13 Esther Rose - Want - New Bad. 14 Bleak Squad - Poison City - Lost My Head. 15 Avery Friedman - New Thing - New Thing. 16 Jenny Raisänen - Purple. 17 Imogen Clark - Choking on Fuel - Sebastian. 18 The Royal Arctic Institute - The Opener. 174 MB (183,079,115 bytes) Duration: 1:16:15

Florence was founded in the 1st century BCE as a Roman military outpost, although it came to prominence as a centre of commerce and the arts in the 14th to 16th centuries CE. The Florentine method of speech even became the Italian language. Some of the city's most famous exports are Leonardo da Vinci, Galileo, Michelangelo, and Niccolo Machiavelli, along with the Medici family. You can see the tombs of Galileo, Michelangelo, and Machiavelli in the Basilica of Santa Croce. But that's not all you can find in this Tuscan city. From the mythological scenes to statues of Roman gods present in the Uffizi, Florence has a range of odd curiosities and folk traditions that are worth seeing. Let's explore some of the stranger side of Florence in this week's episode of Fabulous Folklore! Find the images and references on the blog post: https://www.icysedgwick.com/florence-folklore/ Pre-order Ghostlore: https://geni.us/ghostlore The Many Faces of Medusa talk: https://ko-fi.com/s/a60a047ebb Get your free guide to home protection the folklore way here: https://www.icysedgwick.com/fab-folklore/ Become a member of the Fabulous Folklore Family for bonus episodes and articles at https://patreon.com/bePatron?u=2380595 Buy Icy a coffee or sign up for bonus episodes at: https://ko-fi.com/icysedgwick Fabulous Folklore Bookshop: https://uk.bookshop.org/shop/fabulous_folklore Pre-recorded illustrated talks: https://ko-fi.com/icysedgwick/shop Request an episode: https://forms.gle/gqG7xQNLfbMg1mDv7 Get extra snippets of folklore on Instagram at https://instagram.com/icysedgwick Find Icy on BlueSky: https://bsky.app/profile/icysedgwick.bsky.social 'Like' Fabulous Folklore on Facebook: https://www.facebook.com/fabulousfolklore/

Black, Death, Speed, Thrash, Doom, Folk, Shred, Power, Prog & Traditional MetalPlaylists: https://spinitron.com/WSCA/show/160737/Black-Night-MeditationsWSCA 106.1 FM is non-commercial and non-profit.

The BEST Independent Music Artists & Singers from around the world: EDM, Indie Rock, Indie Pop, Hip Hop, R & B, Rap, reggae, Jazz, Country, Folk, & more...Hosted by DTongAdvertising & Sponsorship: http://goo.gl/ioP6HwGuaranteed Song Play & Promotion: http://goo.gl/4aD98wBROUGHT TO YOU BY:An Otherwise Silent Sea: A Fairy Talehttps://amzn.to/4jHNqkMWords With Myself w/ Luke Rixsonhttps://wordswithmyself.co.ukFitscapadeshttps://fitscapades.buzzsprout.comAdjusting To Life In The USAhttps://tinyurl.com/29z44pfbAcceptance is the Beginninghttps://tinyurl.com/3awmj6yeThe Rise of the Nereids and Oceanidshttps://tinyurl.com/msyd4cvsBoss Lady Conversationshttps://bit.ly/3HYiEXNSparky: Stress Free Parking Apphttps://www.indiegogo.com/projects/sparky-android-app-never-lose-you-car-again#/RISE Radiohttps://bit.ly/3T2Fxf5Valor: Quest of the Mystic Knightshttps://tinyurl.com/283sb8jeThe Tale Of Aster The Loyal Bearhttps://bit.ly/4l1wiYgA Journey to Self-Disciplinehttps://tinyurl.com/33vyhn7xNot Another Zombie Book by D.B. Randelia https://bit.ly/4kjXBwtCreated: Time To Look by Jen Zaharihttps://tinyurl.com/n77hfr3aAlso New Music from:Party Muscle 'I Belong'D-Grade 'Dream Echoes'Abstract Lion w/ a Back2backChelekis 'Dog Days'D Scott ft Don 'At The Top'RedTrigger w/ a Triple PlayHur Ku-Chi 'Nod My Head'Jenni 'Painful Riddle'Aubrie Elise 'One Day'Roy Gray w/ a Triple PlayGreyson Turner 'Half A Man'Benjamin Kohn 'Today'Nancy & The Tru Believers 'Can't Live Without You'Kaiak 'The One And Only'Alexia Anne 'Villain in the making'Jigsaw Da Don 'Well Up'Alex Petion 'Lonely Motionless'Saint Kon 'No Name'Glitzy 'Clover'Euphor 'Paradise'beeJayLady w/ a Triple PlayCatch the show on iTunes, Spotify, iHeartRadio, PlayerFM, TuneIn, Soundcloud, & www.DTongRadio.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/dtong-radio-indie-music-showcase--954466/support.

