Podcasts about Full house

We are officially HALFWAY through the Full House series!! Season 5 welcomes us by revealing that Becky and Jesse are having twins... Woah, baby! What do we think about this season opener? What can we expect to see throughout Season 5? Is it a Fannerito favorite?! Join us as we dive into another year with the Tanner family, right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

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

Jodie Sweetin stole our hearts in the 1990s as precocious middle-child Stephanie Tanner on “Full House” as well as in the 2015 Netflix reboot. Jodie joins me to talk about a very different kind of project: her new movie “Dateless to Dangerous: My Son's Secret Life” (Saturday, June 21st at 8/7c on Lifetime) about a mother's struggle to help her angry teenage son who turns isolated and hostile after being rejected by young women at his high school. Jodie talks about the intense experience making the film; how the “Fuller House” reboot came to be, and the emotional rollercoaster she faced after losing her friend and costar, Bob Saget. The only way “Group Text” happens is with YOUR support and support from mm amazing sponsors! Try VIIA! Head to ⁠⁠⁠⁠⁠⁠⁠⁠Viiahemp.com⁠⁠⁠⁠⁠⁠⁠⁠ and use the code GROUPTEXT This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to ⁠⁠⁠⁠⁠⁠⁠⁠HurrdatMedia.com⁠⁠⁠⁠⁠⁠⁠⁠ or the ⁠⁠⁠⁠⁠⁠⁠⁠Hurrdat Media YouTube⁠⁠⁠⁠⁠⁠⁠⁠ channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

You asked, we listened! Here is part 1 of our live event that we did on June 5th at the iHeartRadio Theater... From the moment Jodie and Andrea stepped on stage to the highly-anticipated appearance of Lori Loughlin and John Stamos. If you missed the event and couldn't watch the video, this is your chance to experience our jam-packed Full House reunion. It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We Like Shooting Episode 615 This episode of We Like Shooting is brought to you by: Black Rhino Concealment, Gideon Optics, Matador Arms, RMA Defense, Die Free Co., Rost Martin, and Mitchell Defense   Welcome to the We Like Shooting Show, episode 615! Our cast tonight is Jeremy Pozderac, Aaron Krieger, Nick Lynch, and me Shawn Herrin, welcome to the show! GunCon PUBLIC EVENT - June 28th Location - Cleveland, Ohio at the Twist Drill Building (1242 E 49th St) Industry/Media Events - June 25-28 (Mixed locations around Cleveland area) https://guncon.net/event/guncon-2025/ Use code wlsislife for $5 off   GOALS   August 9th and 10th in Knoxville, Tennessee. https://events.goa.org/goals/   GunCon/GOALS Shirt contest- Take selfies with the cast at both events. Win a free custom shirt. Bonus- Photo evidence of Jeremy choking you out, get a sticker.   Guest Info:  David Borges - Matador Arms President of Sales   https://www.instagram.com/matador_arms @matador_arms https://matadorarms.com/   Gear Chat Shawn - Flatline Fiber Co. Vibes Flatline Fiber Co. Qela Shawn - HK Parts Adaptor Fun HK Parts Adaptor Bullet Points Gun Fights Step right up for "Gun Fights," the high-octane segment hosted by Nick Lynch, where our cast members go head-to-head in a game show-style showdown! Each contestant tries to prove their gun knowledge dominance. It's a wild ride of bids, bluffs, and banter—who will come out on top? Tune in to find out! https://welikeshooting.com/reviews/springfield-armory-trp-operator-review/ https://welikeshooting.com/reviews/guns/canik-tp9-sa-glock-killer/ https://welikeshooting.com/reviews/nemo-omen-review/ https://welikeshooting.com/reviews/guns/rock-island-armory-revolver-m200-revolver-range-report/ https://welikeshooting.com/reviews/guns/kel-tec-plr-16/   WLS is Lifestyle Aaron's Alley Hunting's Cool. Gun Control, Not. Hunting's Cool. Gun Control, Not. Going Ballistic Gun Rights: The Right Call I WAS RIGHT...SORT OF Trump vs. Illinois: Gun Showdown! Trump DOJ Files Amicus Brief Supporting Challenge to Illinois ‘Assault Weapons' Ban Silencers: The Real Sound Debate Podcast: Inside the Senate Silencer Deregulation Fight (ft. American Suppressor Association's Knox Williams) Mobs vs. Cars: Buckle Up! Florida Sheriff: Mobs Blocking Cars in Our County Will Probably Be Run Over Suppressors: Not Just for Crime Sen. Chris Murphy: Firearm Suppressors ‘Primarily Designed for Crime' Reviews ⭐⭐⭐⭐⭐ - from PokerFace - The cast of We Like Shooting are a gamey bunch, both in odor and what the do in their spare time. As we sit around the poker table of WLS how would we equate each cast member to a hand of Poker, 5 card stud of course because these guys are all about 5 studs. First we have Aaron, never first in many things but here we compare him to a Full House, Queens over Jacks, because if anything we know he keeps his house full and is jack'n it to queens. Next is the venerable Nick Lynch. Of course he is a Straight Flush. A solid cast member who brings a lot to the table, but isn't always solid in other rooms of the house. Following Nick we have Savage, always traipsing behind and in this case just like real life he is pretty paltry at the table. He is High Card, other wise known as nothing and often High. But we keep him around to sit in the cuck chair. Almost last but certainly not least is Jeremy. Jeremy is 3 of a Kind. With 4 kids in tow he is trying to build out his fire team one hand at a time but missed on the last deal to make it 4 girls. Congrats on the Son. Last we have the Dealer of this Game. Constantly shuffling the guests to have the best content, Turning and Burning unworthy Sponsors and always ready to Flop out on the table. Shawn is represented by a Pair, and in this case a Low Pair.

