Podcasts about Garfunkel

Scrump and Drew talk about the music of; Jack Harlow, Future, French Police, Harms Way, Matt Berry, Kool Keith, Simon & Garfunkel, Earth Crisis and more! First Class-Jack Harlow WAIT FOR U-Future CDMX-French Police Other World-Harms Way Take My Hand-Matt Berry Dope Skiller-Kool Keith Cecilia-Simon & Garfunkel To Ashes-Earth Crisis

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

We can't put our Nintendo Switch 2 systems down or get Mario Kart World out of our heads, so while doing laps around the tracks, the VGA boys started thinking about our top kart racing items from across the genre. Guest Jarrett Green joins us to list our favorites, from the most useful, to the wacky and weird, and everything in between.  Then we jump through a portal to discuss Splitgate 2, the Gex Trilogy collection, Tron Catalyst, FBC Firebreak, this week's news, and so much more.  Question of the Week: What's the most memorable game you've played on a new game system?  Break song is "Go Kart Racing" by Garfunkel and Oates.  Vidjagame Apocalypse theme by Matthew Joseph Payne.

Revisiting a very early episode this week! Original description: On the fourth episode of Alison Rosen Is Your New Best Friend, actress, comedian, member of funny musical duo Garfunkel and Oates and fellow podcast host Riki Lindhome joins the show to talk about relationships, Valentine's Day, the Nuvaring, the way you have to do fun stuff like go on trips and eat at nice restaurants even if you're single, workaholism, setting boundaries, therapy, whether relationships make you less productive and the way Kinko's doesn't suck, which is nuts since everyone knows Kinko's sucks. In fact as I sit here writing this I'm still baffled at the way an otherwise intelligent woman such as Riki Lindhome can insist Kinko's is a pleasant place to go when it's pretty much the opposite of a pleasant place to go. Have I mentioned I hate Kinko's? God, I hate it. But Riki doesn't. (original airdate: March 4, 2012) Get yourself some new ARIYNBF merch here: https://alison-rosen-shop.fourthwall.com/ Subscribe to my Substack: http://alisonrosen.substack.com Podcast Palz Product Picks: https://www.amazon.com/shop/alisonrosen/list/2CS1QRYTRP6ER?ref_=cm_sw_r_cp_ud_aipsflist_aipsfalisonrosen_0K0AJFYP84PF1Z61QW2H Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen   Buy Alison's Fifth Anniversary Edition Book (with new material): Tropical Attire Encouraged (and Other Phrases That Scare Me) https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Try Amazon Prime Free 30 Day Trial

Send us a textHi everybody and welcome to Attendance Bias. I am your host Brian Weinstein. Get ready for some venue whiplash; after three nights at the largest indoor venue on the tour in Chicago, Phish leaves the second city to arrive in New York. More specifically, July 22 and 23 at Forest Hills Stadium in Forest Hills, Queens; home to The Ramones, Simon and Garfunkel, and Peter Parker. If you've listened to Attendance Bias for any amount of time, you've probably heard me mention that I live in Forest Hills, so today's episode is a homecoming; I don't think I've ever lived closer to any music venue. Before these shows, I've never been able to walk to a Phish concert from my front door. And who would be the best guest in the world to give a preview of this venue and this neighborhood? None other than my wife, Michela Ratto. Michela has been on Attendance Bias once before, and while I mostly give background information and context about this venue that is new to the Phish world, she gives plenty of tips and tricks to help any listeners coming to these two shows, filling everyone in on what to expect.We cover a lot in today's episode; the history of the Forest Hills Tennis Stadium, what the neighborhood is like, the best ways to get there, and of course we give our takes on the controversial headlines about the stadium that crop up ahead of every summer concert season. Ironically, this is the longest episode of this venue preview series, but there are no music clips, since Phish has not only never played the stadium before but they've never played the entire borough of Queens!So join Michela and I to get the inside scoop on the Forest Hills Stadium, our theories as to why Phish chose to play the smallest New York City venue they've played in years, and where to get the best food once you get inside on July 22 and 23rd. 

We each choose our favourite five Simon and Garfunkel songs Presented by J.R. Southall, with Jon Arnold, Matt Barber and Steve Hatcher

EP#774: Krissy leads this conversation and fascinating look at one of the great comic-musicians of our time, Riki Lindhome. From finding success on very early YouTube to playing tribute to one her favorites...John Oates, with her duet music as part of Garfunkel & Oates. Riki now has a new album to make you red faced and giggled! It's out now which means you should go listen! If you're in D.C. and need a laugh, her one woman show debuts this July at Wooly Mammoth Theatre. She is funny, she is sharp and she is here! Riki Lindhome joins TCB. RIKKI'S LINKS: Rikki's Website & One Woman Show Tickets ⁠⁠Rikki's New Album Riki's YouTube Watch EP #774 on YouTube! Text us or leave us a voicemail: +1 (212) 433-3TCB FOLLOW US: Instagram:  ⁠⁠@thecommercialbreak⁠⁠ Youtube: ⁠⁠youtube.com/thecommercialbreak⁠⁠ TikTok: ⁠⁠@tcbpodcast⁠⁠ Website: ⁠⁠www.tcbpodcast.com⁠⁠ CREDITS: Hosts: ⁠⁠Bryan Green⁠⁠ &⁠⁠ Krissy Hoadley⁠⁠ Executive Producer: Bryan Green Producer: Astrid B. Green Voice Over: Rachel McGrath TCBits: Written, Performed and Edited by Bryan Green To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

"There must be some way out of here," said the joker to the thief,There's too much confusion, I can't get no reliefBusinessmen, they drink my wine, plowmen dig my earthNone of them along the line know what any of it is worth."Please come along with me on a 2 Hour Musical Journey and escape the noise. Joining us are The Black Keys, Love, Lenny Kravitz, Joni Mitchell, Van Morrison, Crack The Sky, Neil Young, John Mellencamp, Donovan, Buffalo Springfield, John Prine, The Hollies, Moody Blues, Doors, Oasis, Fleetwood Mac, Led Zeppelin, Jackson Browne, Chick Corea, Jefferson Airplane, Simon & Garfunkel, Pat Metheny, Seals & Crofts, The Grass Roots, The Guess Who, Beatles, Genesis and Bob Dylan...