Send us a textAntje Duvekot /Open Water/New Wild West Eli West/Rocks and Trees/The Shape of a Sway         Susan Anders/Shoes/Now I'm A Kite  Peter Salett/Ringing of the Bells/Suite for the Summer Rain 0My Politic/Still Growing Today/Signs Of Life  Sam Robbins/The Real Thing/ So Much I Still Don't See         Down Hill Strugglers/Casey Jones/Treasures Untold Nate Currin/Let's Stay In & Put A Dylan Record On (Featuring Peyton Parker)/Ghost Town Rrinaco/Two or More/ Little Songs Helene Cronin /Power Lines/ Maybe New MexicoRita Bliss/We will Sing/ singleThe Accidentals/Fly Away/TIME OUT Grace Morrison/Cranberry Blossoms /Saltwater Country     Christian Rutledge/I Should've Known/An Inch Of This New York MileSara Trunzo/One Small Step/Better Than I Was Ponyfolk/Philosopher's Waltz /The Woods Have Shown Us Amanda DeBoer Bartlett/Storm/Braided Together Dave Goddess Group/ Wild And Willing/Kitty Hawk Ashtyn Barbaree/Copenhagen/Sent Through The Ceiling Support the show

Music by many of the performers coming to the Vancouver Folk Music Festival in two weeks time, plus a few by performers coming to the Mission Folk Festival the following weekend. New releases, local concert previews, and topical songs, of course, and some inspired fiddling and singing in the final hour.

As one pirate said, the start to the next ten years Support us on PayPal!

The Wood beyond the World is a fantasy novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. His use of archaic language has been seen by some modern readers as making his fiction difficult to read, but brings a wonderful atmosphere to the telling.  Morris considered his fantasies a revival of the medieval tradition of chivalrous romances. In consequence, they tend to have sprawling plots of strung-together adventures. In this story, Walter leaves his father and his own unfaithful wife and sets sail in search of adventure. This he finds aplenty, encountering love, treachery and magic in the Wood of the title and in travelling through the Mountains of the Folk of the Bears. But can he find happiness and peace by means of his Quest?Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Wood beyond the World is a fantasy novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. His use of archaic language has been seen by some modern readers as making his fiction difficult to read, but brings a wonderful atmosphere to the telling.  Morris considered his fantasies a revival of the medieval tradition of chivalrous romances. In consequence, they tend to have sprawling plots of strung-together adventures. In this story, Walter leaves his father and his own unfaithful wife and sets sail in search of adventure. This he finds aplenty, encountering love, treachery and magic in the Wood of the title and in travelling through the Mountains of the Folk of the Bears. But can he find happiness and peace by means of his Quest?Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Wood beyond the World is a fantasy novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. His use of archaic language has been seen by some modern readers as making his fiction difficult to read, but brings a wonderful atmosphere to the telling.  Morris considered his fantasies a revival of the medieval tradition of chivalrous romances. In consequence, they tend to have sprawling plots of strung-together adventures. In this story, Walter leaves his father and his own unfaithful wife and sets sail in search of adventure. This he finds aplenty, encountering love, treachery and magic in the Wood of the title and in travelling through the Mountains of the Folk of the Bears. But can he find happiness and peace by means of his Quest?Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Wood beyond the World is a fantasy novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. His use of archaic language has been seen by some modern readers as making his fiction difficult to read, but brings a wonderful atmosphere to the telling.  Morris considered his fantasies a revival of the medieval tradition of chivalrous romances. In consequence, they tend to have sprawling plots of strung-together adventures. In this story, Walter leaves his father and his own unfaithful wife and sets sail in search of adventure. This he finds aplenty, encountering love, treachery and magic in the Wood of the title and in travelling through the Mountains of the Folk of the Bears. But can he find happiness and peace by means of his Quest?Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Wood beyond the World is a fantasy novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. His use of archaic language has been seen by some modern readers as making his fiction difficult to read, but brings a wonderful atmosphere to the telling.  Morris considered his fantasies a revival of the medieval tradition of chivalrous romances. In consequence, they tend to have sprawling plots of strung-together adventures. In this story, Walter leaves his father and his own unfaithful wife and sets sail in search of adventure. This he finds aplenty, encountering love, treachery and magic in the Wood of the title and in travelling through the Mountains of the Folk of the Bears. But can he find happiness and peace by means of his Quest?Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this week's show, we celebrate the release of Bruce Springsteen's Tracks II: The Lost Albums box set with our Lost Albums Mix Tape. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

