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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

Amy Maciver is joined by Christie van Niekerk – actress, comedian, and co-creator of A Fool For You, part of Spark Hub’s exciting 2025 line-up. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Intro Song –  The Delta Sonics, “Just Playin'”, Concrete Hotel 

First Set -
 Tony Holiday w/ Eddie 9V, “She's A Burglar”, Keep Your Head Up
 BluzHammer, “I'm Tired”, Single 
Don't Look Up, “Fool For You”, Single Second Set -
 The Cadillac Cats, “Billtown Boogie”, Billtown Boogie
 Will Wilde, “Stole My Love”, Blues Is Still Alive Mick Hayes, “Checkered Past”, Lies & Letdowns Third Set - WIB
 The Cat Wells Band, “Brand New Shoes”, Brand New Shoes (EP) Janiva Magness w/ Sue Foley, “Holes”, Back For Me
 The Lynnette Barber Will Ellis Duo, “Highway”, That's The Blues (EP) 

Fourth Set - The Stefan Hillesheim Band, “Seduced By The Blues”, Live At Rosa'a Lounge 
CW Ayon, “Chicken Wing”, Bounce Boogie & Bump
 Max Hightower, “Assmograpgh”, Nothin' But The Truth


Hi Mettalll Hedzzz....Heeerz the latesits for the lizt of songz on this show ...It's songz from: Cheap Trick / Thin Lizzy / Rush / UFO / Deep Purple and Def Leppard Intro: Xanadu-Rush1. I'm A Fool For You-38 Special2. School Days-The Runaways3. Down Home Girl-Nazareth 4. Totem-Rush5. Natural Thing-UFO6. Learning To Fly-Emerson, Lake & Powell7. Warriors-Thin Lizzy8. One Night In Vegas-Deep Purple 9. C'Mon-Def Leppard10. So Sad-April  Wine11. Cry, Cry-Cheap Trick12. Mystery Ship-Fuse13. Return Of Cecilia-Blue Oyster Cult14. You Need Love-Savoy BrownOutro: Nightingales & Bombers-Manfred Mann 

Rising Manchester-born pop artist Lusaint talks about her journey so far as an independent artist, about being vulnerable about body image and self confidence, and the meaning behind recent single, Fool For You – taken from her upcoming debut EP, Self Sabotage.

Grammy Award Winner, Melanie Fiona talks about her musical beginnings, her evolution since "The Bridge," and life in the industry. She shares the wild story of how her verse happened on her and Cee-Lo's Grammy Award winning song, “Fool For You”. She also gets candid about how she dealt with and released trauma, her birth experience, motherhood and shares how it's reshaped her music and life.

Nos despedimos de dos poderosas cantantes: la irrepetible Tina Turner, que ha fallecido en Suiza a la edad de 83, y la gran Velma Powell, a quien sus amigos y compañeros de escena darán un homenaje en la sala madrileña El Sol. Playlist: Snatch It Back and Hold It – Junior Wells; Dust My Broom – Ike & Tina Turner; Nothing But the Cat, Let's Do It Again, Blues To The Bone, Too Late – Velma Powell & Bluedays; Rocket 88 – Jackie Brenston & His Delta Cats; My Baby Stole Off – Howlin' Wolf; Five Long Years, Early In the Morning, A Fool For You, Something's Got A Hold On Me – Ike & Tina Turner; Undercover Agent For the Blues – Tina Turner; Proud Mary, Good Times – Ike & Tina Turner. Escuchar audio

| Got To Be (Extended House Mix)  | Brian Power, Roachford | Searching For Love  | Will Sawney  | I Won't Tell  | Byamm | Shine  | Byamm | Delectable U (T-Groove Remix)  | Confection | I Feel Like Making Love  | Mz. Suga | Starlight  | Destiny La Vibe Music | Right The Wrong  | Natasha Watts | I Do I Did I'm Done  | Natasha Watts | Can You Feel It?  | Dennis Taylor | So Hypnotized (Gedi Radio Edit)  | Antonio McGaha feat. Journey Brave | High (Gedi Clean Edit)  | Terrence Léon | For Your Love  | Joe Irving | Single By Choice  | Joe Irving | Beautiful  | Maysa | Let Me Show You Love  | Terrell Moses | Fool For You  | Tre Williams  | Night With Bluff  | Bluff City | Intuition  | Sade Awele | Not Today (Gedi Edit)  | Delicia feat. Pettidee | That's How Rumors Get Started  | Terrill Carter | Sexy Lady (2023 Version)  | Veira Krew | Welcome To A Dream  | Veira Krew | Count On Me (Head Nod Mix) (Radio Edit)  | Boomtang All-Stars feat. Charlene Smith and Four80East | Takin' All My Lovin'  | Mikey Jimenez | Overrated (Clean Version)  | Kenya Vaun | Never  | Tony Lindsay | How Long (Gedi Edit)  | Shuko, Nia Wyn & Pete Philly feat. Keymer | Immune  | David Margam feat. Carlos Camilo and Andres Garcia | My Way (Radio Edit)  | Champion feat. Daliya Nava | If You Want To Fool Around (2023 Remix)  | D-Funk (Demetrius Manuel) | No Boundaries  | Dee Lucas | Just A Vibe (feat. Ragan Whiteside)  | Dee Lucas | Demon Time  | Alex Vaughn | IYKYK (feat. Muni Long)  | Alex Vaughn | Learn How To Love  | Frank McComb and Walter Williams | I Let Cha  | Krishawna feat. Kion

A Tribute To Curtis Mayfield : Gladys Knight ”Choice Of Colors” Steve Winwood “It's All Right!” Repercussions And Curtis Mayfield “Let's Do It Again” Lenny Kravitz “Billy Jack” Bruce Springsteen “Gypsy Woman” Eric Clapton “You Must Believe Me” Branford Marsalis And The Impressions “Fool For You” Tevin Campbell “Keep On Pushin'” Aretha Franklin “The Makings Of You” B.B. King “Woman's Got Soul” Rod Stewart “People Get Ready” Narada Michael Walden “(Don't Worry) If There's A Hell Below, We're All Going To Go” Stevie Wonder “I'm The One Who Loves You” Escuchar audio

Sintonía: “Confession Blues" - Ray Charles "Sitti On Top Of The World" - "Leave My Woman Alone" - "Drown In My Own Tears" - "All To Myself" - "How Long Blues" - "She´s On The Ball" - "Alone In The City" - "Come Back Baby" - "I Wonder Who´s Kissing Her Now?" - "I Got A Break, Baby" - "Sinner´s Prayer" - "I´ve Had My Fun" - "The Snow Is Falling" - "Funny (But I Still Love You)" - "Blues Before Sunrise" - "Losing Hand" - "A Fool For You" Todas las canciones cantadas e interpretadas al piano por Ray Charles. Escuchar audio

| Together (The Lovers Remix)  | Ashley Scott  | 2022 | Lay Up  | Dee Dee Simon  | 2022 | I'm A Fool For You  | George Scott  | 2022 | I Love You  | Sir Wick  | 2022 | Seraphic Passion  | Amaris J  | 2022 | In Summertime  | Ronnie McNeir  | 1972 | I'm Your Lover  | Ronnie McNeir  | 1975 | Lord Thank You  | Reggie Boone  | 2013 | In The Rain  | Malik Malo & The Notations  | 2022 | Through The Storm  | Mary Ellerbe Bennett  | 2022 | We Should Be Together  | Barons  | ? | Fool In Love  | Tenelle  | 2022 | Ready Ready Love (feat. Robert Allen)  | Kadice  | 2012 | Don't Play With Love  | LeVelle  | 2022 | Why  | LeVelle  | 2022 | Pay Back Is A Dog  | The Stylistics  | 1973 | Peek-A-Boo  | The Stylistics  | 1972 | I.L.W.Y.  | CODĒ!  | 2022 | The Mess We Made  | Omar Cunningham feat. Mz Pat The Lady Of Soul  | 2022 | When I Cried Boo Hoo Hoo  | Nanette Maxine  | 2022 | Can't See You When I Want To  | David Porter  | 1970 | Give Your Love To Me  | Con Funk Shun  | 1980 | My First Love  | René & Angela  | 1983 | The Last To Know  | Leon Cooke  | ? | Let's Make Love (At Home Sometime)  | The Exoutics  | 1988 | I'll Never Love The Same Way Twice  | Barbara Mason  | 1980 | Why Is There No Trace Of You  | Fourth Creation  | 1974 | What Am I To Do  | Elaine Stepter  | 2022