If you're a creative, performer or just someone trying to balance passion with mental health in a high-pressure world, this episode with Keldamuzik Diva is one you don't want to miss.More info, resources & ways to connect - https://www.tacosfallapart.com/podcast-live-show/podcast-guests/keldamuzik-divaIn this Mental Health Monday episode of Even Tacos Fall Apart, MommaFoxFire sits down with Keldamuzik Diva, a powerhouse hip hop artist, actress, producer and entrepreneur from the Bay Area. The two cover what it's really like to chase creativity and success in the entertainment industry while navigating anxiety, burnout and the business side of things.Keldamuzik shares how her journey started when she was just five years old, doing auditions and headshots during the heyday of shows like Full House. Over the years, her career evolved from modeling and acting to rapping, launching a beret fashion line and producing her own content - all while staying independent and true to herself. She talks openly about what it's like to carry multiple creative projects and how ADHD plays a role in her work patterns. Her therapist once told her she had “an addiction to creating too many projects,” which she admits was eye-opening.Mental health challenges are a huge part of the discussion. Keldamuzik gets real about dealing with anxiety, especially in an industry that can be both high-pressure and unpredictable. She opens up about how the pressure to succeed, the constant hustle, and dealing with gatekeepers can take a toll. Her coping tools? Kava tea, breathing exercises, working out and cooking. Therapy has played a big role too, especially in helping her slow down and manage her energy.A key part of the conversation focuses on the contrast between fame and reality. Keldamuzik breaks down the misconception that getting signed to a label equals instant success. For her, staying independent means having creative freedom, owning her work and avoiding the toxic “puppet master” dynamic some artists face. She emphasizes the importance of artists doing the work for their fans, not just the algorithms. When she's felt like quitting, it's been those fan interactions - someone reciting her lyrics on the street, messages saying her work mattered - that have kept her going.The two also talk about imposter syndrome, burnout and how important it is to stay grounded. Keldamuzik reflects on her experiences with performing, building her brand around strength and independence and rewriting the narrative of what it means to be a “diva.” For her, being a diva is about being assertive, not fake or flashy. It's about claiming space unapologetically.Toward the end, Keldamuzik touches on her philanthropic work with her beret line, which supports people with hair loss, and shares her hopes for an entertainment industry that better supports artists' mental health. She calls out the need for real support - emotionally, financially and mentally - not just applause.This conversation is packed with honesty, humor and heart. If you've ever chased a dream, felt the weight of expectations, or wondered if you're good enough, this one's for you.

She was a face you grew up with—DJ Tanner from Full House—but today, Candace Cameron Bure is a creative force, entrepreneur, and mom of three navigating a media landscape that's changed dramatically since the 1980s. In this refreshingly honest conversation, Candace opens up about what it's like to raise kids in a streaming world—one with infinite entertainment options but fewer shared family experiences. She shares how fame shaped her childhood, how motherhood grounded her, and why she's working so hard to bring back meaningful content that families can enjoy together. Ginny and Candace talk about real transitions—career pivots, unexpected isolation, raising kids in radically different childhoods than their own—and the power of media to connect or divide. Plus, Candace introduces her newest children's book The Crazy Compromise, a heartwarming story about friendship across differences. Whether you're nostalgic for simpler times or just looking for ways to reconnect with your kids in today's media-saturated world, this episode will make you laugh, reflect, and maybe rethink family movie night. ***

Ever watched a TV show and thought, “There's no way that living room fits in that house”? Same. This week, we take a fun designer deep dive into the Full House set and why the iconic San Francisco exterior makes zero sense with the show's interior layout. Spoiler: Danny Tanner must've owned the entire block.Then we switch gears and head south for your weekly country music rundown — the top 5 songs lighting up country radio right now, plus a few fresh releases and rising artists you need to have on your radar.It's a little Hollywood. A little Nashville. All good storytelling.