The Crossing No.76 from RaidersBroadcast.com as aired in June 2025, and featuring the 1974 folk-rock album ‘The Man in the Bowler Hat, from the eclectic Stackridge. TRACK LISTING: Once I Had a Sweetheart - Pentangle; Who Will Sing Me Lullabies - Kate Rusby; So Long, Frank Lloyd Wright - Simon and Garfunkel; The Old Laughing Lady - Neil Young; Road to Venezuela - Stackridge; The Indifferent Hedgehog - Stackridge; Shuffle Set - Bella and Polly; Hut on Staffen Island/Random - Kathryn Tickell; All In A Day - The Unthanks; Pear Tree - The Albion Band; Fundamentally Yours - Stackridge; God Speed the Plough - Stackridge; The Lamb Ran Away with the Crown - Judee Sill; Rainbow Road - Joan Baez.

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review! This week, we're sinking into the beautifully awkward and emotionally layered world of The Graduate (1967), a landmark in American cinema that captured the confusion and alienation of a generation—and still resonates today.Directed by Mike Nichols and based on Charles Webb's novel, The Graduate stars a breakout Dustin Hoffman as Benjamin Braddock, a recent college graduate adrift in a sea of expectations, ennui, and passive-aggressive dinner parties. Returning home to California, Ben finds himself stuck in a well-off suburban limbo, unsure of what to do with his future and utterly disconnected from the adults around him.Enter Mrs. Robinson (Anne Bancroft), the wife of his father's business partner and one of the most iconic seductresses in film history. Their affair is sultry, weirdly funny, and shot through with a tragic edge that gives the film its unique tone—equal parts satire, drama, and coming-of-age fable. Complications multiply when Ben falls for Mrs. Robinson's daughter Elaine (Katharine Ross), throwing everyone's lives into romantic chaos and sparking a messy, impulsive pursuit that culminates in one of the most famous closing shots in cinema history.Visually, The Graduate is striking—Nichols' inventive use of framing, reflections, and slow dissolves elevates the emotional subtext, and Simon & Garfunkel's folk-heavy soundtrack ("The Sound of Silence", "Mrs. Robinson") lingers in your head long after the credits roll. The music doesn't just underscore the scenes—it becomes a character in itself, echoing Benjamin's alienation and longing.But what really makes The Graduate endure is its tonal complexity. It's satirical, yes, but also melancholic. Benjamin isn't a traditional hero; he's self-absorbed, indecisive, and often unlikeable. Yet in that uncertainty lies the film's power—it taps into that restless moment between adolescence and adulthood where everything feels hollow, and rebellion can look like love, lust, or simply running away.Is the ending romantic or despairing? Is Benjamin a rebel or just another aimless rich kid? The Graduate leaves space for interpretation, and that ambiguity is what keeps it feeling alive, even decades later.So whether you're watching for the sharp dialogue, the iconic performances, or just to see Dustin Hoffman awkwardly floating in a pool of existential dread—this one's a classic for a reason.

Comedian, actress and musician Riki Lindhome is here! Riki got her start in Hollywood as one half musical duo Garfunkel and Oates. She shares about how she made the first move on her co star Fred Armisen all while a surrogate was weeks away from giving birth to her child. Her incredible fertility journey is now a musical executively produced by Ali Wong and Bill Hader. We also get into The Valley and Kim Zolciak's daughter, Ariana's disturbing financial claims. This is a funny, juicy and touching episode. Enjoy! -For a limited time only, our listeners are getting a HUGE discount on the iRestore Elite when you use code JUICYSCOOP at ⁠https://iRestore.com⁠  -Get 15% off, plus free shipping on your first set of sheets, at ⁠⁠⁠https://BollAndBranch.com/juicyscoop⁠⁠⁠  -For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to ⁠https://Nutrafol.com⁠  and enter the promo code JUICYSCOOP. -Right now, listeners of this show can get an extended 30-day free trial! Just go to ⁠https://DipseaStories.com/JUICYSCOOP⁠  to start your free trial. -Find exactly what you're booking for on ⁠⁠https://Booking.com⁠⁠, Booking.YEAH! Stand Up Tickets and info: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://heathermcdonald.net/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to Juicy Scoop with Heather McDonald and get extra juice on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/JuicyScoopPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/juicyscoop ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Shop Juicy Scoop Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://juicyscoopshop.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Me on Social Media: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www/instagram.com/heathermcdonald ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@heathermcdonald⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Starting with humble working class background, Al Gorgoni has been a major force in the music business in the middle 60's. He has worked with Simon and Garfunkel, Bob Dylan, Van Morrison, Evie Sands, Barry Man and has had his song recorded by Frank Sinatra and others. He arranged many of the advertising commercials we've all heard. 

Ned is tired. But that was a race for the ages.Final HOUR of Ned's Substack offer!Claim your BIKMO T-shirt and sign up here!Get ahead of the curve and stock up on TDF NSF Merch! Hosted on Acast. See acast.com/privacy for more information.

"It was raining hard in 'FriscoI needed one more fare to make my nightA lady up ahead waved to flag me downShe got in at the light"No fare required, just 2 hours of your time. Please join me in my Yellow Cab as we explore this wondrous thing called music, but without a road map. Joining us are Simon & Garfunkel, Talking Heads, Billy Joel, Stevie Wonder, The Kinks, Rascals, Laura Nyro, Van Morrison, Billy Cobham, Pearl Jam, Led Zeppelin, Steely Dan, The Troggs, Paul Revere & The Raiders, Cream, Foo Fighters, War, The Cyrkle, Richard Harris, Earth Wind & Fire, Love, The Guess Who, Coldplay, Counting Crows and Harry Chapin...

Some of New York's most iconic concerts, including Simon and Garfunkel in Central Park, the Beatles at Forrest Hills Stadium, were organized by legendary concert promoter Ron Delsener. Director Jake Sumner speaks about his new documentary that tells the story of Ron Delsener's life, from a childhood in Queens to a life in the music industry. The film also features interviews with artists whose concerts Delsener helped promote, including Bruce Springsteen, Billy Joel, Patti Smith, and more. "Ron Delsener Presents" is in theaters May 30.