Think we can consider Freddie Shaw and Nicky Dixon's Matchmaking Extravaganza a success? Content warnings: violent consumption by a lake (mentioned), parent death (mentioned), vocal distortion, slight sensory overload via loud music, static Transcript: https://docs.google.com/document/d/11YG52VCxz5DCKOsrYmQqnanTR_LgajR0mdYsqZG9GEY/edit?usp=sharing Dyslexia-friendly transcript: https://docs.google.com/document/d/1d6VdhZlxvYWJCH-ZZL1Q4O-A0Jg_dw4z3ZNJJq1OrQA/edit?usp=sharing Based on an original concept by Chloe Peterson. Written by: Alex Abrahams and Chloe Peterson. Script editing by: Jordan Hendrickson. Directed by: Chloe Peterson. Edited by: Stoker Leopold. Music by: Jordan Hendrickson and Chloe Peterson. The song featured in this episodes was "Fool For You" by Chloe Peterson. It was written by Chloe Peterson, composed by Chloe Peterson and Jordan Hendrickson, and featured Ella Hicks on guitar, Jordan Hendrickson on the cello, Tate Lindon on the violin, and Chloe Peterson on vocals. Performances: James Strickland as Jordan Ambrose. Shawn Tumbokon-Flowers as Nicky Dixon. Tam Silverman as Sam Moss. Moira-Juliet Scott as Calliope Morris. Eden J. Storm as Freddie Shaw. Alex Abrahams as Evan Pearce. Michael M as Chip Romero. Chloe Peterson as Stephanie Wright. Livie Martin as Jessica Pearce. Roswell Hellinger as Eli Wyman. Sound effects by: Disagree, JamesFarrell_97, JohnsonBrandEditing, JovianSounds, Nimlos, Sheyvan, SpliceSound, dkiller2204, kwahmah_02, quedicemipez, DaveJf, Romariogrande, cassn003 on Freesound - Freesound. Today's mini episode featured a promo for Back Again, Back Again. You can follow them on Twitter @BackAgainPod, and on Instagram and Tumblr @backagainpodcast. You can listen to Back Again, Back Again on Spotify here: Back Again, Back Again | Podcast on Spotify. Contact us: Twitter: @room56pod Instagram: @room56pod TikTok: @room56pod Tumblr: @room56pod Email: thechildrenofroom56@gmail.com The Children of Room 56 is licensed under a Creative Commons Attribution-Noncommercial-Sharealike 4.0 International License and distributed free of charge by the [Listless] network. For more information, as well as our show transcripts and additional content, check out our website: [Listless] - The Children of Room 56.

Episode 134 The Lunar Saloon Every Friday from 11P - 1A PST 99.1 FM Long Beach Streaming at KLBP.org Airdate: October 22, 2021 -=-=-=-=-=-=-=-=-=- V.I.P. Connection, West Coast Drive, Supafunkanova (Badass Funk Classics From The Disco Boogie Era) The Fatback Band, The Girl Is So Fine (So Fine) (Dance Version), The Girl Is So Fine (So Fine) Pascal, N.D.S. (Disco Version), Arcipelago Timmy Thomas, Why Can't We Live Together (Edit), Shoes Your Illusion Volume I And II Antoine Rouge, Tapioca Island (Original Mix), Spook Juke EP Puma & The Dolphin, Cobra Dance, Primitive EP Andrew Weatherall, Unknown Plunderer (Radioactive Man Remix), Unknown Plunderer / End Times Sound Ladytron, Playgirl (Tobias Neumann Club Mix), Playgirl Acts Of Madmen, The Dream, The Dream Endless Nostalgia, Me And My Alter Ego, Me And My Alter Ego Oscar Rocchi's Orchestra, Cabala, Video Dance ARREDO, Sonorix, Night Attraction Francis Lai, Robomanie, Astrolab 22 Candidate, Subterrateen, Side by Side Jake & Sharon Hottell, Uranus (Open Arms), Break The Chains Yan Tregger, Crystal Mind, To The Land Of No Return Trees Speak, Shadow Forms, Shadow Forms Lush, Undertow [Spooky Remix], Hypocrite Øresund Space Collective, Lord Of Slumber, Slip Into The Vortex Kieser Velten, Dubolition, Showdown EP B:dum B:dum Sound, Instanbul, B-Dum B-Dum Tolouse Low Trax, Jumping Dead Leafs, Jumping Dead Leafs? Vendor Refill, Oikake_'Akabei', Evil Weevil EP POISON, Mess Tool, POISON Bixio, Frizzi, Tempera, Escape (7"" version), Magnetic Systems Memo, Huggy, Lost Star Bernard Estardy, Asiatic Dream, Space Oddities 1970-1982 Alex Kassian, Bells of Ukyo, Hidden Tropics Sound Voyage, Anti War Dance, En Route To Thailand Ché, Be My (Powerstation), Be My (Powerstation) Miracles, Bone Yard, Meltdown Bufiman, Under Control Now (Rhythm Trax), Albumsi Rhythm Trax Lamellen, Spider, Monty Roberts Ronald Langestraat, A Fast Drive Through The Universe, Apollo The Ledgends, A Fool For You, The Key To Our Love Vol.2

| Are You Gonna Leave Me  | 02:08  | Jesse James | Two Steps Back  | 05:00  | David Scott | Let's Play  | 04:06  | Will Preston | This Place Ain't Getting No Better  | 03:02  | McKinnley Mitchell | So Good  | 05:17  | Kevin Toney | I Think I'm Over You  | 05:01  | Mini Curry | A Fool For You  | 03:21  | The Ledgends | Tomorrow Can Wait  | 03:25  | After 7 | Rock With Me  | 03:37  | Charlene Elizabeth | Love Is For Keeps  | 04:35  | Redd Hott | You For Me  | 04:02  | Redd Hott | Here I Am  | 04:04  | Esquire | Did He Make Love To You  | 03:39  | Johnnie Taylor | Never Too Late  | 03:44  | The Whispers | Wake Up Sunshine  | 04:30  | Raelle | Preacher  | 03:21  | Smoke D presents Live' | I Ain't No Side Piece Lover  | 04:25  | J'Cenae | Lost You (Clean Version)  | 02:58  | Snoh Aalegra | Show Me Your Heart  | 04:12  | Spinners | Poor Loser  | 04:03  | Manila Machine | Why Then  | 03:36  | The Truths Inc. | My Baby  | 03:58  | Antonio McLendon | Cry Together  | 03:39  | The Intruders Review | You Who Brought Me Love  | 03:59  | Roberta Flack | Send My Baby Back  | 03:10  | Freddie Hughes | Simple Man (Radio Edit)  | 03:34  | Saint Jaimz feat. Popz | My Baby  | 03:12  | Limitations | Lovely Little Lassie  | 03:12  | Masters Of Soul | I'm A Loner (Remastered Version)  | 03:55  | The Nu-Rons | It's Forever (LP Version)  | 07:18  | The Ebonys

In this episode, we talked to our good friend London Mars about painting, couches, Oklahoma, midnight cafes, our unreleased songs, writing camps, jealousy, nostalgia, first-time listening, life plans, cryopreservation, time traveling kids, and her upcoming record (including the single "Fool For You"). NooWave: https://www.noowave.co/ The Truffleist: https://www.truffleist.com/ Podcast Awards: https://www.podcastawards.com/ Discord: https://www.discord.com/invite/3EbvrZReVX Patreon: https://www.patreon.com/talkinglion Shirts: https://www.sleepinglionmusic.com/store

What the hell is up? Today's episode features Joe August, a musician and music therapist, in a conversation we had back in May. I wanted to ask him "what the hell is up with being a rock star and a music therapist?!". In other words, I was curious about Joe's relationship with independent artistry and healing work. During the episode, we discussed his upcoming full length album "Modern Sound of Quiet" which came out on July 6th and features the singles Lotus Flower and Next Year. Joe and I discussed his musical influences, inspiration, and the meaning he finds in providing music therapy as a healing modality for the clients he works with. With classic 60s psych-rock influences and themes of finding stillness in the overall chaos of media which we often experience, his new album absolutely grooves. In this episode, you'll hear the songs Paradise (with Afterspace), M.S.Q., Lotus Flower (with Chase Rabideau) and Fool For You (with Alec Shaw & Zan Fiskum). I was inspired by Joe's attention to cultivating connection through music across time and I know you will be too, so listen in friends! Find Joe August on Instagram @joeaugustmusic, stream his music on all platforms and watch the music video for Lotus Flower https://www.youtube.com/watch?v=_rKfwOcS6PQ Intro and Transition Music is by Afterspace - find his beats on SoundCloud https://soundcloud.com/afterspace Podcast art is by Sarah Day Promo art is by Aubrey McMichael Mixing is by Allan Louderback --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome to the Instant Trivia podcast episode 135, where we ask the best trivia on the Internet. Round 1. Category: Ghosts 1: The 999 ghosts at the mansion in this Anaheim landmark tell visitors “There's always room for 1 more”. Disneyland. 2: Creators of “Casper” say this film's logo plagiarized 1 of their characters. Ghostbusters. 3: Silver City, Idaho and Bodie, California for example. ghost towns. 4: In the Superman TV series, editor Perry White frequently invoked this spirit. great Caesar's ghost. 5: In Shakespeare's play, ghost who sat in Macbeth's place at the banquet table. Banquo. Round 2. Category: Cruisin' The Caribbean 1: When you pull into Guadeloupe, you may have to change your dollars into this official currency. euros. 2: Princess Cruises shipped in tons of this to keep its private Caribbean island beach looking pristine. sand. 3: As you'd expect, it was the first company to launch a fleet exclusively in the Caribbean. Royal Caribbean. 4: Destiny and Liberty are 2 of this line's "Fun Ships". Carnival. 5: If you're cruising on the Royal Clipper, it will most likely be under this power. wind. Round 3. Category: Superman 1: He played Jesse James in 1943's "The Kansan" before donning the cape of Superman on TV in the 1950s. George Reeves. 2: (Hi, I'm Michael McKean.)My guest appearance as Perry White made this show successful; my wife, Annette O'Toole, may also have helped. Smallville. 3: In "Superman III" this comedian uses the "Salami Technique" to steal tiny sums of money from many bank accounts. Richard Pryor. 4: Kate Bosworth was Lois Lane in this 2006 man of steel movie. Superman Returns. 5: 1978's "Superman" was scripted by this New York author famous for mafia tomes. Mario Puzo. Round 4. Category: Pop Goes The Ballet 1: The rock and roll ballet "Blue Suede Shoes" celebrates the music and the spirit of this legendary star. Elvis Presley. 2: "Deuce Coupe" is danced to "Little Deuce Coupe", "Catch A Wave" and other songs made famous by this group. The Beach Boys. 3: The 1988 ballet "A Fool For You" is performed to this star's hits, including "I Got A Woman" and "Hit The Road Jack". Ray Charles. 4: "Sex" and "Horror" are compositions this member of the Marsalis family wrote for the ballet "Them Twos". Wynton Marsalis. 5: "Laura's Women" was inspired by the music of this singer-songwriter who wrote for Streisand and Three Dog Night. Laura Nyro. Round 5. Category: Cookies 1: "Sesame Street" character whose catchphrase is "Me want cookies". Cookie Monster. 2: Debbi is the first name of this woman whose name is on over 700 cookie franchises. Mrs. Fields. 3: In 1934 this pair from the funny pages had a baby son named Alexander; daughter Cookie was born in 1941. Blondie and Dagwood. 4: A machine that is a funnel within a funnel fills this cake-like cookie with fig jam. a Fig Newton. 5: Founder Margaret Rudkin named this brand for a property her family owned in Connecticut. Pepperidge Farm. Thanks for listening! Come back tomorrow for more exciting trivia!