In episode 1880, Jack and Miles are joined by hosts of Kim & Ket Stay Alive... Maybe, Kim Burns and Ketryn Porter, to discuss… Trump Ft. Bragg - He Gave A Rousing Speech Where EVERYONE? Cheered? DJ Tanner Thinks That Her TV Is a Portal To Hell and more! Bragg Soldiers Who Cheered Trump's Political Attacks While in Uniform Were Checked for Allegiance, Appearance Troops and marines deeply troubled by LA deployment: ‘Morale is not great’ ‘Full House’ Star Candace Cameron Bure: ‘I Don’t Even Want Someone Watching a Scary Movie in Our House’ Because ‘That’s a Portal’ to Something ‘Demonic’ Candace Cameron Bure avoids scary movies at home because they can be 'a portal' to something 'demonic' Movie's Are Hell Portals And Liquid Death Is Cursed Catch Ketryn on Major Slayage - A Buffy Rewatch Podcast! Instagram: @majorslayagepod TikTok: @majorslayagepod LISTEN: leavemealone ft. Baby Keem (Nia Archives Remix) by Fred again...See omnystudio.com/listener for privacy information.

Happy Friday! We're stuck on Common Man's face to start the show, we recap the Oilers historic comeback, update you on the US Open, today is Timmy's favorite day, Buckeyes get a new basketball court design, Timmy loves the Full House theme song, we play multiple TV theme songs & we send people to jail.

It's been a week since we reunited with most of our Full House family, so we're recapping some of our favorite moments, the craziness that went on behind the scenes, and how everyone's feeling post-show! Plus, we're answering some fan questions that you can't miss... It's all right here on How Rude, Tanneritos! You can still purchase a ticket to watch the live show virtually at veeps.com/howrudetanneritos! Follow us on Instagram @howrudepodcast and TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

What really went on behind the scenes of Dance Moms? In this episode, we dive into the moments the moms wish the public understood differently. Did Jill really buy Abby that bench—or was there more to the story? Was Melissa playing favorites with her daughters? And what finally pushed Kelly over the edge?But first they catch up: Jill gives us an update on Teddy and we find out that Nia also has a new puppy! Melissa attended a live podcast taping with some of the "Full House" cast. Kelly tells us about a unique movie role that Brooke had after Dance Moms and this leads them to discuss the new "Hershey" movie that has been filming in the Pittsburgh area. The moms recall some bad hair TV moments and we learn why Jill was often wearing a hat. They also discuss the recent news that Abby is suing Cedars Sinai Hospital.If the moms could have dinner with 3 people (past or present) who would they choose? Tune in for all this and more!Get extended episodes, exclusive content, and video by joining our Patreon! https://www.patreon.com/deardancemomHave a question for the moms? Leave a voice message at https://www.speakpipe.com/deardancemom and you might be part of a future show!Hey everyone! We want to hear from you! To make sure we're delivering the content you love and shaping the show in the best way possible, we've put together a super quick survey. It'll only take a few minutes, and your feedback will help us make the show even better. Whether you've been listening from the start or just discovered us, your opinion matters. http://bit.ly/deardancemom-survey Hosted on Acast. See acast.com/privacy for more information.

Shvuos 43: full house by “Dafsplaining”: daf yomi made simple

TRENDING - Full House star Jodie Sweetin was at an LA protest wearing a mask and goggles, Jimmy Kimmel's opening monologue blasts Trump and says there's no violence in LA, NYC protesters block a black woman from going to work.

Today on What's My Frame I'm joined by Writer and Producer, Rob Edwards. Rob has written classic animated films for Disney including THE PRINCESS AND THE FROG  & TREASURE PLANET. This year he has three films including MARVEL'S CAPTAIN AMERICA: BRAVE NEW WORLD, SNEAKS and THE KING OF KINGS. Rob is a 20-year veteran of television where he wrote and produced, notable credits include THE FRESH PRINCE OF BEL-AIR, FULL HOUSE, A DIFFERENT WORLD, STUDIO 60 ON THE SUNSET STRIP & IN LIVING COLOR. Rob also consulted on TANGLED, WRECK-IT RALPH, and FROZEN. He also wrote and directed the award-winning animated short film THE PARK BENCH and is currently writing projects for SHOWTIME, SONY, and MOFAC. His graphic novel, DEFIANT, is a best seller and is currently being made into a feature. Rob shares some beautiful advice around self awareness and self acceptance in support of the writing and rewriting process. Now let's get to the conversation! DEFIANT - The Story of Robert Smalls - Comic Book Issue #1Follow Rob on IG--What's My Frame, hosted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the WMF creative community now!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

The first full Appropriations Committee markup is set for Tuesday. Senate Republicans' reconciliation work continues as more committees roll out their proposals. And a rescissions package heads toward a planned floor vote this week. David Higgins has your CQ Morning Briefing for Monday, June 9, 2025.