On this week's episode of The Album Atmosphere, David sits down with Andrew Baum to discuss fourth album from Simon & Garfunkel, "Bookends".

Host Pina Crispo welcomes executive function coach Ian Garfunkel for a raw and insightful conversation about ADHD—especially as it presents in women. Together, they dive into the connection between ADHD and anxiety, the influence of hormonal changes, and the promise and pitfalls of treatments like microdosing and traditional meds. The conversation expands to parenting in the digital age, the double-edged sword of social media, and the value of morning rituals. With honesty and humor, Pina and Ian explore how authenticity, curiosity, and compassion can support personal growth, healthy relationships, and better mental health. More About Ian Garfunkel: Ian Garfunkel is an Executive Function Coach specializing in ADHD, helping individuals aged 8 to 55 reclaim control of their lives. With a background in life coaching and a passion for men's mental health, he's hosted events supporting ADHD awareness, suicide prevention, and addiction recovery. Ian takes a holistic approach that blends mental, physical, and spiritual well-being, guiding clients toward resilience, self-discovery, and lasting transformation. Connect with Ian: https://evolutionmindsetcoach.com/ https://www.instagram.com/ianadhdcoach/ Connect with Pina: ⁠https://chicmamma.ca/⁠⁠⁠ ⁠⁠⁠https://www.womeninmedia.network/show/not-that-mom/⁠  Learn more about your ad choices. Visit megaphone.fm/adchoices

"If I had ever been here beforeI would probably know just what to doDon't you?And I feel like I've been here before, feel, Like I've been here beforeWe have all been here before"Let's share this experience through the magic of Music. Beginning with a set of remembrance of those that have served and sacrificed to keep our precious freedom, Joining us are Billy Joel, The Clash, Tom Paxton, Earth Opera, Frank Zappa, Flo & Eddie, Traffic, Ten Years After, Richie Havens, Elton John, Nilsson, Spanky & Our Gang, Quicksilver Messenger Service, Earth, Wind & Fire, Simon & Garfunkel, Tom Waits, Bob Dylan, The Mamas & Papas, Dave Mason, Procol Harum and Crosby, Stills, Nash & Young.

Do not miss our celeb guest today! Ali is talking to the incredible Riki Lindome, a prolific, Emmy nominated comedian and actress from Knives Out; Wednesday; The Big Bang Theory; her musical duo, Garfunkel and Oates; and her one-woman show about her infertility journey, Dead Inside. Riki gets real with Ali about her family building journey, including how she navigated infertility, IVF, a devastating pregnancy loss, an adoption journey and finally, surrogacy. Riki also talks about her new solo comedy album, No Worries if Not, her sweet son, Keaton (whom she's raising with her husband, comedian and actor Fred Armisen), and how it felt to hold him in her arms for the very first time. She also talks about the amazing bond she has with her surrogate, and how humor and honesty helped them through it all.Follow her on IG: @rikilindhomeCheck out her work: rikilindhome.comTOPICS COVERED IN THIS EPISODE:Infertility; IVF; egg retrieval; pregnancy loss; products of conception; surrogacy; adoption; embryo donationSupport this podcast at — https://redcircle.com/infertile-af/donationsEPISODE SPONSORS:WORK OF ARTAli's Children's Book about IVF and Assisted Reproductive Technologyhttps://www.infertileafgroup.com/booksDo not miss Ali's children's book about IVF! It's been getting rave reviews. “Work of ART” is the story of an IVF kiddo the day he learns he is a “work of ART” (born via IVF and ART). For young readers 4-8. Hardcover. Written by Ali Prato; Illustrated by Federico Bonifacini.Personalized and non-personalized versions are available. Order yours now at https://www.infertileafgroup.com/booksFor bulk orders of 10 or more books at 20% off, go to https://www.infertileafgroup.com/bulk-order-requestFERTILITY RALLYIG: @fertilityrallywww.fertilityrally.comNo one should go through infertility alone. Join the Worst Club with the Best Members at fertilityrally.com. We offer 5 to 6 support groups per week, three private Facebook groups, tons of curated IRL and virtual events, and an entire community of more than 500 women available to support you, no matter where you are in your journey.Join today at link in bio on IG @fertilityrally or at www.fertilityrally.com/membership NEWGEN FAMILIESIG: @newgenfamiliesNewGen Families is known for their thoughtful matches and their empathetic and expert care when it comes to both surrogates and future parents. For more, go to: https://newgenfamilies.comEXTEND FERTILITY IG: @extendfertilitywww.extendfertility.comFertility shouldn't be dictated by a timeline. Extend Fertility offers cutting-edge egg and embryo freezing, infertility care, and IVF—all designed to put you in control. Their approach? Research driven, transparent, and personalized. With a world-class lab, exceptional verified success rates backed by nearly a decade of egg freezing results, and pricing lower than the national average, Extend Fertility is making reproductive care more accessible and effective than ever. Whether you're preserving fertility for the future or actively trying to conceive, they're here with expert support every step of theway. BELIIG: @belibabywww.belibaby.com Are you thinking about growing your family? Whether you're just starting to plan or are actively trying to conceive, preconception health is key. Beli has vitamins to help both women and men optimize their health before pregnancy. With essential nutrients like Folate, Iodine, and Zinc, Beli ensures your body is ready for this exciting next step. Give yourself and your future baby the best foundation for a healthy start.Visit Belibaby.com today and use code IAF15 for 15% off your first order. Our Sponsors:* Check out Happy Mammoth and use my code INFERTILEAF for a great deal: https://happymammoth.comSupport this podcast at — https://redcircle.com/infertile-af/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The web-head recruits a new member of the X-Men whose power is being awesome at video games on the latest episode of Spider-Man and His Amazing Friends! Join us as we discuss...Our continued devotion to the anime series Inuyasha and dragging our feet with Andor!Come on Spider-Man, this is the third time you've met Video-Man, you know who this guy is!What does Pac-Man Fever and the Simon and Garfunkel concert in Central Park have in common?Colossus in human form doesn't leave much to the imagination!The X-Men TAS Podcast just opened a SECRET reddit group, join by clicking here! We are also on Twitch sometimes… click here to go to our page and follow and subscribe so you can join in on all the mysterious fun to be had! Also, make sure to subscribe to our podcast via Buzzsprout or iTunes and tell all your friends about it! Follow Willie Simpson on Bluesky and please join our Facebook Group! Last but not least, if you want to support the show, you can Buy Us a Coffee as well!