The windows are open, the sun is shining on my street, and the music is flowing out of my stereo speakers and into the sky. It's that time of the month, and EPISODE #93 of Random Old Records is here with some free and easy sounds to soundtrack your days and nights.The first thing you'll hear are country-rock classics from Judee Sill and Dillard and Clark, then we move on to some killer new jams from Oceanator, David Nance, and Nightshift, more vintage sounds by Federal Duck, The Grass Roots, The Serpent Power, Barbara Howard, plus a whole lot more. If you're a fool in love, looking for something to believe, or just trying to keep warm, there's something for you here!Don't forget to SUBSCRIBE to Random Old Records via Apple Podcasts or RSS. If you like the show, please rate it and write a review! You can also go the traditional route and stream or download the new episode below. Come back next month (or so) for another episode of Random Old Records. As always, thanks for listening!Also, Random Old Records Zine #1 is out and shipping now! $6.50 postage-paid, 20 pages, black & white, all previously unpublished on this blog or elsewhere. It features long reviews of the albums Don't Knock My Love by Wilson Pickett and Shadows by Maston, along with interviews I did with Dennis Coffey and Frank Maston about the making of those albums. Click the Buy Now button below to order, US shipping only. Thanks for the support! Random Old Records Podcast #93Released 04/30/2021DOWNLOAD HERE (Right-Click, "Save As")1. Judee Sill - "There's A Rugged Road"(Heart Food, Asylum 1973)2. Dillard and Clark - "The Radio Song"(The Fantastic Expedition Of Dillard and Clark, A&M 1968)3. Weyes Blood - "Something To Believe"(Titanic Rising, Sub Pop 2019)4. Lavinia Blackwall - "Keep Warm"(Muggington Lane End, self-released 2020)--Small town in Texas!5. Blades Of Joy - "Be Free"(Blades Of Joy, Melters 2018)6. Oceanator - "January 21st"(Things I Never Said, Plastic Miracles 2020)7. David Nance - "My Love, The Dark And I"(Staunch Honey, Trouble In Mind 2020)8. Nightshift - "Romantic Mud"(Zoe, Trouble In Mind 2021)9. Tess Parks - "Stick Around"(Blood Hot, Optic Nerve 2015)--Angel unchained!10. The Do's And Dont's - "No One To Talk My Troubles To"(Whispers Lounge, Numero Group 2020)11. Federal Duck - "Tomorrow Waits For Today"(Federal Duck, Musicor 1968)12. Maria Dallas - "Ambush"(Maria Dallas In Nashville, Viking 1967)13. Becki Bluefield - "Somebody's Gonna Plow Your Field"(Plantation Gold, Omni 2009)14. The Serpent Power - "Up And Down"(The Serpent Power, Vanguard 1967)--Tentacles!15. The Tuneful Trolley - "Hello Love"(Island In The Sky, Capitol 1968)16. The Critters - "Don't Let The Rain Fall Down On Me"(It's A Happening World, Warner Japan 2017)17. Free For All - "I'm So Glad That I Found You"(The Sun Shines On My Street, Teensville 2018)18. The Grass Roots - "Mr. Jones"(Where Were You When I Needed You, Dunhill 1966)19. Barbara Howard - "Oh Me, Oh My, I'm A Fool For You"(On The Rise, Remined 2019)

This episode is based off CeeLo Green and Melanie Fiona's Fool For You. Have you ever been a fool in a relationship? Listen to our story.

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Wily Bo WalkerThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Kat Riggins,Truth,Cry OutKat Riggins,The Storm,Cry OutJW-Jones,4. Drowning On Dry Land,Sonic DeparturesJon Strahl Band,The Right Thing,Heartache and ToilRick Berthod,High Dollar Girl,Peripheral VisionsThe Lucky Losers,Godless Land,Godless LandJohnny & The Mongrels,Louisiana Girl,Creole SkiesBetty Fox Band,She's Got You,Goodbye AustinMark May,Rolling Me Down,Deep Dark DemonLarkin Poe,Holy Ghost Fire,Dave Fields,Best I Can,Force of WillToo Slim & the Taildraggers,Snake Eyes,The RemedySam Joyner,Nothin U Can Do About Luv,When U Need A FriendSam Joyner,Hard 4 Tha Money,When U Need A FriendWily Bo Walker & Danny Flam,Build My Gallows... (Ain't No Return),Ain't No Man a Good ManWily Bo Walker & Danny Flam,Walking with the Devil (Blood on my Hands),Ain't No Man a Good Manwww.makingascene.org,Wily Bo Walker,Wily Bo Walker & Danny Flam,Velvet Windows (Tremé Trippin'),Ain't No Man a Good ManWily Bo Walker & Danny Flam,Fool For You (2020 Hindsight),Ain't No Man a Good ManSavoy Brown,Devils Highway,Ain't done yetPeter Parchek,6. Mississippi Suitcase (Slight Return),Scott Weis Band,01 Pride And Soul,Simmer Me DownBart Ryan,I'd Be A Fool,Starlight and Tall TalesAnthony Geraci,Mister,Daydreams In BlueAnthony Geraci,"Jelly, Jelly",Daydreams In BlueDownchild,One In A Million,"50th Anniversary ""Live At The Toronto Jazz Festival"""LeRoux,No One's Gonna Love Me (Like The Way You Do),One Of Those DaysJohnny Burgin,I Just Keep Loving Her (Mada Sukinanda),No Border BluesKenny Blues Boss Wayne,Don't Want To Be The President,"Go, Just Do It!"Smoke Wagon Blues Band,Ballad of Albert Johnson,The Ballad of Albert JohnsonJD Taylor,Nothing Left To Say,The Coldwater SessionsMark Telesca,15 Black Dress,Higher VibrationsThe Nighthawks,Tell Me What I Did Wrong,Tryin' To Get To YouVictor Wainwright & The Train,Memphis Loud,Memphis Loud 

Seasick Steve - Love & Peace - (2020)1 - Love & Peace Seasick Steve - Love & Peace - (2020)10 - Travelling Man Seasick Steve - Love & Peace - (2020)8 - My Woman Kaz Hawkins - Memories OfBlind Girl Kaz Hawkins - Memories Of8 – Miss Pitiful Kaz Hawkins - Memories Of6 - Tell Mama June Core - 2009 - Leave It All Behind5 - Ooh La La (Mark Hummel June Core - 2009 - Leave It All Behind13 – ‘Taint What You Say June Core - 2009 - Leave It All Behind7 - Rain Down Tears (Mighty Mike Schemer Peter Green - The Anthology (4CD)CD110. Greeny Peter Green - The Anthology (4CD)CD2 Someday Baby Peter Green - The Anthology (4CD)CD119. Drifting Otis - Eyes Of The Sun - 20173 - Eyes Of The Sun Otis - Eyes Of The Sun - 201711 - Let Your Love Shine Down Otis - Eyes Of The Sun - 201710 - Chasing The Sun Guy Verlinde - 2020 - Unreleased Acoustic Recordings 1 - Pursuit Of Happiness (Bluesland Studio, Helsinki (FI), November 22nd, 2014 Guy Verlinde - 2020 - Unreleased Acoustic Recordings 6 - A Whole Lot Of Lovin' (Live Tele Lyon Metropole, Lyon (FR), October 19th, 2018 Guy Verlinde - 2020 - Unreleased Acoustic Recordings 3 - Take These Roots (CSR Studio, Roeselare (B), August 22nd, 2018 Shawn Pittman - 2020 - Make It Right!5 - There Will Be a Day Shawn Pittman - 2020 - Make It Right!2 - Finger on the Trigger Shawn Pittman - 2020 - Make It Right!8 - Cold Sweat California Honeydrops - 2008 - Soul Tub!10 - All Night Long California Honeydrops - 2008 - Soul Tub!7 - In My Dreams California Honeydrops - 2008 - Soul Tub!3 - Soul Tub Wily Bo Walker 10 Build My Gallows(Ain't No Return) Wily B0 Walker 9 St James Infirmary Wily Bo Walker 02 Fool For You

Jacob Young visits Hollywood And Beyond resulting in a sentimental and enjoyable conversation with emotional moments. Clips appear courtesy of: The Bold and the Beautiful, CBS and Bell-Phillip Television Productions The song "Fool For You" appears at the conclusion of the interview and is courtesy of Jacob Young Welcome to Hollywood And Beyond Podcast Jacob Young shares career memories in a deeply sentimental conversation with Host Steven Brittingham. Jacob praises "The Bold and the Beautiful" co-stars John McCook, Katherine Kelly Lang, Karla Mosley, and Adrienne Frantz. He also shares how he won over the approval of Genie Francis and Anthony Geary on "General Hospital". There are also heartfelt stories of David Canary. Recalls how much he enjoyed working with Amanda Baker Browning and her dramatic first appearance on AMC. Broadway, his music, and the reasons behind his move from L.A. to Utah. A wonderful and big time conversation with the talented Jacob Young! Subscribe today on Podbean/Apple Podcasts or wherever you listen to podcasts. Please be sure to leave a Rating or Review so others can find Hollywood And Beyond more easily. Thank you for your support! “Meaningful Interviews” with Cincinnati Host actor and writer Steven Brittingham Welcome Greeting by actress/chef Carrie Mitchum Hollywood And Beyond Theme by Dario Saraceno   Hollywood And Beyond Podcast: Created/Produced/Edited/Sound Mixing/Hosted by Steven Brittingham Contact Steven with your feedback or questions: hollywoodandbeyondshow@gmail.com   Thank you for listening friends and listeners! See you again on the next episode.