Our selections this week feature a crate diggers' delight from Colombia and the sound of modern rap in Mexico.Featured artists and songs:• Óscar Agudelo y El Combo Moderna, "Está Como Mango"• Isabella Lovestory, "Fresa Metal," "Eurotrash," "Tu Te Vas"• Grecia Albán, "YO POR TI"• Vicente García, "Mambo Violento," "El Huracán," "Abusadora"• BALTHVS, "Flesh and Soul" • Gera MX, "Ciclo Vital," "1 Millón"CreditsAudio for this episode of Alt.Latino was edited and mixed by Noah Caldwell. Our project manager is Grace Chung. NPR Music's executive producer is Suraya Mohamed.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Russ Williams is a Welsh blogger & the author of Where the Folk; A Welsh Folklore Roadtrip from Caernarfon, Wales. After readings about the Cŵn Annwn [a mythological pack of otherworldly hunting hounds], we open our conversation on Welsh identity with the preservation of their Celtic language along with tidbits of history and local foods such as the lunch meal of the miners, the Welsh oggie. Jumping into Russ' book on the folkways and lore of Wales we hear about: the macabre horse skull costume known as the Mari Lwyd; a mermaid sex-slave; a tourist town banking on the legend of Gelert the Dog killed by his own master; and finally the epic Mabinogion, a collection of medieval Welsh mythology. For his own uncanny story, Russ takes us out of his homeland to the streets of Bangkok where he was outwitted by a fortuneteller. We bring it back around on more canine folklore and a travel tip for Eryri National Park, formerly known as Snowdonia. Reading from the Mabinogion translated by Lady Charlotte Guest. Check out Russ' book Where the Folk; A Welsh Folklore Roadtrip. And learn more about him at RussWilliams.orgSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com

Ukas gjest er Fredrik Skavlan.

Folk singer, textile artist, and reader, Emmy Lou, dishes all in this intimate discussion about her personal and romantic life. She performs her hit song "I Heart You, New York City," about public intimacy. We also meet her ex-partner, Carl Poteraychke, as they work to rekindle the flame. Her songs, vulnerability, and raw heart will bring you to tears and give you a new perspective on Americana. To follow Emmy Lou's (a.k.a. Andie Paradis') odyssey, find her on Instagram @andieparadisfanaccount. Cam is also performing his solo show, Just To Be Close To You, during July and August. You can find his dates on IG @camoncam69. Get close with us! Follow Sex Talk With My Mom (@sextalkwithmymom_official), Cam Poter (@camoncam69), and KarenLee Poter (@karenleepoter) on Instagram, YouTube, and TikTok! #SexTalkWithMyMom #EmmyLou #ComedyMusic #Polyamory #CamPoter #KarenLeePoter #FunnyPodcast Chapters  0:00 - Intro 1:02 - Meet Emmy Lou: The Multi-Talented Artist  04:02 - Musical Performance: "I Heart You, New York City"  14:29 -  Emmy's Love Life 16:05 -Surprising Guest: Emmy's Ex Carl Poteraychke Joins the Conversation  24:44 - Closing Thoughts and Upcoming Shows Please support our show and get discounts on our favorite brands by using our sponsors' links at sneakypod.com! FLESHLIGHT – Our sponsor, FLESHLIGHT, can help you reach new heights with your self-pleasure. FLESHLIGHT is the #1 selling male sex toy in the world. Looking for your next pocket pal? Save 10% on your next fleshlight with Promo Code: SNEAKY at fleshlight.com. ❣️You can view many of our full episodes in video form by going to our YouTube channel. Join our sparkling new Sneaky Freak chatroom on Discord! Just visit: https://discord.gg/jJZqkUw3dV. To gain exclusive access to all our Discord channels, join us at Patreon.com/sextalkwithmymom. If you've enjoyed the show, please consider leaving us a review at RateThisPodcast.com/Mom. Also, it would mean the world if you'd support us through Patreon.com/sextalkwithmymom – a platform where you can get exclusive STWMM bonus episodes and Zoom chats with us! Grab some Sex Talk w/ My Mom swag at sextalkwithmymom.com. Get close with us on socials at: Text us - 310-356-3920 Facebook/Instagram - @sextalkwithmymom_official Twitter - @SexTalkWMyMom Website - www.SexTalkWithMyMom.com Our podcast's music was crafted by the wildly talented Freddy Avis! Check out his work at http://www.freddyavismusic.com/ Sex Talk With My Mom is a proud member of Pleasure Podcasts, a podcast collective revolutionizing the conversation around sex. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send a message to the JestersInto the belly of the beast, our agent's descend to find a piece of the first wolf, but what may have seemed like a simple grab and go gets...complicated.Starring: Sky Swanson (The Creature Keeper), Rachel Kordell (Laura Turner), Andrew Frost (Vernon Hodges), Seth Coveyou (Jon Douglas), Casey Reardon (Elmer Fink), and Nate Brass (Chet).Edit Team: Casey Reardon & Sky Swanson [SFX Artist]Content Warnings: Body horrorShoutouts! Come see our live show on July 29th over at Sip and Play in Brooklyn. Tickets available at  https://square.link/u/Dn3CYLUkNeed more game modules? Check out https://hatdbuilder.com for some fantastic new content to bring to your games! Use the code 'RPJESTERS' for 20% off your order, and to support the show!Want some cool RP Jesters Merch? Check out our website https://rpjesters.com/pages/storeSee more of Nate Brass at https://www.escapethedungeonpod.com/ and https://www.twitch.tv/starcrawlrpg Check out more of Rachel in The House and The Light at The Heart is a Dungeon Podcast  https://open.spotify.com/episode/6A9g6ZvBFBVNpgIpIVGbOq or specifically Pleasure and West River https://creators.spotify.com/pod/profile/theheartisadungeon/episodes/Pleasure--West-River--Starting-January-15th-e2t4oqa also check out Folk and Myth https://www.twitch.tv/folkandmythSupport the show directly and get hours of bonus content over at https://www.patreon.com/c/rpjesters/membershipIntro/Outro Music by Seth Coveyou.Additional Music by Monument Studios and YouTube Audio Library.Game System: Old Gods of Appalachia  Support the showCheck our socials!