On today's edition of the cast, we look over some of the early stars that dominated in the early years of Billboard's Modern Rock Tracks chart, including The Psychedelic Furs and Siouxsie & The Banshees, and discuss how foreign born musicians dominated the early years of the chart, which speaks volumes about how much more talent and influence they had over their American counterparts. We also talk about how big of a role college radio had to do with the start of this chart in the first place, and how other upstart charts like The Hard Report and CMJ strived to highlight alternative artists that weren't getting any love or notice from mainstream radio. We also take a look at some of the local artists that got a lot of visibility on the chart, including Boston's own The Lemonheads and their cover of Simon & Garfunkel's "Mrs. Robinson" which I play towards the end of the cast.

The usual TSFU content is back in full swing over on Patreon! They're more than TWO weeks ahead- Patrons got episode 175 this week!In this episode Ash and Kristen give you a little breather from the heavy topics they've had on deck recently - check out the Patreon to see what you've been missing! The gals talk about how the kids in different religions beat around the bush so Jesus doesn't see. Make sure to follow along with the lyrics in this post on our FREE Patreon (must sign up to view)! And watch the music videos in the show notes if you have time, they're hilarious!The Loophole by Garfunkel and OatesCatholic Girls by Frank ZappaLoophole by Noel MillerSoakin' USA by Zelph on the Shelf-Audio editing by Gaytrice Perdue.

Episode 190: What Should I Name This One? May 13, 2025 I hope I caught you at a good time. After all, this is a program about the great album cuts of the 60s and 70s. This is Tales Vinyl Tells and I am Brian Hallgren. Today we continue to feature a lot of the songs from the year 1969, in particular. These cuts may not be what you expect to hear from the album and we'll hear from the Kinks, The Mothers of Invention, Simon and Garfunkel and more this time. I'm glad you're here and I hope you'll stay with me for this hour of some of the greatest music ever recorded. I want to say thank you to all the financial supporters of Tales Vinyl Tells. Whether a small amount monthly or a very generous donation, each of you listeners is very appreciated and if you can and do give monthly, my deepest gratitude goes to you. If you're not a patron yet and want to know more about becoming a patron of this music program you can go Patron.podbean.com/talesvinyltellssupport. Thank you and rock on! And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

Sunday night post-nap zoom, shout out to the Moms! The Notes: Live show coming, tiny schedule shift, Saturday June 7th at the Blade & Timber in downtown LFK! Why does your underage protagonist have to flash ween at an underage ghost to move your plot forward!? The moaning is the problem! The animal nudity spectrum! Wearing Megadeth jams at the Hoe-down! I don't got a horse license! Doc Brown missed out on a fortune! Welcome to Hill Valley, Home of the Miraculous Horse-Wash! Question one, why is the pickle stinky!? Ears perking and soft whispers is step one in the ad game! Being able to talk for 20 minutes and turn around in unison, that's the important stuff of podcasting! An endeavor built to fail! Simon and Garfunkel's Wheel of Time! We totally pranked you guys! See us live! Live Episode 500, the Penultimate Live Show, on Saturday, June 7th, at Blade & Timber in downtown Lawrence, KS! Preshow drinks at 7:30, show at 8, post-show drinks to follow! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter & Instagram: @doubledeucepod Bluesky: @doubledeucepod.bsky.social Facebook: www.facebook.com/DoubleDeucePod/ Patreon: patreon.com/DoubleDeucePod Also, please subscribe/rate/review/share us! We're on Apple, Android, Libsyn, Stitcher, Google, Spotify, Amazon, Radio.com, RadioPublic, pretty much anywhere they got podcasts, you can find the Deuce! Podcast logo art by Jason Keezer! Find his art online at Keezograms! Intro & Outro featuring Rob Schulte! Check out his many podcasts! Brought to you in part by sponsorship from Courtney Shipley, Official Superfans Stefan Rider and Amber Fraley, and listeners like you! Join a tier on our Patreon! Advertise with us! If you want that good, all-natural focus and energy, our DOUBLEDEUCE20 code still works at www.magicmind.com/doubledeuce for 20% off all purchases and subscriptions. Check out the Lawrence Times's 785 Collective at https://lawrencekstimes.com/785collective/ for a list of local LFK podcasts including this one!  

"There's battle lines being drawnNobody's right if everybody's wrongYoung people speaking' their mindsGetting so much resistance from behindIt's time we stopHey, what's that sound?Everybody look - what's going down?"I know what that Sound is, please join me and I'll share it with you on this week's Whole 'Nuther Thing on KXFM 104.7. Joining us are Warren Zevon, XTC, T Bone Burnette, The Doors, Jean Luc Ponty, Van Morrison, Bob Dylan, Tears For Fears, Jeff Beck, Gordon Lightfoot, Janis Ian, The Byrds, Crosby Stills, Nash & Young, Fleetwood Mac, Eric Burdon & The Animals, Simon & Garfunkel, Joni Mitchell, Jefferson Airplane, Led Zeppelin, John Prine, Buffalo Springfield and others.

Right on, brothers and sisters! In this righteous trip of Past 10s: A Top 10 Time Machine, cosmic cats Dave and Milt take a far-out journey back to the Billboard Top 10 hits of May 3, 1969. From Glen Campbell's heartfelt “Galveston” to the celestial vibes of “Aquarius/Let the Sunshine In” by The Fifth Dimension, our mellow duo raps about the stories behind the tunes, their cultural mojo, and whether they still groove today, man. ✨ They dig deep into the righteous jam “Time is Tight” by Booker T. & the M.G.'s and blow your mind with a trippy quiz on wild and woolly story songs. So tune in, turn on, and drop into some sonic bliss while the fellas lay down the good vibes and mind-expanding history from the Age of Aquarius.