Welcome to the Soul Revival my BMS Listeners. In this episode various artists pay homage to one of the greatest eras of American music, ‘Soul Music’. The influence of soul music on its generation and every generation afterward is undeniable. They may not all scrape the bottom of the pot in their delivery as did the pioneers but damn it, they come close. Keep the soul alive and remember when music was Music! PLAYLIST 1. Time For Love/Mayer Hawthorne 2. Rock Steady/Hall & Oats 3. They Don't Want Music (f/James Brown)/Black Eyed Peas 4. You Don't Know My Name/Alicia keys 5. Can't Wait/Jill Scott 6. I Love Him, I Love Him Not/Shamika Brown 7. Steady Love/India Arie 8. I Don't Want To Be With Nobody But You/Joss Stone 9. Fool For You (f/Melanie Fiona)/Ceelo Green 10. Comin' From Where I'm From/Anthony Hamilton 11. Best Friend/The HamilTones 12. A Change Is Gonna Come (f/Thomas Owens)/Brian Owens 13. River/Leon Bridges 14. Old School Love/Devine Brown 15. Pretty Please (f/Ceelo Green)/Estelle 16. Tribute (Right On)/The Pasadenas 17. What Does It Take (To Win Your Love)/Kenny G

Show #789 Almost All New Spinner has loaded this episode with lots of new or very, very recent music. You'll love it. 01. Regina Bonelli - Killing Floor (Digital Download Single, self-release, 2019) 02. Luca Kiella - Figure It Out (4:02) (Figure It Out, self-release, 2019) 03. Jimmy Reiter - What You Need (4:15) (What You Need, self-release, 2019) 04. Steve Howell & Jason Weinheimer - I Got A Right To Sing The Blues (5:50) (History Rhymes, Out Of The Past Music, 2019) 05. Kelly's Lot - All Hope Ain't Lost (4:23) (Can't Take My Soul, self-release, 2019) 06. Kerry Kearney Band - Wake Me Shake Me Bake Me (4:03) (Smokehouse Serenade, Highlander Records, 2019) 07. Larry Griffith Project - Slow Grind (6:23) (Bonafide, self-release, 2019) 08. Freewheelers Cello Band - Jekyll & Hyde (4:41) (Bay Day, FW Records, 2019) 09. Christone "Kingfish" Ingram - Outside Of This Town (4:08) (Kingfish, Alligator Records, 2019) 10. Meg Williams - Make A Move (3:06) (Take Me As I Am, Nola Blue Records, 2019) 11. Kenny "Beedy Eyes" Smith & the House Bumpers - Living Fast (4:11) (Drop The Hammer, Big Eye Records, 2019) 12. Henning Staerk Band - I'm A Fool For You (4:09) (One Nite Stand, Genlyd Grammofon, 1984) 13. Johnny Winter - Rock And Roll Hoochie Koo (3:28) (Johnny Winter And, CBS, 1970) 14. Barrelhouse - Callin' Out Your Name (5:04) (Beware...!, Ariola Records, 1979) 15. Cash Box Kings - Sugar Daddy (5:44) (Hail To The Kings!, Alligator Records, 2019) 16. Reverend Shawn Amos - Mama, He Treats Your Daughter Mean (Kitchen Table Blues Vol 2, Put Together Music, 2019) 17. Kate Lush Band - Fall Down Seven Times (3:56) (Headline, self-release, 2019) 18. Kennedy, Milteau & Segal - Blues Solution (2:37) (CrossBorder Blues, Naïve Records, 2018) 19. Tony Campanella - One Foot In The Blues (6:12) (Taking It To The Street, Gulf Coast Records, 2019) 20. Gary Primich - Dummy On Your Knee (2:55) (Mr. Freeze, Flying Fish Records, 1995) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

I took my Instagram friend Mike Vitale's song "Fool For You" and sort of produced it in a different way. Well, he sent me the isolated acoustic & vocal track of his song, and I added some drums, bass, slide guitar, and some synth. This was a blast, hope you dig it! --- Support this podcast: https://anchor.fm/danbarracuda/support

Giving thanks to everyone for listening Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Thank You by Led Zeppelin on Led Zeppelin II (Atlantic) 4′58″ Thank You (Falettin Me Be Mice Elf Agin) by Sly & the Family Stone on Single (Epic) 8′18″ Thank God For You by Sawyer Brown on Outskirts of Town (n/a) 11′00″ Thank you by Bonnie Raitt on Bonnie Raitt (Warner Bros. ) 14′29″ Thank You by Nathaniel Rateliff & The Night Sweats ((Self-Released)) 17′01″ I Want To Thank You by Otis Redding on single (n/a) 20′39″ Let Me Roll It by Paul McCartney on Paul Is Live (Apple) 24′28″ Cigarettes and Coffee by Otis Redding on The Soul Album (Stax) 28′53″ First Time I Met The Blues by Buddy Guy on Buddy's Blues (2015 U-2) 30′21″ I'm Gonna Move To The Outskirts Of Town - Live by Albert King on Thursday Night in San Francisco (Fantasy) 37′02″ When You Got A Good Friend by Robert Johnson on King of the Delta Blues Singers (CBS) 40′40″ Sitting On Top Of The World by Howlin' Wolf, Eric Clapton on London Sessions (Geffen) 44′56″ Me by Otis Rush on Mourning in the Morning (Atlantic) 48′45″ Keep On Growing by Derek & The Dominos on Layla (Polydor) 54′34″ All Things Must Pass by George Harrison on Early Demos (Apple) 57′02″ The Holiday Song by Pixies on Come On Pilgrim (4AD) 61′16″ In The Cold, Cold Night by The White Stripes on Elephant (V2) 63′43″ The Bright New Year by Bert Jansch on Birthday Blues (Sanctuary Records) 65′05″ Tear The Fascists Down by Woody Guthrie on Woody at 100: The Woody Guthrie Centennial Collection (Smithsonian Folkways) 67′32″ Riding In My Car by Woody Guthrie on Woody at 100: The Woody Guthrie Centennial Collection (Smithsonian Folkways) 70′56″ Thanks, Bastards! by Mischief Brew on Songs From Under The Sink (Fistolo Records) 73′28″ Thanks for the Ride by The Wonder years on Sleeping in Trash (No Sleep) 77′03″ Thanksgiving Theme by Vince Guaraldi Trio on A Boy Named Charlie Brown (Concord Music Group) 79′30″ In My Life by The Beatles on Rubber Soul (Apple Records) 81′40″ Friendship by Pops Staples on Don't Lose This (n/a) 85′29″ Every Dog Has Its Day by Eddie Bo on UBB (Street Beat Records) 87′02″ Little Green Bag by George Baker Selection on Reservoir Dogs (Soundtrack) (Geffen Records) 90′27″ Illegal Smile by John Prine on Live On Tour (Atlantic) 95′51″ Your Love Is A Fine Thing by Reigning Sound on Too Much Guitar (In the Red Recordings) 98′09″ Friday On My Mind by The Easybeats on It's 2 Easy (Albert Productions) 101′33″ My Baby's So Sweet by Dave Van Ronk on Down In Washington Square (n/a) 104′25″ Just To Be With You by Buddy Guy & Junior Wells on Chicago Blues Festival 1964 (n/a) 108′04″ Hell and You by Amigo the Devil on Volume 1 (n/a) 111′37″ Fool For You by The Impressions on People Get Ready (N/A) 115′29″ Even The Losers by Tom Petty and the Heartbreakers on Damn The Torpedos (Geffen) 117′26″ Big Cheeseburgers & Good French Fries by Blaze Foley on The Dawg Years (1975-1978) (Fat Possum) Check out the full archives on the website.