The first full Appropriations Committee markup is set for Tuesday. Senate Republicans' reconciliation work continues as more committees roll out their proposals. And a rescissions package heads toward a planned floor vote this week. David Higgins has your CQ Morning Briefing for Monday, June 9, 2025.

Welcome back to another episode of Astrology Talk Investigate, hosted by your Astrology Aunties, Christina Rodenbeck and Sally Kirkman. In this episode, Christina and Sally discuss the astrology of twins. They look at the charts of Gemini twins Mary-Kate & Ashley Olsen, who became famous back in the 80's and 90's and were known for playing twins as child actors. As babies, they even played the same character in the TV sitcom Full House. Why do twins, both biological and astrological, have their own unique characters? To find out, do listen to our latest podcast. Once you've listened, please be in touch with any suggestions that you would like us to investigate in the future.   Sally Kirkman: sallykirkman.com Instagram: https://www.instagram.com/sallykirkmanastrologer/ Facebook: https://facebook.com/SallyKirkmanAstrology Christina Rodenbeck: oxfordastrologer.com Instagram: https://www.instagram.com/oxfordastrology/ Facebook: https://www.facebook.com/oxfordastrology

The incredible Bob Saget stops by to talk about Full House, writing jokes for America's Funniest Home Videos, getting roasted by his friends & tells a Dave Coulier story you won't hear again. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, Chad reviews a high-tech horror film, the guys revisit a "very special episode" from Full House, Darrin finds out something surprising about Batman: Mask of the Phantasm, and the HBO Max series Poor Devil does... well, poorly. Sponsored by Gamefly. New customers can get a 30-day free trial by clicking on the GameFly link at the top of GeekCavePodcast.com. Like the show? Please leave a rating wherever you found us! Download and listen today on Apple Podcasts, Spotify, iHeart, Amazon, Stitcher, Goodpods, and more of your favorite podcast services! 

Actress Jodie Sweetin and reality star Reza Farahan join Jeff and Shane to talk about Jodie's multiple ex-husbands and Jeff reveals which company collab is making him feel unhinged.• • • Want more Jeff Lewis? Click here to sign up for 3 free months of SiriusXM and listen weekdays to "Jeff Lewis Live" from 12-2pE/9-11aP on Radio Andy Channel 102. Plus, tune into The Jeff Lewis Channel for even more Jeff content streaming exclusively on the SiriusXM app channel 789.• • • Host - Jeff LewisGuests - Jodie Sweetin, Reza Farahan, & Shane DouglasSenior Director – Lisa MantineoDirector - Alyssa HeimrichSenior Producer & Editor - Jamison ScalaAssociate Producer – Oscar Beltran

Miss Heard celebrates Season 6, Episode 301 with The Beach Boys' “Kokomo” and share her personal connection to this song. You will also learn which “Full House” actor is in their music video playing the steel drums. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #TheBeachBoys #Kokomo #JohnStamos #CocktailtheMovie https://www.youtube.com/watch?v=Ke1Us_3qfkg https://en.wikipedia.org/wiki/Kokomo_(song) https://en.wikipedia.org/wiki/Terry_Melcher https://en.wikipedia.org/wiki/Providence_Park

Welcome Back to the BRUNCH BREAKDOWN Podcast! On #TheMenu: Our top 5 Childhood Celebrity Crushes (shouts to Gia from Full House), Bowling, Flag Football in the Olympics, and if you didn't know, CANADA IS ON FIRE AGAIN! Plus, Beer, Music, & MORE! See Yinz at the table for another delicious episode! Check out the SOUNDS OF BRUNCH Playlist on Spotify! WATCH Full Episodes of the @BrunchBreakdown Podcast on YouTube, Spotify, & Facebook. LISTEN on AMAZON, Audible, Spotify, Apple, and Everywhere You Get Your Podcasts. FOLLOW us on Twitter, Triller, Instagram, TikTok, and GoodPods!