Last Struggle Bus for June 2025 Support us on PayPal!

The BEST Independent Music Artists & Singers from around the world: EDM, Indie Rock, Indie Pop, Hip Hop, R & B, Rap, reggae, Jazz, Country, Folk, & more...Hosted by DTongAdvertising & Sponsorship: http://goo.gl/ioP6HwGuaranteed Song Play & Promotion: http://goo.gl/4aD98wBROUGHT TO YOU BY:El Conquistahttps://tinyurl.com/4namnvktAn Otherwise Silent Sea: A Fairy Talehttps://amzn.to/4jHNqkMWords With Myself w/ Luke Rixsonhttps://wordswithmyself.co.ukThe Rise of the Nereids and Oceanidshttps://tinyurl.com/msyd4cvsBoss Lady Conversationshttps://bit.ly/3HYiEXNSparky: Stress Free Parking Apphttps://www.indiegogo.com/projects/sparky-android-app-never-lose-you-car-again#/Smart I-Lid: Heat & Cool Waterhttps://tinyurl.com/2wx2mamdRISE Radiohttps://bit.ly/3T2Fxf5Valor: Quest of the Mystic Knightshttps://tinyurl.com/283sb8jeThe Founder Fit by Ike Ezehttps://tinyurl.com/mpnxe978The Tale Of Aster The Loyal Bearhttps://bit.ly/4l1wiYgA Journey to Self-Disciplinehttps://tinyurl.com/33vyhn7xNot Another Zombie Book by D.B. Randelia https://bit.ly/4kjXBwtCreated: Time To Look by Jen Zaharihttps://tinyurl.com/n77hfr3aAlso New Music from:Euphor 'Paradise'D-Grade 'Dream Echoes'Abstract Lion w/ a Back2backChelekis 'Dog Days'D Scott ft Don 'At The Top'Jenni 'Painful Riddle'Aubrie Elise 'One Day'Roy Gray w/ a Triple PlayGreyson Turner 'Half A Man'Benjamin Kohn 'Today'Nancy & The Tru Believers 'Can't Live Without You'Kaiak 'The One And Only'Alexia Anne 'Villain in the making'Jigsaw Da Don 'Well Up'Alex Petion 'Lonely Motionless'Saint Kon 'No Name'Glitzy 'Clover'beeJayLady w/ a Triple PlayCatch the show on iTunes, Spotify, iHeartRadio, PlayerFM, TuneIn, Soundcloud, & www.DTongRadio.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/dtong-radio-indie-music-showcase--954466/support.

Allerede inden Pearl Jam træder op på den orange scene, varsler det ilde. Folk står alt for tæt og publikum bølger frem og tilbage. Pludselig vælter en stor gruppe midt for scenen og ni mennesker bliver mast under menneskemængden og dør. Under ulykken stod en masse frivillige vagter med et pludseligt ansvar for at trække de livløse kroppe ud af menneskemængden. I P3 podcasten Under Radaren fortæller de nu - at festivalledelsen få timer efter tragedien gav dem besked på ikke at udtale sig til pressen. Journalist Bo Nordstrøm Weile fortæller i dag om dem, der stod allertættest på tragedien for 25 år siden. Vært: Anna Ingrisch. Program publiceret i DR Lyd d. 25. juni 2025.

Black, Death, Speed, Thrash, Doom, Folk, Shred, Power, Prog & Traditional MetalPlaylists: https://spinitron.com/WSCA/show/160737/Black-Night-MeditationsWSCA 106.1 FM is non-commercial and non-profit.

Send us a textVincent Cross/Water Under The Bridge/A Place Where Songs Come To LiveVincent Cross/Wilderness/A Place Where Songs Come To LiveVincent Cross/Boombox/A Place Where Songs Come To LiveVincent Cross/The Bright Crystal Fountain/A Place Where Songs Come To LiveVincent Cross/Farewell Sweet Lovely Katherine/The Life & Times Of James "The Rooster" CorcoranVincent Cross/Albert W. Hicks/ The Life & Times Of James "The Rooster" CorcoranSupport the show