Giving thanks to everyone for listening Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Thank You by Led Zeppelin on Led Zeppelin II (Atlantic) 4′58″ Thank You (Falettin Me Be Mice Elf Agin) by Sly & the Family Stone on Single (Epic) 8′18″ Thank God For You by Sawyer Brown on Outskirts of Town 11′00″ Thank you by Bonnie Raitt on Bonnie Raitt (Warner Bros.) 14′29″ Thank You by Nathaniel Rateliff & The Night Sweats ((Self-Released)) 17′01″ I Want To Thank You by Otis Redding on single 20′39″ Let Me Roll It by Paul McCartney on Paul Is Live (Apple) 24′28″ Cigarettes and Coffee by Otis Redding on The Soul Album (Stax) 28′53″ First Time I Met The Blues by Buddy Guy on Buddy's Blues (2015 U-2) 30′21″ I'm Gonna Move To The Outskirts Of Town - Live by Albert King on Thursday Night in San Francisco (Fantasy) 37′02″ When You Got A Good Friend by Robert Johnson on King of the Delta Blues Singers (CBS) 40′40″ Sitting On Top Of The World by Howlin' Wolf, Eric Clapton on London Sessions (Geffen) 44′56″ Me by Otis Rush on Mourning in the Morning (Atlantic) 48′45″ Keep On Growing by Derek & The Dominos on Layla (Polydor) 54′34″ All Things Must Pass by George Harrison on Early Demos (Apple) 57′02″ The Holiday Song by Pixies on Come On Pilgrim (4AD) 61′16″ In The Cold, Cold Night by The White Stripes on Elephant (V2) 63′43″ The Bright New Year by Bert Jansch on Birthday Blues (Sanctuary Records) 65′05″ Tear The Fascists Down by Woody Guthrie on Woody at 100: The Woody Guthrie Centennial Collection (Smithsonian Folkways) 67′32″ Riding In My Car by Woody Guthrie on Woody at 100: The Woody Guthrie Centennial Collection (Smithsonian Folkways) 70′56″ Thanks, Bastards! by Mischief Brew on Songs From Under The Sink (Fistolo Records) 73′28″ Thanks for the Ride by The Wonder years on Sleeping in Trash (No Sleep) 77′03″ Thanksgiving Theme by Vince Guaraldi Trio on A Boy Named Charlie Brown (Concord Music Group) 79′30″ In My Life by The Beatles on Rubber Soul (Apple Records) 81′40″ Friendship by Pops Staples on Don't Lose This 85′29″ Every Dog Has Its Day by Eddie Bo on UBB (Street Beat Records) 87′02″ Little Green Bag by George Baker Selection on Reservoir Dogs (Soundtrack) (Geffen Records) 90′27″ Illegal Smile by John Prine on Live On Tour (Atlantic) 95′51″ Your Love Is A Fine Thing by Reigning Sound on Too Much Guitar (In the Red Recordings) 98′09″ Friday On My Mind by The Easybeats on It's 2 Easy (Albert Productions) 101′33″ My Baby's So Sweet by Dave Van Ronk on Down In Washington Square 104′25″ Just To Be With You by Buddy Guy & Junior Wells on Chicago Blues Festival 1964 108′04″ Hell and You by Amigo the Devil on Volume 1 111′37″ Fool For You by The Impressions on People Get Ready 115′29″ Even The Losers by Tom Petty and the Heartbreakers on Damn The Torpedos (Geffen) 117′26″ Big Cheeseburgers & Good French Fries by Blaze Foley on The Dawg Years (1975-1978) (Fat Possum)

- KiKi's Transition - Humble Gets No Respect - Lito In The Beyhive - The Hive Rises Again: Insecure Recap - Real N***a Of The Week: Vontae Davis - These Jobs Don't Care Bout You - Sesame Street Copping Pleas - Katt vs Wanda - Lito hanging out with Kevin Gates - Lil Wayne, The Carter 5 & The Future of Young Money - Top 5 Chappelle's Show Skits WFTO LIVE & INSECURE SEASON FINALE WATCH PARTY 9/30 @ 14 PARISHES (1638 CLIO) Songs Of The Week: Lito: Snoh Aalegra "Fool For You" - https://www.youtube.com/watch?v=F9f8nio71Gc Skillz: Tobe Nwigwe "I'm Dope" - https://www.youtube.com/watch?v=3oLqTITnz9Y KiKi: Schoolboy Q feat. Miguel & Justine Skye "Overtime" - https://www.youtube.com/watch?v=l72-AuyMDEs Emails? wftopodcast@gmail.com Playlists: Tidal: http://tidal.com/playlist/8278ffa8-8b7d-4832-a7e6-c59cc16b1c6e Apple Music: https://itunes.apple.com/us/playlist/well-figure-this-out-podcast-playlist-wfto/pl.u-4JAM2IxJ9gM

Playlist: Jeremy Baum, Funky Monkey, Stone Stanley, My Shame, Buddy Guy, Guilty As Charged, Jeff Jensen, What We Used To Be, Tom Hambridge, Bluz Crazy, John Clifton, Still A Fool, Dana Fuchs, Callin’ Angels, Mike Zito, Back Problems, Reloaded, Up Yours, Wily Bo Walker, Fool For You, Molly Hanmer, Drag You Along, Neverwonder, Give It All, Paul Filipowicz, All My Whole Life Baby, Annee 2 CU Blues Band, Still The Same (Live at The Depot), Tom Guerra, Nevermore, The Tearaways, Summer Fashions, Waydown Wailers, I Want Your Soul, Steve Howell And The Mighty Men, Blues In The Bottle, Keeshea Pratt Band, Shake Off These Blues, Bridget Kelly Band, It’s A Shame, Bob Corritore & Friends, Fork In The Road, Tas Cru, Fool For The Blues, Fiddy Blues, Tramp Stamp, Dustin Douglas And The Electric Gentlemen, Hold Of Me, Big Daddy Wilson, Neckbone Stew, Spencer Mackenzie, Fine Place To Start, Studebaker John, Rockin’ That Boogie, Slam Allen, All Because Of You, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: WEDNESDAY 6/20 JUNIOR BROWN - IRON HORSE, NORTHAMPTON MA. RHIANNON GIDDENS - RIDGEFIELD PLAYHOUSE, RIDGEFIELD. SARA ASHLEIGH BAND with CARL RICCI - THE 350 CLUB, SPRINGFIELD MA. RYAN HARTT AND THE BLUE HEARTS - PUB ON THE PARK (7:30 PM), CRANSTON RI. CHRIS LEIGH BAND - KNICKERBOCKER MUSIC CENTER (7:30 TO 10 PM), WESTERLY RI. RAMBLIN DAN STEVENS & FIERY BAND - TOWN GREEN (6:30 PM), OLD SAYBROOK. REV HORTON HEAT - ALCHEMY, PROVIDENCE RI. JAKE KULAK & LOW DOWN - OLD LYME INN, OLD LYME. PETEY HOP (Roots & Blues Sessions) -THE FALCON, MARLBORO NY. JOON - TIPPING CHAIR TAVERN, MILLDALE. COMMUNITY BLUES JAM - BLACK EYED SALLY'S, HARTFORD. FRIENDS DAY OPEN MIC - THEODORE'S, SPRINGFIELD MA. BATTLE OF THE BANDS - ATRIUM LOUNGE, FOXWOODS CASINO. CANOE OPEN MIC - CANOE CLUB, MIDDLETOWN. DONAHUE'S OPEN MIC - DONAHUE'S BEACH BAR , MADISON. MAPLE TREE OPEN MIC - MAPLE TREE CAFE, SIMSBURY. OPEN MIC with PAPA JOE - CADY'S TAVERN, CHEPACHET RI. FREE FUNK WEDNESDAY - ARCH STREET TAVERN, HARTFORD. THURSDAY 6/21 LIVIU INVITATIONAL - BLACK EYED SALLY'S (7:30 TO 10 PM), HARTFORD. Liviu with Chris Vitarello and Darby Wolf. QUINN SULLIVAN - INFINITY MUSIC HALL, NORFOLK. JUNIOR BROWN - DARYL'S HOUSE, PAWLING NY CARL RICCI AND 706 UNION AVE - PAINTED PONY (7:30 PM), BETHLEHEM. BOOGIE BOYS - THE 350 CLUB, SPRINGFIELD MA. ROCKY LAWRENCE - THE CRAVE (6:30 TO 9:30 PM), ANSONIA. ERAN TROY DANNER (Acoustic Solo) - THE HOPS COMPANY (6:30 TO 9:30 PM), DERBY. JAKE KULAK AND LOW DOWN - PPR LIVE, PAWLING NY. RAMBLIN DAN STEVENS - TAPPED APPLE WINERY, WESTERLY RI. SRH EXPERIENCE - THE GREATEST BAR, BOSTON Post party after U2 Show at TD Garden. SUGAR - JONATHAN EDWARDS (6:30 PM), NORTH STONINGTON 4 BARREL BILLY - BILL'S SEAFOOD (7 TO 10 PM), WESTBROOK. KYLE TACY -CANOE CLUB, MIDDLETOWN. KERRI POWERS / LIZ LONGLEY - IRON HORSE, NORTHAMPTON MA. SUMMER SOLSTICE - LYME STREET (5 TO 7 PM), OLD LYME. WILLIMANTIC STREET FESTIVAL (Third Thursdays) - MUSIC (5 stages), FOOD, SHOPPING. DAVE COSTA'S OPEN MIC - CAMBRIDGE BREW PUB, GRANBY. GREG SHERROD OPEN MIC - BLACK SHEEP, NIANTIC. WENDY MAY OPEN MIC - BLACK DUCK, WESPORT. TAMARACK OPEN MIC - TAMARACK LODGE (6:30 TO 9:30 PM), VOLUNTOWN. OPEN MIC AT THE BISTRO - INFINITY HALL, NORFOLK. PINE LOFT OPEN MIC - PINE LOFT PIZZARIA, BERLIN. KEN SAFETY OPEN MIC - CJ SPARROWS, CHESHIRE. FRIDAY 6/22 BOB MARGOLIN with TYLER MORRIS BAND - CHAN'S, WOONSOCKET RI. DIANE BLUE with LISA MANN - TIPPING CHAIR TAVERN (9 PM), MILLDALE. With Chris Vitarello and Liviu Pop. GEORGE LESIW AND LEE-ANN LOVELACE - TIPPING CHAIR TAVERN (5 PM), MILLDALE. CHRIS O'LEARY BAND - DARYL'S HOUSE, PAWLING NY. D SMITH BLUES BAND - MULLIGANS, TORRINGTON. NEAL VITULLO & THE VIPERS - MAPLE TREE CAFE, SIMSBURY. JUNIOR BROWN NARROWS CENTER, FALL RIVER MA. BOOGIE BOYS - THE HIDEAWAY, RIDGEFIELD. OTIS AND THE HURRICANES - MURPHY'S PUB, NEWTON.. MURRAY THE WHEEL - THE OFFICE, OXFORD. KATHY THOMPSON BAND - LIONHEART TAVERN, NIANTIC. RAMBLIN DAN STEVENS - STILL HILL BREWERY, (4:30 PM), ROCKY HILL ERAN TROY DANNER (Acoustic solo) - PARADISE HILLS VINEYARD (5 TO 8 PM), WALLINGFORD. ROCK N N SOUL REVUE - WASHINGTON PARK (6 TO 8 PM), GROTON. PLAYING DEAD - PADDY'S BEACH CLUB, MISQUAMICUT BEACH RI. GRAVITONIK - BLACK EYED SALLY'S, HARTFORD. LUCY KAPLANSKY - BRIDGE STREET LIVE, COLLINSVILLE. OUTLAWS - INFINITY MUSIC HALL, NORFOLK. VINTAGE RHYTHM AND BLUES ENSEMBLE (VRBE) - KNICKERBOCKER MUSIC CENTER, WESTERLY Featuring Ryan Hartt GEORGE T GREGORY BAND - THEODORE'S, SPRINGFIELD MA. JEFF PITCHELL & TEXAS FLOOD - CHICAGO SAM'S, CROMWELL. SHAKA AND GENE DONALDSON - BIDWELL TAVERN, COVENTRY. SUE MENHART BAND - STEAK LOFT (7 TO 10 PM), MYSTIC. THE NIELDS - IRON HORSE, NORTHAMPTON MA. ALPACA GNOMES - MAIN PUB, MANCHESTER. ARC CITY ANGELS - SOUTHWICK INN, SOUTHWICK MA. STEVE McGRATH - CANOE CLUB, MIDDLETOWN. SATURDAY 6/23 BLACK EYED AND BLUES FESTIVAL - BUSHNELL PARK, HARTFORD CTBS Band Challenge, Michael Palins Other Orchestra, Slam Allen, Studebaker John & The Hawks. Competition - Murray the Wheel, Vitamin B-3, Cole Morson, D Smith Blues Band, jake Kulak & Low Down. BOB MARGOLIN - JIM CARTY HOUSE PARTY (1 PM), OLD LYME. Bob with Chris Leigh Band, Tyler Morris Band and Jake Kulak & Low Down DIANE BLUE and LADIES OF THE BLUES - CHAN'S, WOONSOCKET RI MAGIC DICK with SHUN NG - IRON HORSE (7 PM), NORTHAMPTON MA. ROBERT CRAY - WOLF DEN, MOHEGAN SUN CASINO CHRISTINE OHLMAN AND REBEL MONTEZ - TOWN CRIER, BEACON NY. SARA ASHLEIGH BAND with CARL RICCI - THEODORE'S, SPRINGFIELD MA. ROBERT EARL KEEN - INFINITY MUSIC HALL, NORFOLK. DANNY DRAHER - RIVERTON FAIRGROUNDS, RIVERTON. CREAMERY STATION - DERBY DAY (Cultural Commission 3pm), DERBY SHAKA'S ROOT HOG STOMP - SALEM VINTAGE MARKET (RT 82 AT 1 PM) ), SALEM CT. GREEN TEA - SHIPYARD, MYSTIC. SUMMER FEST (Music, Food, and Family Entertainment), NEW LONDON. LE MIXX - DONAHUE'S BEACH BAR, MADISON. RAMBLIN DAN STEVENS - FARMERS MARKET, (Ashlawn Farm), LYME. ERAN TROY DANNER (Acoustic Solo) - SLIDERS BAR (8 to 11 pm), MIDDLETOWN. THE INSTIGATORS - THE 350 CLUB, SPRINGFIELD MA. MICHAEL LOUIS - CARAMOOR AMERICAN ROOTS MUSIC, KATONAH NY. NICK LOWE'S QUALITY ROCK N ROLL REVUE - DARYL'S HOUSE, PAWLING NY Featuring Los Strait Jackets. THE SIDEWINDERS - STOMPING GROUND, PUTNAM. THE CARTELLS - MAPLE TREE CAFE, SIMSBURY. OUT OF THE BOX - BILL'S SEAFOOD (7:30 TO 10:30 PM), WESTBROOK. FRONT ROW BAND - BAR LOUIE, WEST HARTFORD. THE HBH BAND (Tribute to Ella fitzgerald) - BRIDGE STREET LIVE, COLLINSVILLE. WANDERING ROOTS - SMOKIN WITH CHRIS, SOUTHINGTON. STELLA BLUES - THE ACOUSTIC CAFE, BRIDGEPORT. TERRI AND ROB - TOWN GREEN (4:30 PM), MERIDEN.