Troy Kinne is an award-winning comedian, actor, writer, producer and director. In the early days of his stand-up comedy career, Troy won almost every new comic competition in Australia. The Comic's Lounge ‘You Gotta be Joking' competition saw him receive the prize of a trip to New York to attend the American Institute of Comedy. He went on to perform at several well-known clubs in the U.S. including Caroline's on Broadway, Stand Up New York, Gotham Comedy club, the Laugh Factory, The Hollywood Comedy Store and The Comedy Cellar.  On returning to Australia Troy became a sought-after headline act for The Australian Armed Defence forces, Mining camps and Comedy clubs around the country. In 2010 Troy added some steady work alongside the comedy club circuit, becoming a content producer for the Fifi and Jules radio show and hosting his own regular segment interviewing celebrity guests such as Seth Rogen, Josh Lawson, Simon Pegg and DJ Havana Brown. Troy has made guest appearances on TV and radio including Nova FM's Hughsie and Kate for breakfast, Hamish & Andy, Chrissie, Sam and Brownie, Have You Been Paying Attention, The Hundred with Andy Lee and The Comedy Channel's Stand-Up Australia. However, Troy is mostly known for his own Sketch Comedy TV shows - KINNE (7 Mate) and KINNE TONIGHT (CH10). The KINNE show saw Troy nominated for the 2015 Logie Award for Most Outstanding Newcomer and a number of sketches from his shows have racked up millions of online views worldwide. Troy's comedy is known for being extremely relatable. Proof of this is his video content constantly going ‘viral' with his online following currently sitting at well over 1 million plus across all social media platforms.  FULL STORY which is a special movie length opening episode is out now on YouTube which Troy funded himself – check it out (below)! I loved it! About Full Story: Full Story is being labelled by Kinne as a ‘one hour showcase special'. “Rather than being a standard ‘first episode' pilot, episode one of Full Story is essentially a mini movie, resulting in a much more comprehensive example of the vast opportunities for the series and the characters in terms of longevity.” The story follows Tucker Taylor and his struggling publicity agency who find themselves thrust into a situation requiring more time executing crisis management for themselves than their clients. This bold new series boasts a diverse lineup of talent in both background and experience ranging from newcomers, to rising stars to Aussie screen legends – Troy Kinne (Kinne, Kinne Tonight), Genevieve Hegney (Colin from Accounts), Tiana Hogben (Thank God You're Here), Kevin Hofbauer (Hamish and Andy's True Story), April Rose Pengilly (Neighbours), Colette Mann (Prisoner), Kaily Emma Smith (Stakes), Rob Mills (Every musical ever made ever), and Sicilee Diep-Dubois (Acting debut). The popularity of Kinne's previous work has resulted in eager guest appearances from Aussie stars. Lending their talents are Sophie Monk, Josh Lawson and Scott Ryan. The Full Story series explores cancel culture and the consequences that can come with fame whether seeking it or not. However, the real heart of the series is its honesty when portraying behaviour (even if it's a tough pill to swallow for the audience). This is its point of difference – no holding back. We see desperation at its finest from every perspective possible which can be an uncomfortable eye opener, encouraging the viewer to think about, and in some instances, question their own behaviour/thoughts. FULL STORY promises to be a hilarious and entertaining journey for audiences keen to once again indulge in a scripted series with ‘some balls'. We chat about his love of Thailand, creating videos, FULL STORY, heart issues, trusting your gut, being ‘made wrong', regrets, comedy, magic writing on planes, getting tv shows plus plenty more!   Check TROY out on: Instagram: https://www.instagram.com/troykinne/ FULL HOUSE: https://www.youtube.com/watch?v=Dyyg5uflmoY&list=PLoXYRLb-WmOVE-SCTwGe1iqPH9snbk7pj   Website/ tickets: https://www.troykinne.com/#shows Facebook: https://www.facebook.com/KinneTVshow ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Gather 'round the dinner table, it's time to slop-up some SECOND HELPINGS, including MJ's watchin' "Full House" with their TWO YUTES and how "A Very Special Episode" led to them realizing the hand they've played in creating today's WOKE BULLSHIT generation, a parallel experience of finishin' "Andor" S2 and divin' STRAIGHT in C H R O N O L O G I C A L O R D E R to "Rogue One: A Star Wars Story" as they each launch into their "Star Wars" JOURNEY, Jackie's watched the first episode of "90 Day: Hunt for Love" (ANOTHER "90 Day" spinoff, but this time it's a DATING REALITY COMPETITION!), MJ can now humbly give AN ANSWER on if they can still enjoy "The Secret Lives of Mormon Wives" or are these women just suffering too much?, Jackie and Geoff discovered a youtuber that's her version of ASMR during a late-nite can'tsleepYoutubedive (audio included in episode around 22min; Snakealive - Grand Illusions), MJ's givin' their kids a 90's Summer, but NOT THAT KIND, "Everybody's Live with John Mulaney" has ended and Jackie must scream but she won't be screamin' any spoilers for "The Rehearsal" other than she says 'the ending is GENUIS', MJ is just watchin' the TikTok of Alexander Skarsgård and Pedro Pascal kissin', Dakota Fanning has a new movie about her goin' after TWO old men, the "Jurassic World Rebirth" popcorn bucket is.....something, MJ's gettin' hawt for sad boi Barry profile, Sydney Sweeney selling bath water soap with Dr. Squatch, Amy Poehler had the OG I C K from Tom Cruise because he did a bunch of flips in a movie and NOT because he's part of a bullshit cult that's slowly dying, Michelle Williams recently talked about how horrible it was living with Ryan Gosling during the shooting for "Blue Valentine", Kelly Ripa and Mark Consuelos are letting us all know they fuck....a lot.....again, Jackie is askin' MJ to watch "Hereditary" and asks WE ALL try to absorb the new "Pee-wee" doc before NEXT WEEK PLS, Hugh Jackman's divorce has finalized and here's hoping she takes him for it all, Dick Van Dyke just wants that sweet sweet release, AND SO MUCH MORE TO SLURP UP THIS WEEK!Want even more Page 7? Support us on Patreon! Patreon.com/Page7Podcast  Subscribe to SiriusXM Podcasts+ to listen to new episodes of Page 7 ad-free.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