Watch this episode ad free by joining the ITBR Patreon and get a free trial for the ITBR Professor level!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ patreon.com/ivorytowerboilerroom⁠Manuel Betancourt is back to talk all about his new book Hello Stranger: Musings on Modern Intimacy which explores chance encounters including online hook-up culture, cruising, and yes even bathhouses! As a culture writer and film critic, Manuel uses so many exciting pop culture examples to analyze queer male modern intimacy, including the film Cruising, Frank O'Hara's poetry, and yes even Stephen Sondheim! We get into such an interesting conversation about relationship types including friendships, casual connections, throuples, and monogamous ones. Manuel explains how his book challenges monogamy as a default relationship type, and he encourages all of us to question relationship norms! Then, I pick Manuel's brain about the nostalgia of Queer as Folk and recap episodes 14-15. Are the gay characters still relevant or do they seem like outdated gay stereotypes? You'll have to listen to hear Manuel's opinion! You can find Manuel's book here: books.catapult.co/books/hello-stranger/Be sure to follow Manuel on Instagram @bmanuelFollow ITBR on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Sponsors:To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe and enter promo code ITBRChoice to get a free issue with a subscription purchase. Follow them on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Follow That Ol' Gay Classic Cinema on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thanks to the ITBR team! Dr. Andrew Rimby (Host and Director), Mary DiPipi (Chief Contributor), and Christian Garcia (Editor)

Chris Llewellyn from Rend Collective joins Mark and Brittany on The Morning Journey to talk about their Folk sound, writing process, and reaching people for Jesus. He also tells us his favorite place to grab food while on the road.

Disciples!Here we go – May top 40 picks (with bonus tracks!) for your listening pleasure.Enjoy! Playlist (TIMEBandLocationSongLink):0:00:03 Gods of Tomorrow (Germany) Point of No Return [single]https://gods-of-tomorrow.com/0:03:30 Sandness (Italy) Back For Morehttps://www.sandnessofficial.com/0:07:07 Reversed Chakra (Italy) All The Way Down [single]https://www.reversedchakra.com/0:11:16 Drab (USA) Lonely Place [single]https://drabnola.com/0:16:07 Strange Boutique (USA) Radium Kiss [single]https://strangeboutiquedc.com/0:20:37 Thomas Carlsen’s Transmission (Norway) Defiant … Continue reading (368) Independent Music Special V5 May 2025 →

The man, the myth, the legend, Kevin MacDonald joins us in Studio 1. He was kind enough to pick someone who didn't win, but then... picked a winner for Big Lake, Big Prizes! congratulations Michelle Guile on your 2 Weekend passes + Warm the rocks passes for Folk on the Rocks 2025.

Can your keyboard produce enough hyphens to define Hal Sparks? He is a Comedian-Actor-Musician-Magician-Podcaster-Political Commentator-TV and Radio Personality-Host-Podcast Guest, and beyond. We are hoping his mother keeps a scrapbook.Hal has brought us such memorable characters as “Zoltan” in Dude, Where's My Car, “Elevator Passenger” in Spiderman 2, Michael in Queer as Folk and he proved too much of an improv master for Talk Soup to contain, which freed him up to host his own podcast empire, to tour with his band, Nerd Halen and with the Sexy Liberals Comedy Show and to guest with us on Media Path Podcast. Hal began sharing his wickedly sharp political observations on video platforms during the  pandemic's early days. He had just left China and lost dozens of friends to Covid. He fully understood the impending danger and devastation. So he hunkered and bunkered and began fact-checking Trump live on Youtube and Twitch. An outlet that released tension for himself and for his politically informed and engaged audience. He calls them “Sparklers!”Hal's show, Megaworldwide streams daily on his website infotainmentwars.com. Here, he reacts in real time to breaking news and the current political landscape. Hal's strong belief in the power of the electorate to enact real change inspires his work and he endeavors to be a part of the conversation shaping the narrative of the Democratic party.We ask Hal to tackle today's top headlines, the targeted attacks on Iran's nuclear missile sites ordered by Trump and the schism it's causing within the MAGA movement, as exemplified by prominent figures who find themselves at odds on the issue, like Ted Cruz and Tucker Carlson.We also discuss how traumatic childhoods and a lack of empathy underpin the mindset of the current administration. We follow the money that funds right wing influencers. We explore Elon Musk's technocratic family legacy. And we are front and center for the latest from Hal's comedy cover band, Nerd Halen. Then, we take a tour through Hal's scene-stealing film and TV moments with a round of IMDB Roulette which includes Chopper Chicks in Zombie Town, Dr. Quinn Medicine Woman and, of course, Dude, Where's My Car!In recommendations-- Fritz: History Channel series, Kevin Costner's The WestWeezy: HBO Max documentary, Surviving Ohio StatePath Points of Interest:Hal SparksInfotainmentWarsHal Sparks on InstagramHal Sparks on FacebookHal Sparks on BlueskyHal Sparks on YoutubeHal Sparks on WikiNerd HalenThe West - History ChannelSurviving Ohio State