I'm super excited to welcome Bill Payne, founding member of @littlefeat_official, for this week's episode!!  For over five decades, Bill has been playing music and delighting fans with his expert piano and keyboard playing, great vibes and amazing songwriting. Bill is also a legendary collaborator and has played on 100s of albums and toured with a legion of amazing bands in addition to his enduring commitment to the music of Little Feat.  He's toured with The Doobie Brothers, James Taylor, Simon & Garfunkel, Jimmy Buffett and Bonnie Raitt just to name a few. Bill is also a noted photographer and author, and is currently working on a memoir documenting a life in music and his passion for collaboration.Little Feat is still going strong -- producing music full-time -- and are excited about the release of their first studio album in 15 years, Strike Up The Band, out May 9. They're hitting the road in May with tour dates throughout the remainder of the year.Bill is a stellar human with a terrific sense of humor — he's a kind soul with a firm grasp of the history of music and his place in that world — and it's truly an honor to share this interview with all of you!!  Enjoy!!Show Notes:New Little Feat album, Strike Up The Band, out May 9!!More info on Little Feat and tour dates, click here For more info on Bill Payne's artistic and creative efforts, click here for Bill's website:  Bill Payne CreativeDon't forget to please leave a review describing what you enjoyed most about this episode!!  Thanks for listening!!  =============================For more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer  

Well, hey there. I guess it's a good time to tell you that we're back, and we're ready to be a source of love and light for you again, if love and light are boogers and farts. This week, we're picking up where we unexpectedly left off with Bridge Over Troubled Water by Simon and Garfunkel. This episode features some health advice, and Stacy's not happy about it.

Today's program features tuneage from XTC, Tim Buckley, It's A Beautiful Day, Lovin' Spoonful, John Mayall, Crosby Stills & Nash, Spirit, Beatles, Small Faces, Youngbloods, Randy Newman, The Left Banke, Cyrkle, Zombies, Seatrain, Rascals, Jean Luc Ponty, Doors, Tears For Fears, Byrds, Led Zeppelin, Simon & Garfunkel, Judy Collins, Quicksilver Messenger Service .and Loggins && Messina

On the April 27 edition of Music History Today, Beyonce tours, a popular disco artist passes away, & Simon & Garfunkel releases a classic. Also, happy birthday to Sheena Easton & Ace Frehley of KISS. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.com

Comedian and "Garfunkel and Oates" musician Riki Lindhome (Wednesday, Knives Out)joins the Andy Richter Call-In Show this week to hear your MUSICIAN/BAND STORIES! In this episode of Andy's weekly SiriusXM radio show, callers share stories about middle-school courtship, passing notes, weird bullying, and much more. Want to call in? Fill out our Google Form at BIT.LY/CALLANDYRICHTER or dial 855-266-2604. This episode previously aired on SiriusXM's Conan O'Brien Radio (ch. 104). If you'd like to hear these episodes in advance, new episodes premiere exclusively for SiriusXM subscribers on Conan O'Brien Radio and the SiriusXM app every Wednesday at 4pm ET/1pm PT.

"We were born before the wind Also younger than the sunEre the bonnie boat was won as we sailed into the mysticHark, now hear the sailors cry Smell the sea and feel the skyLet your soul and spirit fly into the mystic"A terrific day to sail or flow into the Mystic with me on this week's Super Sounds Of The 70's. Joining us are Badfinger, Santana, Linda Ronstadt, Roy Orbison, Moody Blues, Jeff Beck, Beatles, Beach Boys, The Band, Yes, The Kinks, Ted Nugent &  The Amboy Dukes, The Allman Brothers Band, Zombies, Hollies, George Harrison, The Move, Joni  Mitchell, Richie Havens, Simon & Garfunkel, Steve Miller Band, Dave Mason, Grateful Dead and Van Morrison... 

"Chestnut-brown canary Ruby-throated sparrowSing a song, don't be long Thrill me to the marrowVoices of the angels Ring around the moonlightAsking me said she so free How can you catch the sparrow?"Please join me on a terrific Spring afternoon for 2 Hours of wonderful song and harmony on this week's Whole 'Nuther Thing on KXFM 104.7. Joining us are T Bone Burnette, Blondie, Love, J. Geils Band, Bob Dylan, Seatrain, It's A Beautiful Day, The Flock, Mamas & Papas, Chuck Berry, Counting Crows, Peter Gabriel Santo & Jonny, REM, Quicksilver Messenger Service, The Faces, It's A Beautiful Day, Joe Deninzon Trio, Jimi Hendrix, Donovan, Jefferson Airplane, Simon & Garfunkel, Eric Clapton, Oasis and Crosby Stills & Nash...

Special guest Ashley Rogers joins us this month and pitches a biopic on Simon and Garfunkel! Dann loves their music, and Sean sits in silence while reminiscing about the Pitbull concert.Thank you for listening to What A Pitch!Please subscribe, rate and review What A Pitch wherever you listen to podcastsPlease follow us on Facebook, Twitter and YouTube @podWAP

This week on the RunPod PowerPlaylist, Jenni's joined by none other than Paul Sinton-Hewitt, the legendary founder of parkrun. While Paul prefers the peaceful rhythm of his own breath and the sounds of nature on a run, don't let that fool you - his musical taste is anything but quiet.Expect a playlist that powers you through every step - from banging rock anthems like AC/DC to the soulful harmonies of Simon and Garfunkel. Paul knows that a thumping tune will help you through a painful exercise, and his choices bring just the right mix of energy and emotion to fuel your next session.Plus, he shares some top podcast recommendations for your cool-down walks or post-run inspiration.Press play, lace up, and let's go.