This week on the podcast, we talk to one of Cork's busiest musicians and arts facilitators. Darren Keane (@kallgeese) talks to us about his bands Not Earth, Mueseum, The Creeps, Worm, and The Council of the Dark Arts Orchestra; as well as community projects that he's involved in. Tunes from Shookrah, Saint Caoilian, O Emperor and more! 01. Elastic Sleep - Tzar Bomba 02. The Shaker Hymn - I Don’t Ever Want to See the World (@theshakerhymn) 03. Roslyn Steer - Further Away (@kantcope) 04. O Emperor - Don’t Mind Me (@oemperormusic) 05. Shookrah - Don’t Wanna Doubt You (@shookrah) 06. Arthuritis - Hot Garbage (@arthurpawsey) 07. Saint Caoilian - I’ll Be a Fool For You (@caoilianjsure) 08. Elaine Malone - You (@elai_malone) 09. Fixity - Hungry Clouds (@danwalshdrums)

This week on Red on Red: we take a listen to some recent releases, tunes from artists partaking in next month's Cork Sound Fair, and sessions from the recent Green on Red live special. We also chat with singer-songwriter Laurie Shaw about new album 'Weird Weekends', and with rapper Outsider YP about his new EP as well as February 18th's Outsiders' Summit networking event for young creatives. 01. Saint Caoilian - 'I’ll Be a Fool For You' (Green on Red Session) (@caoilianjsure) 02. Spekulativ Fiktion - 'Lock All Doors' (Green on Red Session) (@craicmob) 03. Elaine Malone - 'You' (@elai_malone) 04. Ghostking is Dead - 'Cast Iron' (@hausurecords) 05. Laurie Shaw - 'Shatterproof'/Interview (@laurie_shaw_) 06. Partholón - 'Jerusalem' (#partholon) 07. Outsider YP - Interview/'Lost Bonds' (@outsideryp) 08. Gadget and the Cloud - 'And I Told You Something True' (@gadgetatc) 09. African Fiction - 'Heat' (Excerpt) (@african_fiction)

Mix Playlist (* indicates this year’s winner) New Artist of the Year 1) Da Dan Da – Chantae Caan 2) The World Is Calling – Ashleigh Smith 3) You’re My Darling – Leon Timbo 4) My Oh My – MAJOR. 5) Put Me Thru – Anderson.Paak* Group of the Year 6) Red Eye – KING 7) Waiting 4 Ya – Phonte & Eric Roberson 8) Runnin’ Out – After 7* 9) Only Takes One – Silk 10) Never Know – Kindred the Family Soul Female Vocalist of the Year 11) Little Ghetto Boy – Lalah Hathaway* 12) Tomorrow – Mavis Staples 13) Unconditional Love – Esperanza Spalding 14) Oh Me Oh My (I’m A Fool For You) – Terisa Griffin 15) You – Regina Belle Male Vocalist of the Year 16) Everything I Miss At Home – Will Downing* 17) Fun and Games – Eric Benét 18) Feelin’ Some Kind of Way (ft. Najee & Avery*Sunshine) – Frank McComb 19) Ooh Ya-Ya – Dave Hollister 20) Ayodele (Joy Comes Home) – Anthony David Song of the Year 21) Something – Phonte & Eric Roberson 22) My People – Kindred 23) Dance Again (ft. Trina Broussard & Tim Owens) – James Day 24) Love 4 U To Like Me – Silk 25) Let Me Know – After 7* Album of the Year 26) Malibu – Anderson.Paak (“Am I Wrong ft. Schoolboy Q”) 27) Tigallero – Phonte & Eric Roberson (“It’s So Easy”) 28) Legacy of Love – Kindred the Family Soul (“Welcome To My World”)* 29) Revival of Soul – Terisa Griffin (“Save Me”) 30) Emily’s D+ Evolution – Esperanza Spalding (“One”) Lifetime Achievement Award 32) Celebration – Kool & The Gang*

PLAYLIST Roots Of Creation, 3X A Lady, Gus Spenos, 96 Lbs., Sasha’s Bloc, Sunday Blues, Blowin’ Smoke Rhythm And Blues Band, Don’t Fight it, Joel DaSilva And The Midnight Howl, Hard Time feat. Albert Castiglia, Joel DaSilva And The Midnight Howl, Let’s Not Fight, Let’s Make Some Love, Joel DaSilva And The Midnight Howl, Nice And Slow, Joel DaSilva And The Midnight Howl, Hangin’ On, Little Charlie And Organ Grinder Swing, Skronky Tonk, Bill Johnson, Cold Outside, Tweed Funk, Soul Rockin’, Iron Bridge Band,Black Sheep’s Son, Sammy Eubanks, Sugar Me, Reverend Freakchild, Yer Blues, Brother Joscephus & The Love Revival, Jubilation Day, Royal Southern Brotherhood, Hooked On The Plastic, The Alexis P. Suter Band, Fool For You, Markey Blue, Nobody’s Fool, RB Stone, Mind Your Bizzness, Albert CAstiglia, What The Hell Was I Thinking, Bad News Barnes, 90 Proof Truth, Darrell Nulisch, Let A Woman Be A Woman, Easy Baby, Black Rat, Eliot Lewis, Galaxy Quest, Brian Charette, Late Night Tv, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, Miss Jill at Jill Kettles PR and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much!