With our live event coming up, we'd like to take a moment to talk about the man who would have loved to join his Full House family up on that stage, but sadly cannot. This minisode is dedicated to the beloved Bob Saget, aka Danny Tanner: "America's Dad". From fan questions to personal mementos, we'll be talking about Bob and the impact he had on us all. Follow us on Instagram @howrudepodcast to get tickets to the live event & Follow our TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We're joined by Beer and Cypher once again to look back on #AEWDoN as Mercedes Mone extends her chokehold on the women's division and anarchy is brought to the arena - with The Pointer Sisters? And we take a look at the build to Money In The Bank. PLUS the #FullHouse fallout as we recap the drama between Dragon Club and the Brothers of Max Destruction, The Kingpin addresses A.T. Rustlar and Tedd P Dinero, and Blade Rodriguez Anthony Carrillo calls his shot as TV Champion! Theme song: "Every Single Scar" by our house band Captain's Revenge https://open.spotify.com/artist/6bmxa3E97iSuJ1qqoHdFMz?si=lpr8t6HmQru7nUQWF4BidQ #mercedesmoni #moneyinthebank #codyrhodes #wwe #aew #wrestling #podcast #wwepredictions #wrestlingpodcast #wrestlinghighlights #wrestlingnews #allelitewrestling #nxt #njpwworld #newjapanprowrestling #ddtpro #ddtprowrestling #tnawrestling #tnaimpact #thisistna #aewvsnxt #aewpodcast #aewdynamite #aewrampage #wweraw #wwesmackdown #romanreigns #codyrhodes #rhea ripley #mjf #cmpunk Visit us as www.maxwrestlingnet.weebly.com Facebook: www.facebook.com/groups/maxwrestling Twitter: www.twitter.com/maxwrestlinguk Soundcloud: www.soundcloud.com/maxwrestling Spotify: https://open.spotify.com/show/6Q8pmjfAmbmpXlyvZnlg7T

Rob Edwards is a thirty-year veteran of movies and television who wrote and produced shows including The Fresh Prince of Bel-Air, Full House, and In Living Color before writing two classic animated films for Walt Disney Feature Animation: the Academy Awards and Golden Globe nominated The Princess and The Frog, and the Academy Awards nominated Treasure Planet. His new project is the graphic novel Defiant: The Story of Robert Smalls. Rob Edwards reflects on being creative for a living, the difference between tourists and pretenders and being a real professional, and how he feels obligated to both teach and entertain in his work. He also shares what it was like working on such iconic TV shows as Roc and The Fresh Prince of Bel-Air and managing the pressure and responsibility of being one of the few Black creative workers with his range and depth of experience in Hollywood. Rob Edwards also does some sharing about his approach to writing the new Marvel film Captain America: Brave New World and how Anthony Mackie's character “Sam Wilson” (who is now the new “Captain America”) reflects the much deeper history of the long Black Freedom Struggle and the pressure to always succeed in the face of the (near) impossible. On this special Memorial Day episode of the podcast, Chauncey DeVega continues with his annual tradition of reading an account of the first such remembrance day that took place at the end of the Civil War when now free Black Americans buried Union Army war dead in Charleston, South Carolina and honored their sacrifice and victory over the Confederacy with a huge parade. Chauncey also reads an account written by a member of the United States Colored Troops about his experience(s) in the Civil War and doing battle against the forces of the Confederacy who were determined to keep Black people in bondage. And Chauncey DeVega goes on a journey around his neighborhood and has a surreal series of experiences where he was lucky to not be shot by street pirates, learned from a wise honored elder on the bus, and then encountered a young man who claimed to be a time traveler. WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com: Patreon: https://www.patreon.com/thechaunceydevegashow   https://www.patreon.com/TheTruthReportPodcast