In this episode of History Happened Everywhere, Pete and Ryan uncover the jaw-dropping story of how a sleepy desert outpost transformed into a modern global capital—powered by ambition, engineering, and... well, fuel. Meet the visionary leader who quite literally bridged the gap between water and sand. Marvel at the extraordinary effort it took to build a world-class port from nothing. And brace yourself for the moment a humble British toilet nearly brought the entire project to a screeching halt. Oh—and if you've ever wondered how many grains of sand are in the desert, or how to whip up a gourmet meal in the middle of nowhere… you're in the right place. This is history with heat. Don't miss it.    Chapters: 00:00 Intro! 02:26 Orientation to Abu Dhabi! 14:58 History of Abu Dhabi! 26:38 Port Problems! 42:40 Take me to the Bridge! 56:52 Derzolation! 58:34 Outro!   Links / Thanks: Spongebob Squarepants (https://youtu.be/m5uayeTCYJQ?si=U1V9UUHvae-Xme69) Zayed's Dream | Faisal Al Saari (https://youtu.be/3uZlLSoaI4E?si=Hg47wHHaN6ajhNfD) Traditional Dance UAE (https://youtu.be/CCgtD4lCjfY?si=_qMVkPJ5BYxssIXf) Bridge Over Troubled Water | Simon & Garfunkel (https://youtu.be/4G-YQA_bsOU?si=DWHPHgJtPijeI-gy)   Contact: http://hhepodcast.com https://linktr.ee/hhepodcast

Riki Lindhome spent her 20s and 30s as one half of the musical comedy duo Garfunkel and Oates. Now that she is solidly in her 40s the comedian is finally going solo with a debut album ‘No Worries if Not,' which tackles the unique challenges of being a “middle aged” woman, as she put it. In this episode, Lindhome breaks down the process of turning real-life struggles into comedy songs and shares what it has been like to perform music for the first time without her longtime bandmate Kate Micucci. She also talks about the surreal experience of attending ‘SNL50' as a “plus one” with husband Fred Armisen, the moment in her career where she had to choose between pursuing ‘SNL' or sticking with Garfunkel and Oates, and how bizarre it was when the first movie she ever appeared in won the Oscar for Best Picture. Follow Riki Lindhome on Instagram @rikilindhomeFollow Matt Wilstein on Bluesky @mattwilstein Follow The Last Laugh on Instagram @lastlaughpodHighlights from this episode and others at The Daily Beast Hosted on Acast. See acast.com/privacy for more information.

Ever had a concert experience so powerful it stays with you for decades? Those magical nights when the music and memories fuse together to create something truly unforgettable? That's what we're exploring in this deeply nostalgic journey through legendary concert moments.We kick things off with spontaneous concert adventures from the pre-internet era. Remember when buying tickets meant physically going to a record store and getting whatever seats they handed you? Jim recounts how an impulse decision led to witnessing U2's iconic ‘The Unforgettable Fire' tour at Madison Square Garden in 1985, while Jimmy shares his technique for sneaking into better seats at Atlanta's Omni arena.The narrative shifts to one of rock's most celebrated collaborations - the night jazz saxophonist Branford Marsalis joined the Grateful Dead at Nassau Coliseum in 1990. What began as one song invitation turned into an entire set of improvisation that produced some of the Dead's most transcendent music.We then travel to spring 1995 for a poignant look at Jerry Garcia's final tour. Despite his weakened voice, these Atlanta and Tampa shows represent the last opportunity I had to see the legendary guitarist before his untimely death. The episode isn't just concert tales - it's filled with fascinating musical connections across generations. From The Who's power chords on "I Can't Explain" to Billy Bragg borrowing Simon & Garfunkel's lyrics, we trace the lineage of influence that keeps music in constant conversation with itself.Have you experienced a concert moment that changed everything? Share your stories with us - we'd love to hear how music has shaped your most cherished memories too!Music in My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldPlease Like and Follow our Facebook and Instagram page at Music In My Shoes. You can contact us at musicinmyshoes@gmail.com.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Your favorite folk-rock duo of facts guide you through the troubled waters that lead to the creation of this beloved classic album and its iconic title track. They'll give you a rundown of Simon and Garfunkel's epic feud, which started in childhood and only intensified with stardom, and explain why this record marked the end of the road for the pair. (Basically, if the book 'Catch-22' had never been written, S&G might still be together today...) But it's not all doom and gloom! They'll discuss how "Cecilia" was quietly groundbreaking for its pioneering use of sampling, why its lyrics were a harbinger of social change, and also detail the bizarre connection it has to a Beatles classic. They'll get into Paul Simon's thorny relationship with cultural appropriation on "El Condor Pasa," his unexpected inspiration behind the title song, and how he got that god tier drum sound on "The Boxer." The guys try not to cry as they expose the hidden messages Paul included to his (increasingly estranged) old friend on "The Only Living Boy in New York" and "So Long, Frank Lloyd Wright," and unconcover the poignant secret meaning of the final album tracks — but you're welcome to shed a tear, if you want. It's TMI...now with BONUS BOOMER NOSTALGIA! Support your friendly neighborhood TMI Guys here! https://ko-fi.com/toomuchinformationpodcastSee omnystudio.com/listener for privacy information.