Zayn's debut album, Mind of Mine, is FiNaLly out!! Caitlin's sister, Jessica, guest hosts the news as we discuss Niall getting Snapchat, Simon Cowell's statement, "I don’t know if it’s a hiatus or a breakup, to be honest", and the BeFoUr music video. Then for the main discussion Cara and Caitlin go through each song on Mind of Mine and talk music, lyrics, and overall impressions. We talk about Kehlani, featured on wRoNg, our opinions on the lovely slow ballads, BLUE and fOoL fOr YoU, and what we think tRuTh and sHe are about. Let us know your opinions because these are really just our first reactions!

For volume four, The Soul Eclectics' Mix series goes a little darker, moodier, and grittier with quite the genre journey for our most eclectic fans who know no musical boundaries in their listening, everything from soulful rock to hip hop soul to house—even a smidge of gospel— each represents on these two hours of continuous music. We also included a few rarities that are fairly hard to lay hands on from the likes of Tuan X, Corey Glover, and Carmen Bradford. We’re so in love with the new Frank McComb tribute to Donny Hathaway, that we had to include another from that newly released project available from McComb’s site. We hope you enjoy the final mix of the year and look forward to continuing with next year’s LMG/SoulTracks The Eclectics’ Mix. In the meantime stream, download, follow on Podomatic, subscribe on iTunes, share the series with friends, but most of all…ENJOY! LMG: The Soul Eclectics' Mix, Vol. IV Playlist 1) Still Holdin’ On – Mycle Wastman 2) Under - Ahsan 3) His Pain II (feat. Kendrick Lamar) – BJ The Chicago Kid 4) Pass Me Over – Anthony Hamilton 5) I Need You – Men of Standard 6) 17 to a Million (feat. Jennifer Nelson) – Lyfe Jennings 7) News for You – Eric Benét 8) My Promise – Earth Wind & Fire 9) Get In My Way – Robin Thicke 10) A Little Party Ain’t Never Killed Nobody (All We Got) – Fergie, Q-Tip, and Goon Rock 11) Long Road To Hell (Feat. Audra Mae) – Avicii 12) Going On – Ella Eyre 13) Not Giving In (feat. John Newman & Alex Clare) – Rudimental 14) Hustler (Radio Mix) – Josef Salvat 15) Superstar – Sid Sriram 16) Bird of Space – José James 17) Old – Bettye LaVette 18) It’s An Addiction (Live) – Tuan X 19) Bite the Bullet – Shan Smile 20) I Want You Back – Lake Street Dive 21) Shake Off Your Worries – Chic Gamine 22) Flying Easy (Live) – Frank McComb 23) Ain’t No Use – Carmen Bradford 24) Issues of Life (feat. Gregory Porter) – Zbonics 25) What It Takes – N’Dambi 26) Baby I’m Scared of You – Leela James 27) One More Reason – The Revelations feat. Tré Williams 28) Fool For You – Alice Smith 29) Little Girl (Acoustic Live) – Corey Glover

PLAYPOD 12.02 DJ Byron Bonsall (SFO) ----- DJ Byron Bonsall Website: http://www.djbyron.com/ Facebook: https://www.facebook.com/pages/DJ-Byron-Bonsall/144964828892578? Growing up in rural Nebraska tends to make one’s musical interest lean a certain way. But even at a young age, Byron knew there was more to music than what he heard on the local country western radio stations. It was in junior high that Byron DJ’d his first dance with his cousin. Even then his eclectic taste in music came out (Star Wars Theme by Meco anyone?). After moving to San Francisco, Byron stated taking in the sights and sounds of such parties as MASS and CLUB UNIVERSE, all having a huge impact on him. Byron has developed the philosophy of keep the crowd moving and make sure they leave with a smile. His mix of equal parts upbeat house, anthems, and progressive sounds (with a splash of disco and trance) has earned him a faithful following. "If you don’t leave with a smile on your face and maybe a little sweaty, I haven’t done my job.” There is nothing better than leaving a club thinking “that was fun!” Byron wants you to think that same way. “Just come in, dance your ass off for a few hours and have a memorable time. Drop off your worries at the door. They'll be waiting for you when you leave. Until then, you belong to me!” ----- Track Listings: 1. Life Saviour - Green Children (7th Heaven Club Mix) 2. Fool For You ft. Wray - Steve More (7th Heaven Club Mix) 3. I Will Follow 2011 - Una Mass (Dulcie Danger Remix) 4. So Alive - Avalon Superstar (Vocal Club Mix) 5. Got To Be Real ft. Shena - Groovesplitters (Soulshaker Club Mix) 6. Finger on the Trigger (Love is in Control) - Deni Hines & The A-Funk Allstars (7th Heaven Club Mix) 7. It Doesn't Matter ft. Shena - Jay C & Oliver Lang (Original Mix) 8. They Say It's Gonna Rain - Hazel Dean (Sleazesisters Remix) 9. The Way I Like ft. Wendy - Diego Donati vs F&A Factory (Original Extended) 10. Keep On Jumpin' - Joey Negro & Z Factor (Luigi Rocca Remix) 11. 3AM Eternal - Serge Devant (Serge's KLF Remix) 12. Last Exit - Simon Jain (Original Mix) 13. Beautiful Stranger ft. Melissa Totten - Wayne G (Wayne G & Andy Allder Atlantis Anthem Mix) 14. Finish Line - Yasmin (Freemasons Pegasus Dub) 15. Be With You - Erasure (Moto Blanco Club Mix) 16. Jealousy - Will Young (The Alias Club Mix) ----- Our Next Event: PLAY T-Dance Up Your Alley Weekend Sunday, July 29, 2012 DJ Craig Gaibler ----- Flirt. Frolic. Dance. A Tradition That Never Gets Old. In July of 2011, PLAY T-Dance celebrated 10 years as one of the Bay Area’s most popular and longest running t-dance events. Since it’s launch in 2001, PLAY T-Dance has become notorious for its unique and engaging themes, abundant hospitality, unrivaled production values and the most uplifting and energetic t-dance music on left coast. Thousands of men (and even some women) have flirted, frolicked and danced to their favorite t-dance tunes, spun by world-class DJ talent including Susan Morabito, Paul Goodyear, Joe Gauthreaux, John LePage, Lydia Prim, David Knapp, Andy Almighty, Ted Eiel, Rob Kaftan, Warren Gluck, Reed McGowan and Pete Savas. Getting dressed up for one of PLAY T-Dances themes is one of thee most anticipated local rituals with popular themes like Glow Party, Sports Gear, Pajama Party, Fire Island, Pig Party, Prison, Camp PLAY Military, and USS PLAY Navy/Sailor. The hospitality at PLAY T-Dance, unsurpassed by any event, includes a huge fruit, candy and gum table, massage therapists, greeters and hosts, as well as mouthwash and sterile hand wash in the bathrooms. Even after 10 years PLAY T-Dance continues to grow in popularity and Past Curfew is committed to taking steps to continue to build on its legacy. In July of 2011, with the help of Two Knights Event, PLAY T-Dance premiered in Seattle with Northwest favorite, John LePage. Look for PLAY T-Dance to return to Seattle soon. In August of 2011 PLAY T-Dance was the official closing party for Lazy Bear Weekend with San Francisco Bay Area favorite DJ Russ Rich. 2012 will be the year of the local up-and-coming DJs featuring some of San Francisco’s and Seattle’s best new talent. Look for dates featuring DJ Steve Sherwood, DJ Craig Gaibler, DJ Russ Rich and DJ Byron Bonsall. ----- flirt. frolic. dance. PLAY T-Dance San Francisco http://www.playtdance.com http://www.facebook.com/playtdance http://pastcurfew.tumblr.com/ http://www.facebook.com/pastcurfew