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Episode OverviewIn this episode of Spiral Deeper, our host, Gaby Azorsky shares a Reiki healing meditation. This meditation is the Selenite wand, the Swiffer, of clearing your energy. Ideal to turn to mid-day and/or end of day when you are taking on shit that isn't yours. Gaby would venture to say this is necessary for all empaths…return to your calm, true nature, where the waters within you are clear. Includes Quantum Healing. Thank you for joining us on this journey of self-discovery and growth!Special OfferCODE - SPIRALOFFLOWERS for 20% off your first month in The Flower Portal!Connect and Work with GabyInspiring the connection between Heaven and Earth through Reiki, Tarot, Folk herbalism, Clairvoyance, and Meditation. Together, we co-create harmony, clarity, and alignment with your True Essence. I'd love to support you!Visit my website to learn more: gabyazorsky.comFollow me on Instagram: @gaby.azorskyNewsletter: Sign Up HereBook a 1:1 Session: Book HereJoin My Membership, The Flower Portal: Learn MoreWith Spiral DeeperWebsite - Spiral Deeper PodcastInstagram - @spiral.deeperCreditsSpecial thanks to…Music - Connor HayesSpiral Deeper Icon - Kami MarchandCollaborate with UsInterested in advertising or collaborating with Spiral Deeper? Email gabyazorsky@gmail.com for packages and details.Support the ShowPlease rate, review, and subscribe wherever you listen - it means so much. Be sure to tag @spiral.deeper if you share; thank you for your support!

In this episode of the Hungarian Heritage Podcast I am thrilled to announce another exciting co-host collaboration! As many of you know, Season 3 has featured many new co-hosts, and all of them began with an episode recording, followed by a blossoming friendship that lead to new collaborative ideas. So, for those of you who have been listening to the podcast for a while, it will come as no surprise that my next co-host is Ilka Kocsis, author of Ilka's Kitchen Stories, Balassi summer program participant, and most importantly my friend.  Together, Ilka and I will be celebrating Australians with Hungarian heritage, and in this first episode of our Australian series we will be featuring Peter Sacket from the Hungarian folkdance group, Keszkenő. Listen closely and you'll hear the strength of Hungarian heritage in every step of this folk dance group. You will hear just how Hungarian Heritage strong the Keszkenő Folkdance group and Peter Sackett are as they continue to foster the growth and love of traditional Hungarian folk dancing in Western Australia. If you are interested in contacting my co-host Ilka Kocsis about her cookbook or her experience in the Balasssi program , I will leave her information below, and if you are interested in contacting Peter Sackett from the Keszkenő folk dance group, I will leave the dance group's contact information in below, as well. If you have feedback or questions about this episode or you would like to connect with me at the podcast, you will also find that information below. If you've enjoyed this episode and you're interested in learning more about this Hungarian Heritage community, please don't hesitate to reach out. I would love to hear from you. Our theme music is Hungarian Dance by Pony Music, used with special license from Envato Market. Don't forget to subscribe, rate, and review wherever you listen to your podcasts. Thanks again for listening, and until next time, make sure you Stay Hungarian Heritage Strong!  Sziastok!CONNECT with Ilka Kocsis Reach out through Instagram or Facebook to purchase her book. Instagram: @ilkas_kitchen_storiesFacebook: Ilka's Kitchen www.balassieducation.huCONNECT with Peter Sackett from the Keszkenő Folk Dance GroupEmail: keszkeno@outlook.comInstagram: @KeszkenőHungarianDanceGroupFacebook: Keszkenő Hungarian Folk Dance GroupCONNECT with the PodcastWebsite: www.myhungarianheritage.comEmail: Christine@myhungarianheritage.comInstagram: @hungarianheritagepodcastFacebook: Hungarian Heritage Podcast     

July 2025's edition of BLUES TIME. PLAYLIST: ARTIST - ALBUM - TRACK. 1 Amy Ryan Band - Brighter and Brighter - Hear That Train. 2 Brandon Santini - Which Way Do We Go - Which Way Do We Go. 3 Mark Campbell & The Ravens - Sleep on my own. 4 Magnetic Gardener - Time Ain't My Friend - Jacques and Sarephine. 5 North Mississippi Allstars - Still Shakin' - My Mind is Ramblin'. 6 Gina Sicilia - Bring It On Home A Tribute To Sam Cooke - Shake. 7 Allison August - August Moon - Dog In You. 8 Buddy Guy - Ain't Done With The Blues - How Blues Is That. 9 The Alexis P. Suter Band - Just Stay High - 4 Wheels Beats 2 Heels. 10 The Pszenny Project - Baby Cries. 11 The 484 South Band - 21 Miles of Bad Road - All Night Long. 12 Charlie Musselwhite - Look Out Highway. 13 Jon Cleary - The Bywater Sessions - Lottie Mo. 14 Micke Bjorklof & Blue Strip - Outtakes - Way To Go. 15 Micke & Lefty feat. Chef - Live On Air – Mississippi. 16 D.K. Harrell - Talkin' Heavy - No Thanks To You. Size: 152 MB (159,576,568 bytes) Duration: 1:06:27

Episode 64 of Music in the Minor League dropped at midnight! Our guest this week is David Fahl! David is a singer-songwriter currently based out of the Houston area. We've seen David's name all around Houston whether it be newsweeklies, show announcements or 'Fahl & Folk' stickers on guitar cases and venue walls. We finally got to meet him a few months back and hear some of his songs. When he asked if we would be interested in having him as a guest on the podcast, we said yes immediately. Then took forever to schedule it. But when it finally happened, we were excited to sit down to talk with him about music, coming to Texas from Minnesota and so much more. For more info on David, visit his website at: https://www.davidfahl.com

Kristen Sieh's performance brings the listener into the life of a complicated woman whose sexual desire is fixated on commercial airliners. Host Jo Reed and AudioFile's Michele Cobb highlight how Sieh's voice captures Lisa's desires in a skillful delivery that never wavers. Lisa works as an online comment moderator in San Francisco. She's good at her job, but she reserves her passion for airplanes. She perceives flights as dates, turbulence as flirtation—and a smooth flight could lead to something more. Lisa's friends begin to suspect something when her vision board fills up with plane imagery.  Read our review of the audiobook at our website.   Published by Random House Audio. Discover thousands of audiobook reviews and more at AudioFile's website       Support for AudioFile's Behind the Mic comes from HarperCollins Focus, and HarperCollins Christian Publishing, publishers of some of your favorite audiobooks and authors, including Reba McEntire, Bob Goff, Kathie Lee Gifford, Max Lucado, Lysa TerKeurst, and so many more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate Folk, Sky Daddy (Random House, 2025) Kate Folk is the author of the novel Sky Daddy and the short story collection Out There. Her short fiction and essays have appeared in the New Yorker, n+1, the New York Times, Granta, and The Baffler, among other venues. A former Stegner Fellow, she's also received fellowships and residencies from MacDowell, the Headlands Center for the Arts, and Willapa Bay AiR. She lives in San Francisco. Recommended Books:Katie Kitamura, AuditionDon Carpenter, Hard Rain FallingLydi Conklin, Songs of No ProvenanceChris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Make sure your cat is drinking water. Cats love to pounce. It's another 20th anniversary celebration of Irish Drinking Songs for Cat Lovers as I share the story behind “Lord of the Pounce”. This is Folk Songs & Stories #303 0:29 - Marc Gunn “Lord of the Dance” from Irish Drinking Songs: The Cat Lover's Companion 3:05 - WELCOME TO FOLK SONGS & STORIES I am Marc Gunn. I'm a Celtic folk musician living in Atlanta, Georgia and host of the Irish & Celtic Music Podcast. I'm also a cat lover as you'll hear later on in the show. If you're new to the show, please subscribe. You can do that PubSong.com or Just send me an email to follow@celtfather. Got a cat picture? Send it to me to post in the podcast. NEWS Poll: What's your favorite song on Irish Drinking Songs for Cat Lovers? Merch: Buy Irish Drinking Songs for Cat Lovers on Patreon or Bandcamp. Did you get your Irish Drinking Songs for Cat Lovers album pin? Yes. It is my Celtic Cat Logo 3:51 - UPCOMING SHOWS JUL 19: Fiddler's Green Coffeehouse Concert series @ 8 PM, First Existentialist Congregation of Atlanta. 470 Candler Park Dr. NE / Atlanta GA 30307. 404-378-5570. firstexistentialist.org, Presented by Atlanta Area Friends of Folk Music (AAFFM) JUL 31-AUG 3: Gen Con, Indianapolis, IN AUG 28-SEP 1: Dragon Con, Atlanta, GA SEP 24-28: ALEP 6, Harrodsburg, KY OCT 17-19: MultiVerse, Peachtree City, GA NOV 8: IrishFest Atlanta, Roswell, GA with Inara DEC 7: Nerdy Wonderland at The Lost Druid, Avondale Estates, GA @ 12 - 5 PM. 5:09 - Ruth Keggin & Rachel Hair "Mish as y Keayn" from LOSSAN Hear an interview with them on the Irish & Celtic Music Podcast 9:54 - SUPPORT THE CLUB The show is brought to you by my supporters on Patreon. If you enjoy this podcast or my music, please join the Club. You get something new every week. It could be a blog, an exclusive podcast, downloadable song, printed sheet music, or stories from the road. Plus, you'll get access to all of my Coffee with The Celtfather video concert series. Email follow@celtfather ! If you can't support me financially, just sign up on Patreon for free. Special thanks to our newest and returning patrons: CELTIC INVASION VACATIONS Every year, I lead a small group of people on an exciting adventure to one of the Celtic nations and other exciting locations. In 2026, we're going on a Celtic Invasion of Galicia in Spain. Galicia is indeed one of the more obscure Celtic nations to those of us who are most familiar with Ireland and Scotland. Find out more at CelticInvasion.com. 11:33 - CAT MUSIC LOVERS #5: “LORD OF THE POUNCE” AND CAT VET VISIT TnT's Annual Visit to the Vet, Cat CD House Concerts, Kitten War, Cats need to drink lots of water, “Lord of the Pounce” TnT's Annual Visit to the Vet Cat CD House Concerts Thanks to the Musicians on the CD. Some will be at the Austin Celtic Festival this November, including: Heather Gilmer, Sarah Dinan, Cedric of the Bedlam Bards and Christopher Buckley of Cluan. Kitten War Cats need to drink lots of water I want to offer Special Thanks to these Kind Supporters: Molly McDevitt, Pamela Worsham, Carole Simpsons, Robert Freeborn, Aaron Williams Vote for the Cat Lovers Podcast at Podcast Alley, no longer available. I want to offer Special Thanks to these Kind Supporters: Lanora Davidson of Things Celtic, Ashley Crawford, Kim Lambert, Dorothy Washburn, Holly Hill, Theresa Pittman, John Wohlers, Michele Piantà from Italy, Joshua Summit, Patrick Patterson, Zia King of Fifth House Candles – Cat Candles. 20:46 - Marc Gunn & The Dubliners' Tabby Cats “Lord of the Pounce” from Irish Drinking Songs for Cat Lovers lord of the pounce autoharp, lead vocal: Marc Gunn fiddle: Heather Gilmer bass, guitar: Ari Koinuma bgv: Marc Gunn, Ben Hamby, Blake McCaig, Sarah Dinan CREDITS Thanks for listening to Folk Songs & Stories. This episode was edited by Mitchell Petersen. You can follow and listen to the show on my Patreon or wherever you find podcasts. Sign up to my mailing list to learn more about songs featured in this podcast and discover where I'm performing. Remember. Reduce, reuse, recycle, and think about how you can make a positive impact on your environment. Have fun and sing along at www.pubsong.com! #pubstories  