This might be the gayest episode we've ever done.Support the show at https://ko-fi.com/matthortonWe're on Bluesky @cantletitgo.gay!Join The Worst Garbage Discord!Find AC at acfacci.comFind Matt at MattHorton.LIVEArt by Scout (https://ko-fi.com/humblegoat)Music by Ethan Geller (00:00) - AC is canceled (01:04) - We're so back (02:07) - We're monthly now! (04:36) - Bridge Over Troubled Water (05:02) - Original song (06:46) - Clay Aiken (11:54) - Yebba (13:19) - My Mind (17:32) - Yebba's Bridge Over Troubled Water (19:41) - Henry Platt (20:36) - Henry platt my mind (21:47) - Jacob Collier (24:06) - Don't you worry bout a thing (27:02) - Jacob harmonizes with Yebba (28:49) - The song (38:44) - PYT (42:48) - Tori in the song (46:41) - Recording video (51:24) - TikTok challenge (54:16) - Doing it live (54:35) - Greek theatre (01:00:24) - AC's beef Simon & Garfunkel's Original song - https://www.youtube.com/watch?v=4G-YQA_bsOUThe Clay Aiken American Idol version - https://www.youtube.com/watch?v=QC9SKjdoTXgYEBBA's "My Mind" via Sofar - https://www.youtube.com/watch?v=RXwE1G7_U9MThe 2018 video - https://www.instagram.com/p/BkoNbjtFfC3/Henry Platt doing the riff - https://www.tiktok.com/@henryjplatt/video/6966319783671287046Jacob Collier's "Don't You Worry 'Bout a Thing" - https://www.youtube.com/watch?v=pvKUttYs5owJacob harmonizing Yebba - https://www.youtube.com/watch?v=y9RUgsD8dRYTHE SONG - https://www.youtube.com/watch?v=AheurAZ-4kQThe video of Tori and Jacob recording "Bridge" - https://www.youtube.com/watch?v=qwbk7b4s6K4Why Yebba isn't credited - https://www.reddit.com/r/JacobCollier/comments/1ayi8yl/why_doesnt_yebba_get_credit_for_bridge_over/The Tiktok compilation - https://www.youtube.com/watch?v=pD3imUGcC0AJacob's Logic session breakdown - https://www.youtube.com/watch?v=I8DWlis-MEY&t=1295sThe live performance at the Greek Theatre - https://www.youtube.com/watch?v=yxsfV3vGweQThe Tori-only version - https://www.youtube.com/watch?v=QDZbLA1iM7oJacob and Tori accept the Grammy - https://www.youtube.com/watch?v=FhHh0az6FBsAretha Franklin's version - https://youtu.be/pWwaMcj5gqQ?si=JMgqzNEvpm2TxpeYResources on PalestinePalestine Solidarity ToolkitDonate to Palestinian organizations providing relief and services in Gaza and the West Bank:Middle East Children's AllianceMedical Aid for PalestineAl-Awda Health and Community AssociationHebron International Resource NetworkBDS MovementOur History of Popular Resistance: Palestine Reading ListJewish Voice for Peace - First Steps for Palestinian FreedomJewish Voice for Peace - Take ActionOperation Olive BranchFind out more at http://cantletitgo.gay ★ Support this podcast ★

Hosts Nate Wilcox and Dave Thompson continue their mini-series discussing Dave's book An Evolving Tradition: The Child Ballads in Modern Folk and Rock Music -- buy the book to support the show. This episode discusses the UK folk scene from the peak of skiffle and Lonnie Donegan through the network of UK folk clubs who featured an open mic format that produced many of the leading talents of the coming UK folk-rock movement. We also discuss Paul Simon's sojourn to the UK during a career lull for Simon & Garfunkel and how he scored the biggest Child Ballad hit with an arrangement he "picked up" from a UK Guitarist. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE-- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

(00:00-26:00) Lot went on last night. Truman down. Cam Janssen sitting in with us today. Drake controlled the pace last night. Big win for the Blues last night. Broberg with the OT winner. Doug loves 3 on 3 hockey. The text line all over Jackson. Playing do or die every night compared to coasting into the playoffs. Audio of Jim Montgomery talking about playing meaningful games and the atmosphere last night.. Cam's bleeding. Smelling salts. Giving up late goals. (26:08-49:00) Come at me, baby. One tournament win for Mizzou in 15 years. Doug not a fan of Mizzou's offense. Not gonna win a lot of games with that shooting percentage. Audio of Dennis Gates talking about the season and the loss to Drake. An open canvas to throw your paint all over me. McNeese State and Amir Khan. Is Gates the guy? (49:10-1:05:39) Disturbed vs. Simon & Garfunkel. Banners damaged at the United Center at the Disturbed show. Cam's music preferences. Who was Cam's best punch against? Loving Lady Gaga. Singing in the shower. Sweating. No salmon for Jackson. Learn more about your ad choices. Visit podcastchoices.com/adchoices

(00:00-26:00) Lot went on last night. Truman down. Cam Janssen sitting in with us today. Drake controlled the pace last night. Big win for the Blues last night. Broberg with the OT winner. Doug loves 3 on 3 hockey. The text line all over Jackson. Playing do or die every night compared to coasting into the playoffs. Audio of Jim Montgomery talking about playing meaningful games and the atmosphere last night.. Cam's bleeding. Smelling salts. Giving up late goals. (26:08-49:00) Come at me, baby. One tournament win for Mizzou in 15 years. Doug not a fan of Mizzou's offense. Not gonna win a lot of games with that shooting percentage. Audio of Dennis Gates talking about the season and the loss to Drake. An open canvas to throw your paint all over me. McNeese State and Amir Khan. Is Gates the guy? (49:10-1:05:39) Disturbed vs. Simon & Garfunkel. Banners damaged at the United Center at the Disturbed show. Cam's music preferences. Who was Cam's best punch against? Loving Lady Gaga. Singing in the shower. Sweating. No salmon for Jackson. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Cultural critic and podcaster Ira Madison III (Pure Innocent Fun) discusses how popular culture has largely shaped his reality... a notion that is put to the test when he faces off with his favorite author (and surprisel guest) Chuck Klosterman in a quiz about Chuck's cultural manifesto Sex, Drugs, and Cocoa Puffs. Comedian Riki Lindhome, of the comedy folk duo Garfunkel and Oates, chats about writing "dirty" songs as a new mother, before performing a searingly hilarious tune on the hidden love triangle within The Sound of Music.