This week's playlist: • Rain, Rain by The Detonators. Their site is here and their MySpace page is here. • The Moon Is Full by Albert Collins, Johnny Copeland and Robert Cray, from Showdown! (1985) available from Alligator Records and the iTMS. Visit Collins' page, Copeland's page and Cray's page at the Alligator site for more information. • Ain't Good Lookin' by Billy Jones, from tha' Blues, available from Black and Tan Records and the iTunes Music Store. Visit Billy-Jones.com for more information. • Tell Me A Story by Chris Juergensen, from Big Bad Sun (2005), available from CD Baby and the iTMS. Visit ChrisJuergensen.com to buy Big Bad Sun and for more information. • Amtrak by the Big George Jackson Blues Band, from Southern In My Soul, available from Black & Tan Records and the iTMS. Visit BigGeorgeJackson.com for more information. • Foul Weather Blues by Harpdog Brown. To buy Harpdog's most recent CD, Once in a Howlin' Moon, visit HarpdogBrown.com. Visit Harpdog's Garageband page or his MySpace page for more information and to hear more killer tracks. • Fool For You by The Mescal Sheiks, from This World Is Not My Home (2006), available from CD Baby and the iTunes Music Store. Visit MescalSheiks.com or their MySpace page for more information. • Listen To The Wind by The Hitman Blues Band, from Angel in the Shadow (2003), available from CD Baby and the iTunes Music Store. Visit HitmanBluesBand.com and their MySpace page for more information. • See Me In the Evening by Hound Dog Taylor, from Deluxe Edition (1999), available from Alligator Records and from the iTMS. Visit Hound Dog's bio page at the Alligator Records site for more information. • Uh Uh Baby by EB Davis & The Superband, from Live at the A-Trane, Berlin (2005). EB sells his own CDs through his online store. Visit EB Davis.com and his MySpace page for more information. • Angeline by George Fletcher's Bourbon Renewal, from Ain't The Worst That You Could Find (2000), available from CD Baby. Visit GeorgeFletcher.com for more information. • In The Windy City by The Chicago Thieves, from In The Windy City (2007); available from CD Baby and the iTMS. Visit ChicagoThieves.co.uk for more information. • Heartless by Michael Burks, from Make It Rain (2001), available from Alligator Records and the iTunes Music Store. Visit MichaelBurks.com for more information. • Beehive Baby by Reverend Raven, featuring Madison Slim, from Live At Blues On Grand (2004); available from their site, CD Baby and the iTunes Music Store. Visit ReverendRaven.com for more information. • Housecat Blues by Magic Slim & The Teardrops, from Midnight Blues (2008); available from Blind Pig Records and the iTMS. Visit this page at the Blind Pig Records site for more information. Mentioned during this show: BarackObama.com/issues. Excellent resources for more information about the blues: The Blues Foundation and the Delta Blues Museum; be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues; BluesRevue.com, the online home of Blues Revue magazine; BigCityBluesMag.com, the online home of Big City Blues magazine; BluesCritic.com. Be sure to read Today's Chicago Blues by Karen Hanson, an excellent guide to all things blues in present-day Chicago. For up-to-the-minute news about things to do in Chicago: TheLocalTourist.com. (Music on Murphy's Saloon #143 courtesy of the artists and the Podsafe Music Network, IODA PROMONET, Download.com or Garageband.com)

This is show #45, Just a Fool for the Blues for the last part of March, 2008. Well, we started of the show with , Description of a Fool!  Who else are we gonna hear from? How about , A Good Fool Is Hard To Find; , Nobody's Fool;  , One Fool Show; , What Makes a Fool Fall In Love; , A Fool For You; , Still a Fool; , I'm A Fool to Care; , Another Hoping Fool; , Fooling Yourself, and , Sea of Fools.    

This week's playlist: • Last Chance Lounge by Chainsaw Dupont, from Bourbon Street Breakdown (2005); available from CD Baby and the iTunes Music Store. Visit ChainsawDupont.com for more information. • I Called My Baby Long Distance by Archie Edwards, from The Toronto Sessions (2001), available from NorthernBlues.com and the iTMS. Visit the biographies page at AcousticBlues.com for more information. • D.E.A. Blues by Davis Coen, from Blues from the Get Go (2000), available from CD Baby, CDUniverse.com and the iTMS.Visit DavisCoen.com for more information. • Miss Blues'es Child by Eli Cook, from Miss Blues'es Child (2005, re-released 2007), available from CD Baby and the iTMS. Visit EliCook.com for more information. • When Malindy Sings, A Fool For You and Barnyard Blues, all from Footprints (2007); available direct from the band when you click the "CD" link at their site, and the iTMS. Visit PhantomBluesBand.com for more information. • Wrapped Up In Love by Carey & Lurrie Bell, from Second Nature (2004), available from Alligator Records and the iTMS. Visit Carey's Alligator Records bio page for more information. • Keep Your Motor Running by Dave Hole, from Short Fuse Blues (1992), available direct from the store at Dave's site, Alligator Records and the iTMS. Visit DaveHole.com for more information. • Comin' Home To New Orleans by The Dare Ya Blues Band, from Lonely Street (2004), available from CD Baby and the iTMS. Also available: Food For Song (2006) from CD Baby. Visit the band's page at Garageband.com for more information and other links. Mentioned during this show: Taste Entertainment Center; All Music Guide; Taj Mahal (the musician, lest there be any confusion). Excellent online resources for more information about the blues: The Blues Foundation and the Delta Blues Museum; and be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues. Be sure to read Today's Chicago Blues by Karen Hanson, an excellent guide to all things blues in present-day Chicago. (Music on Murphy's Saloon #108 courtesy of the artists and the Podsafe Music Network, the PROMONET program of the Independent Online Distribution Alliance, Download.com or Garageband.com)

This week's playlist: • Walk A Thousand Miles by Matthew Ebel, available for sale as a single from the Podsafe Music Network. Matthew's CD Beer and Coffee (2005) is available from MatthewEbel.com and CD Baby. Visit Matthew's page at PodShow.com and his MySpace page for more information. • Fool For You by The Mescal Sheiks, from This World Is Not My Home (2006), available from CD Baby and the iTunes Music Store. Visit MescalSheiks.com or their MySpace page for more information. • Merry Christmas Baby by Calvin Owens, from The House Is Burnin' (2002), available from TopCat Records, CD Baby, the iTMS and Amazon.com. Visit CalvinOwens.com for more information. • The Greatest Xmas Song Ever Written by American Heartbreak, available for sale as a single from the PMN. Visit AmericanHeartbreak.com or their MySpace page for more information. • My Own Merry Christmas by Geoff Smith, available for sale as a single from the PMN. Geoff's CD, Geoff Smith and the Tonewheels, is available from CD Baby and the iTMS. Geoff has also recently been playing keyboards with Codaphonic, a great band based in Nashville. Visit TheGeoffSmith.com for more information. • Santa Please Go To New Orleans by Lee Harris & Loose Change from A Whole Lotta Santa (2005). This tracks and dozens of others are available, for listening only, at the PMN under the name The Lee Harris Christmas Compilations. I'm not entirely convinced Lee Harris, or the other artists whose names are directly associated with some of the tracks, know these songs are available at the PMN. Nonetheless, I decided to play this track as a reminder that help is still needed in the reconstruction of one of the cradles of American music. • Christmas Is Here by Number One Fan, a holiday single available free from PureVolume.com, or for 99 cents from the iTMS. Visit NumberOneFanOnline.com for more information. • Sharing This Christmas With The Blues by Russell Alexander & The Hitman Blues Band, from Angel in the Shadow (2003), available from CD Baby and the iTMS. Visit HitmanBluesBand.com for more information. • Man! It's Christmas by Jimmie Bratcher, from Man! It's Christmas (2006), available from Jimmie's online store. Jimmie's other albums are available from his site, as well as the iTMS and Amazon.com. Visit JimmieBratcher.com and his MySpace page for more information. • Can You Dig It by Blue Plate Special, from Can You Dig It (2006), available from CD Baby and Amazon.com. Also available from CD Baby: The Blues Ain't Pretty (2000) and No Place To Fade (1998). No Place To Fade is also available from the iTMS. Visit BluePlateSpecialBand.com for more information. Mentioned during this show: to find out what you can do to help with the ongoing recovery of New Orleans, visit DirectRelief.org. Excellent online resources for more information about the blues: The Blues Foundation and the Delta Blues Museum; and be sure to download and listen to the DBM's top-notch (and free) podcast, the Uncensored History of the Blues. (Music on Murphy's Saloon #54 courtesy of the artists and the Podsafe Music Network, where I obtained many of these tracks)

  This week's playlist: • Living For the Moment by Marc Doiron. Marc's album Time Is Precious is available from the iTunes Music Store, Tower Records and mperia.com. • Rain, Rain by the Detonators; their site is here and their MySpace page is here. The funny story of their struggle to find a drummer (shades of Spinal Tap) is here. • Drivin' Wheel by EB Davis & The Superband, from the album Live At Yorckschlosschen, Vol. 2 (2000). EB sells his own CDs through his online store. You can also learn more at his MySpace page, and at EB Davis.com. • Grooving Together by EB Davis & The Superband, from the album Live At The A-Trane Berlin (2005) and available from his online store. • This World Is Not My Home by The Mescal Sheiks, from their album The World Is Not My Home (2006), available from the iTMS and CD Baby. For more information, visit their site or their MySpace page. • Fool For You by The Mescal Sheiks, also from The World Is Not My Home. • Running To New Orleans by Byther Smith, from his album Throw Away The Book; available from the iTMS and his label Black & Tan Records. Byther's music is also available through Amazon.com, MSN music, emusic.com and ourtracks.com. • Married To the Blues by Chumslick Nick and the Sharks. For more information, visit chumslicknickandthesharks.com or their page at GarageBand.com. (Music on Murphy’s Saloon #31 courtesy of these very independent artists, the Podsafe Music Network, GarageBand.com, the iTunes Music Store and MySpace.com) Extra special thanks to the one and only Superhot Lady Cop for calling in with a station ID. I look forward to future collaborations. Worth a visit (and a listen): the Delta Blues Museum site and their podcast, Uncensored History of the Blues. Also, you do not have to own one of the seemingly ubiquitous white mp3 players to enjoy Murphy’s Saloon away from your computer: check out No iPod Required for more information. Thanks again to Sci-Fi Hi-Fi, makers of PodWorks, the best shareware application I've ever bought.