We're back at ranking another season of Full House! This time, we're diving into Season 2 & adding some new categories suggested by the fans! So, follow along and tell us what YOUR thoughts are on Season 2... Is it one of the best seasons in Full House history?! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

The Alan Cox Show

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

The hot topic of who loves the goats more is now up for debate.  This sparks a debate, so we would love to hear your comments. Stay around for a glimpse of Steve singing the theme song to Full House. Plus, the reveal of The Gambler custom cowboy hat.

Jason Fraley celebrates 30 years of the family sitcom “Full House," which aired its series finale on ABC on May 23, 1995. He spoke to Uncle Jesse when John Stamos rocked the “A Capitol Fourth” concert in Washington D.C. in 2017. You'll also hear the origin of his signature catchphrase "Have Mercy!" (Theme Music: Scott Buckley's "Clarion")

It's Double Predictions as we're joined by Beer and Cypher to predict WWE Saturday Night's Main Event and AEW Double or Nothing! PLUS Beer opens the show by defending his World Title against Travis Anderson, Tedd P Dinero defends his Knowledge Title against The Phoenix in "Double or Nothing" rules and The Kingpin battles a familiar face in A.T. Rustlar!

Elianna Vigil joines Fred and Van and Jake in studio. Weekend reaction, walk out songs and tush updates.

This week, the Van Wie Financial Hour gets all three of your favorite hosts together to discuss the week's market! Adam, Joey, & Steve answer caller questions and have lively debates on trending financial topics!

Christina welcomes Aimee to chat about her long-term decision to not have children, and then falling in love with a man who has 2 kids. PLOT TWIST! Aimee shares how she jumped right in, then needed to find her boundaries before she lost herself. How do you manage the guilt while disengaging? How do you find your role when you never wanted to “mother”? Christina and Aimee discuss parenting with intent, communication as a stepmom and more! Listen in! About My Guest:Aimee is almost 3 years into her stepmom role, helping raise 2 pretty amazing kids. Before meeting their dad, she had made the decision to be childless by choice. Although it has been one of the most difficult roles for her to navigate (because this can get messy,) it has been the most rewarding.Instagram: @aimeestocktonSo much more than a podcast!Did you know there are exclusive Bonus Episodes? Become a Member of the⁠ ⁠⁠Rad Community ⁠⁠⁠and get access!Instagram: @radicalstepmomspodcastNeed some extra support? ⁠⁠Schedule with Christina!⁠⁠⁠⁠www.radicalstepmomspodcast.com

By Pastor Tyler Braun Main text: Luke 14:7-24 The post A Full House appeared first on New Harvest Church.

Our Fanneritos took to Instagram and asked some of our favorite Q&A questions yet and today, we're answering them!! Want to know if they ever started taping season 9 of Full House? Ever wondered what episode the girls would rewrite if given the chance? Or, do you want to know what guest star backhanded Jodie in the face?! We're here to answer all of your burning questions AND go off the rails while doing it! It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We're taking a week off of a regular MTMUG episode this week, but have a special bonus episode that gives you a taste of what you're missing on our Patreon. We're going to Disneyworld on the Patreon this week, and are taking about five ABC sticoms that brought (most) of its cast to the Happiest Place on Earth. First, we talk about Step By Step, our favorite Brady Bunch knockoff, that spent Grandma's inheritance money early by getting an all-expense trip to Disney World. Second, we talk about Boy Meets World's forgettable episode where Corey and Shawn journey cross-country to track down Topanga on a school trip to Epcot. We talk about the House Meets Mouse episode of Full House where Michelle Tanner gets to be princess for a day at the Magic Kingdom. We couldn't leave off Family Matters' unhinged episode where Steve Urkel unleashes his cloned alter ego, Stefan Urquelle, onto the Disney parks to sweep Laura Winslow off her feet, and we finish up talking about the best sitcom goes to Disney episode of them all, Disney World War II from Roseanne.  If you enjoy this episode subscribe to our Patreon at the five dollar level for more TV Shows that Keep Us Gay! Also, the Watch With Us Commentaries are included in the ten dollar level, so that's two bonus episodes every month! Not to mention the MTMUG Summer Series episodes that will start in June.  Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Bluesky: @MTMUGPod.bsky.social Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram Peterlasagna

Mike Mulligan and David Haugh were joined by Leila Rahimi, Marshall Harris and Mark Grote for the daily transition segment.

FULL HOUSE | Son of a Boy Dad #299 -- #Ad: Exclusive $35-off Carver Mat at https://AuraFrames.com. Promo Code [BOYDAD] -- #Ad: Go to https://kraken.com/barstool to learn more-- Follow us on our socials: https://linktr.ee/sonofaboydad -- #Ad: Connect with a provider at RO.co/SON to find out if prescription Ro Sparks are right for you and get $15 off your first order -- #Ad: Go to https://vuori.com/BOYDAD for 20% off your first purchase. Exclusions apply. Visit the website for full terms and conditions. -- Merch: https://store.barstoolsports.com/collections/son-of-a-boy-dad -- SUBSCRIBE TO THE YOUTUBE #SonOfABoyDad #BarstoolSportsYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/sonofaboydad

The Full House is getting "Fuller" this episode (hence the title), and we have to talk about the pink bunnies... Did Michelle deserve to be gifted the framed pink bunny from Jesse OR did he give away what was rightfully Stephanie's?! Jodie remembers having strong opinions about this, even as a child. And, we can't forget to talk about the attic! Structurally, this house makes no sense... Plus, it isn't a podcast episode if one of the girl's isn't hysterically laughing, and this time, Andrea broke Jodie! Tune in for all the fun right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

We are back with long-time Full House writer and producer, Dennis Rinsler! Now, Dennis has stories that even the biggest Fanneritos may not know... Like, what episode was so hard to write that they almost gave up on it entirely?! Or, what was it like to experience the very last curtain call on set?! These are the stories we live for when reunited with fellow cast and crew members, and it's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritos See omnystudio.com/listener for privacy information.

Is the CIA agent hard at work? Another Simple Favor director Paul Feig calls Blake Lively "very sweet;" says she's "nothing" like her character, as the press continues to flood positive stories about her. Vanderpump Rules alum Brittany Cartwright is throwing shade at ex Jax Taylor, slamming his bedroom performance! Plus, a Full House feud? Jodi Sweetin talks fall-out with Candace Cameron Bure.   Get your tour tickets to see No Filter with Zack Peter LIVE: https://www.x1entertainment.com/zackpeter   Shop New Merch now: https://merchlabs.com/collections/zack-peter?srsltid=AfmBOoqqnV3kfsOYPubFFxCQdpCuGjVgssGIXZRXHcLPH9t4GjiKoaio   Book a personalized message on Cameo: https://v.cameo.com/e/QxWQhpd1TIb   Listen to The Pop Report: https://podcasts.apple.com/us/podcast/the-pop-report/id1746150111   Watch Disaster Daters: https://open.spotify.com/show/3L4GLnKwz9Uy5dT8Ey1VPi   Join the Zack Pack Community to get access to perks: https://www.youtube.com/channel/UCs3Zs51YaK-xw2U5ypi5eqg/join   Couldn't get enough? Follow @justplainzack or @nofilterwithzack

We're back with Full House writer and producer: Dennis Rinsler!! Not only did he oversee some of THE most iconic Full House episodes, he also made his mark with writing partner, Marc Warren, on shows like That's So Raven & Even Stevens! In a way, they wrote multiple generation's childhoods... If you love our sit-downs with the incredibly talented crew members of Full House, you're going to love this. It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

This week, we're recapping the more unhinged half of Becky and Jesse's wedding and our energy is coincidentally matching the episode's absurdity... We're off the rails, Jesse and Becky are off the rails, it's likely that you'll be off the rails after listening to this, too!! It's the episode where Jesse falls onto a truck bed of tomatoes, gets busted out of jail by his bride-to-be, they hijack a bus of chorus singer, get married and sing "Forever" and have the reception at the Full House... It's all right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.

It's the moment we've all been waiting for... Becky and Jesse are getting MARRIED!! And it wouldn't be complete without a lot (& we mean A LOT) of drama. In part 1 of this two-part episode, we'll be going over Jesse's decision to go skydiving just hours before the wedding ceremony, the classic early 90's wedding attire, the fact that Jesse met the Donaldson's a day before the wedding (but, Jodie can't judge) and much, much more. If you need a Full House wedding refresher, tune in to hear our breakdown of this episode and all of the unsolicited thoughts that come with it, right here on How Rude, Tanneritos! Follow us on Instagram @howrudepodcast & TikTok @howrudetanneritosSee omnystudio.com/listener for privacy information.