Kate Folk, Sky Daddy (Random House, 2025) Kate Folk is the author of the novel Sky Daddy and the short story collection Out There. Her short fiction and essays have appeared in the New Yorker, n+1, the New York Times, Granta, and The Baffler, among other venues. A former Stegner Fellow, she's also received fellowships and residencies from MacDowell, the Headlands Center for the Arts, and Willapa Bay AiR. She lives in San Francisco. Recommended Books:Katie Kitamura, AuditionDon Carpenter, Hard Rain FallingLydi Conklin, Songs of No ProvenanceChris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

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

Send a message to the JestersLaura's transformation continues to progress as our agents gain another small semblance of rest as they truly learn what is going on with this island and it's history.   Starring: Sky Swanson (The Creature Keeper), Rachel Kordell (Laura Turner), Andrew Frost (Vernon Hodges), Seth Coveyou (Jon Douglas), Casey Reardon (Elmer Fink), and Nate Brass (Chet).Edit Team: Casey Reardon & Sky Swanson [SFX Artist]Content Warnings: Body horror, Mouth VisceraShoutouts! Come see our live show on July 29th over at Sip and Play in Brooklyn. Tickets available at  https://square.link/u/Dn3CYLUkNeed more game modules? Check out https://hatdbuilder.com for some fantastic new content to bring to your games! Use the code 'RPJESTERS' for 20% off your order, and to support the show!Want some cool RP Jesters Merch? Check out our website https://rpjesters.com/pages/storeSee more of Nate Brass at https://www.escapethedungeonpod.com/ and https://www.twitch.tv/starcrawlrpg Check out more of Rachel in The House and The Light at The Heart is a Dungeon Podcast  https://open.spotify.com/episode/6A9g6ZvBFBVNpgIpIVGbOq or specifically Pleasure and West River https://creators.spotify.com/pod/profile/theheartisadungeon/episodes/Pleasure--West-River--Starting-January-15th-e2t4oqa also check out Folk and Myth https://www.twitch.tv/folkandmythSupport the show directly and get hours of bonus content over at https://www.patreon.com/c/rpjesters/membershipIntro/Outro Music by Seth Coveyou.Additional Music by Monument Studios and YouTube Audio Library.Game System: Old Gods of Appalachia  Support the showCheck our socials!

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On this episode we have on Will Johnson.  Will Johnson is the lead singer of the bands Centro-matic and South San Gabriel, and has played in the touring bands of Monster of Folk, Overseas and is current in Jason Isbell's touring band the 400 unit.  He is also a painter and author.We talked about managing screen time with your kids, taking the family on hikes, Will shares stories about his own childhood, our mutual love of having a soccer game on in the background on the weekends, the adjustment period when he gets home after being on the road, and the challenge of figuring out how to recharge.  Make sure to check out Will's new album Diamond City wherever you listen to your music.  Send us a textFollow us on Facebook and Instagram @theimperfectdadspodcast . Look for new episodes of The Imperfect Dads Podcast every Monday.

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This episode was recorded on April 13th, 2025 at the Culture Center Theater in Charleston, WV. The lineup includes The War & Treaty, Johnnyswim, and Olivia Ellen Lloyd.  https://bit.ly/4jTLFku