The Young Rascals were one of the early groups which would define the genre of "blue eyed soul."  For a period of two to three years, this group would generate hit after hit.  Their third album, Groovin', would close out the era in which they were known as “The Young Rascals,” because follow-up albums would see them using simply the name "The Rascals."  Felix Cavaliere was a classically trained pianist, and joined a band called the Starliters, where he met David Brigati and his younger brother Eddie.  Cavaliere convinced Eddie Brigati and guitarist Gene Cornish to leave the Starliters and form a band, recruiting jazz drummer Dino Danilli to flesh out the band.  They called themselves "Them" until they found out that a group out of the UK was already using that name (Van Morrison's band).  They settled on "The Young Rascals" when comedian Soupy Sales used them as his back-up band when he toured the college circuit in 1965.Much of this album is a collection of singles rather than a cohesive piece of music.  Eight of the eleven songs are either A-side or B-side single releases.The Rascals moved into a more psychedelic direction after this album, and they would be largely done by the early 70's.  They were early inductees into the Rock and Roll Hall of Fame, receiving that honor in 1997.Bruce presents this soulful album for this week's podcast.Groovin'This signature song from the group almost didn't make it as a single.  Atlantic Records pushed back on this track because it was very different from the sound of their other songs, having a more Latin influence.  The inspiration for the lyrics was Cavaliere's girlfriend Adrienne Buccheri.  He only got to see her on Sundays because he was so occupied with the group, music, and touring on other days. You Better RunMany listeners who grew up in the 80's will be more familiar with Pat Benatar's cover of this song than the Young Rascals' original.  It was released a year before the album as a single, in May 1966.  The song has more of a garage band feel than other songs on the album.A Girl Like YouThis is the lead-off song for the album, and went to number 10 on the Billboard Hot 100.  Upbeat, feel good, this is the opening song of new love.  It starts off subdued with piano and vocals, then builds into the horns and percussion.  If You KnewThis song was released as the B-side to the single "I've Been Lonely Too Long" from their previous album called Collections.  It is the only song on the album to be listed as written by all member of the band.  Most songs were written by Felix Cavaliere and Eddie Brigati.  ENTERTAINMENT TRACK:Mrs. Robinson by Simon and Garfunkel (from the motion picture “The Graduate”) Dustin Hoffman's got his breakthrough role in this coming of age film.  STAFF PICKS:Green Tambourine by the Lemon PipersRob leads off the staff picks with the best known song from a short-lived Ohio band.  Unfortunately the success of this song would cause the record company to pigeonhole the group into doing more songs in the psychedelic genre.  The group was unenthusiastic about this direction, and would leave the label in 1969, dissolving shortly thereafter.Sunshine of Your Love by CreamLynch brings us a signature song from the original supergroup.  The song arose out of a bass riff that Jack Bruce created after seeing Jimi Hendrix for the first time.  Jack Bruce and Eric Clapton take turns with vocals while Ginger Baker utilizes a tribal beat on percussion.I Can See for Miles by The WhoWayne features the only single from the Who album “The Who Sell Out.“  Although it went to number 9 on the US charts, guitarist and writer Pete Townshend expected it to do much better.  The Who made use of the studio as an instrument on this heavier, psychedelic song, using techniques similar to the Beach Boys and the Beatles at the time.I Second That Emotion by Smokey Robinson & the MiraclesBruce closes out the staff picks with a song that originated from a trip Smokey Robinson and Al Cleveland took to a Detroit department store in search of a gift for Robinson's wife Claudette.  When Robinson told the salesman of a set of pearls, "I sure hope she likes them," Cleveland accidentally said "I second that emotion," rather than "I second that motion."  The two laughed about it and wrote this song which would go to number 3 on the Billboard Hot 100 in 1967.   INSTRUMENTAL TRACK:Hip Hug-Her by Booker T. & the M.G.'sWe close out with a funky instrumental which was on the charts at the time.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

We have another live show coming up soon. It's on Sunday March 16th at 2:00 and at the Elysian Theater in Los Angeles, and we will be reading not one but two episodes of a hilarious dead pilot or I guess a dead show, written by and starring the incredible Riki Lindhome and Natasha Leggero. Riki and Natasha co-created and starred in the Comedy Central show Another Period. But you know them from so many other things as well. Riki is one half of Garfunkel and Oates and you've seen her in everything from Big Bang Theory to Knives Out to Wednesday. Natasha you know from her comedy and Chelsea Lately and as a voice actor in one million things. A great cast is coming together for this, it'll be so much fun. Go to Elysiantheater.com to snag your tickets. 

Husky Gawenda, frontman for the Melbourne-based group Husky, shares “Silencio,” a new song that sounds like a throwback to the early work of Simon & Garfunkel. Gawenda employs his Tascam 388 tape machine and the voices duo Charm of Finches to create a timeless sound. 

In today's podcast we were delighted to be joined by the presenters of the top scientific abstracts for the Annual Assembly of the American Academy of  Hospice and Palliative Medicine (AAHPM) and the Hospice and Palliative Medicine Nurses Association (HPNA).  Eric and I interviewed these presenters at the meeting on Thursday (before the pub crawl, thankfully).  On Saturday, they formally presented their abstracts during the plenary session, followed by a wonderful question and answer session with Hillary Lum doing a terrific job in the role of podcast host moderator. Our three guests were Marie Bakitas, who conducted a trial of tele/video palliative care for Black and White inpatients with serious illness hospitalized in the rural south; Yael Shenker, for a trial of patient-directed Prepare-for-your-care vs. facilitated Respecting Choices style advance care planning interventions; and, Na Ouyang, who studied the relationship between prognostic communication and prolonged grief among the parents of children who died from cancer.  From just the abstracts we had so many questions. We covered some of our questions on the podcast, others you can ponder on your own or in your journal clubs, including: Marie's tele/video palliative care intervention was tailored/refined with the help of a community advisory board. Does every institution need to get a community advisory board to tailor their rural tele-palliative care initiative (or geriatrics intervention) to the local communities served?  Who would/should be on that board? How to be sensitive to the risks of stereotyping based on recommendations from the few members of the board to the many heterogeneous patients served? Advance care planning has taken a beating. For the purposes of a thought exercise, no matter what you believe, let's assume that there are clear important benefits. Based on the results of Yael's study, should resources be allocated to resource intensive nurse facilitated sessions (Respecting Choices), which had significantly better engagement, or to low resource intensive patient-facing materials (Prepare), which had significantly less engagement but still plenty of engagement (e.g. 75% vs 61% advance directive completion)? One interpretation of Na's study is that clinicians can lean on the high levels of trust and high ratings of communication to engage with parents of children with cancer about prognosis.  Another interpretation is that clinicians avoided telling the parents prognosis in order to bolster their ratings of trust and communication quality.  Which is it? Bonus: Simon says he composed the song Sounds of Silence in a dark echoing bathroom about his concerns that people had stopped listening to each other in the 1960s (still resonates, right?).  Garfunkel says Simon was writing about Garfunklel's friend and college roomate Sandy, who was blind.  Who's got the right of it?   Enjoy! -Alex Smith   

Together, they made some of the 20th century's most memorable music, but their personal rivalry, animosity, and pettiness was every bit as memorable. If you're like us, you love the music of Simon and Garfunkel. And if you're like us, you'll get some hearty laughs when you hear how stupid and truly petty it all became between these two. This episode first aired on Patreon on December 12, 2022. Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! To advertise on our podcast, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices