Podcast appearances and mentions of Gerry Conway

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

It's good to be the King… In this episode, Mark and Dan talk about the return of Gerry Conway to the world of Spider-Man, as he took over writing duties on both Spectacular Spider-Man and Web of Spider-Man, after 13 years away from The Amazing Spider-Man. There, he would introduce new classic villains, like Tombstone, […] The post The Spectacular Web of Gerry Conway (Season 7, Episode 8) appeared first on Amazing Spider-Talk.

Every other week, we'll be focusing on a Marvel series that sits partially or entirely outside of mainstream Marvel continuity. The first episode of every new series that we cover will be available on the public feed. The rest of the episodes will be exclusive to our Patreon supporters.Not a Patron yet? Support us at patreon.com/marvelbythemonth for just $5 a month to get instant access to our bonus feed of over 160 extended and exclusive episodes! Stories Covered in this Episode: "The War of the Worlds!" - Amazing Adventures #18, written by Gerry Conway, art by Neal Adams, Howard Chaykin, and Frank Chiaramonte, letters by John Costanza, colors by Petra Goldberg, edited by Roy Thomas, ©1973 Marvel Comics"The Sirens of 7th Ave" - Amazing Adventures #19, written by Gerry Conway, art by Howard Chaykin and Frank McLaughlin, letters by John Costanza, colors by Petra Goldberg, edited by Roy Thomas, ©1973 Marvel Comics"The Warlord Strikes!" - Amazing Adventures #20, written by Marv Wolfman, art by Herb Trimpe and Frank Giacoia, letters by John Costanza, colors by Glynis Wein, edited by Roy Thomas, ©1973 Marvel Comics "Marvel by the Month" theme v. 4 written and performed by Robb Milne. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Bluesky at @marvelbythemonth.com and Instagram (for now) at @marvelbythemonth, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.) 

On this episode, Eric and Faz continue their mighty quest to read all the issues of Thor. We have entered the 1970's and get acquainted with creators like Gerry Conway, Len Wein, Roy Thomas, and John Buscema as they take their turn with the God of Thunder.

Gerry Conway is one of the true legends of comics, having written just about every major Marvel and DC character over the last 60 years. At 19 years old, he was the third person to write Amazing Spider-Man, after Stan Lee and Roy Thomas, and he is the co-creator of the Punisher, the Jackal, the original Ms. Marvel, Man-Thing, and Werewolf by Night for Marvel Comics and Firestorm, Power Girl, Jason Todd, and Killer Croc for DC Comics.For 80+ minutes of bonus content — including 20 more minutes of our conversation with Gerry Conway and the Mighty MBTM Checklist — support us at patreon.com/marvelbythemonth. $5 a month gets you instant access to our bonus feed of over 150 extended and exclusive episodes! Stories Covered in this Episode: "The Battle of the Century!" - Superman vs. The Amazing Spider-Man #1, written by Gerry Conway, art by Ross Andru and Dick Giordano, letters by Gaspar Saladino, colors by Jerry Serpe, edited by Roy Thomas, Julius Schwartz, Marv Wolfman, and E. Nelson Bridwell, ©1976 Marvel Comics and DC Comics "Marvel by the Month" theme v. 4 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Bluesky at @marvelbythemonth.com and Instagram (for now) at @marvelbythemonth, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Michael Dean has been an editor at The Comics Journal since 1999 and is the co-author (with Tom Spurgeon) of the oral history of Fantagraphics Books, Comics As Art: We Told You So. He's currently editing Fantagraphics' Lost Marvels series, which restores forgotten Marvel classics in beautiful hardcover editions. Volume One reprints the never-before-collected 1969 horror and suspense series, Tower of Shadows. It hits shelves on April 29th and is available for preorder now from Fantagraphics' website and your local comics shop.For 70 minutes of bonus content — including more of our conversation with Michael, our coverage of the Trial of the Falcon in Captain America #191, and our Mighty MBTM Checklist feature — support us at patreon.com/marvelbythemonth. Subscribers at the $5/month level get instant access to our bonus feed of content that contains over 150 extended and exclusive episodes.  Stories Covered in this Episode: "The Tarantula Is a Very Deadly Beast!" - Amazing Spider-Man #147, written by Gerry Conway, art by Ross Andru, Mike Esposito, and Dave Hunt, letters by Joe Rosen, colors by Stan Goldberg, edited by Len Wein, ©1975 Marvel Comics"Jackal, Jackal... Who's Got the Jackal?" - Amazing Spider-Man #148, written by Gerry Conway, art by Ross Andru, Mike Esposito, and Dave Hunt, letters by John Costanza, colors by Petra Goldberg, edited by Len Wein, ©1975 Marvel Comics"Even If I Live, I Die!" - Amazing Spider-Man #149, written by Gerry Conway, art by Ross Andru and Mike Esposito, letters by Annette Kawecki, colors by Janice Cohen, edited by Marv Wolfman, ©1975 Marvel Comics"Spider-Man... or Spider-Clone?" - Amazing Spider-Man #150, written by Archie Goodwin, art by Gil Kane, Mike Esposito, and Frank Giacoia, letters by Joe Rosen, colors by Petra Goldberg, edited by Marv Wolfman, ©1975 Marvel Comics "Marvel by the Month" theme v. 4 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Bluesky at @marvelbythemonth.com and Instagram (for now) at @marvelbythemonth, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Tokyo Alien Bros. Volume 1 by Keigo Shinzo from Viz, The Retirement Party by Teddy Goldenberg from Floating World Comics, Cinder and Ashe by Gerry Conway, Jose Luis Garcia Lopez, and Joe Orlando, Void Rivals, Arcudi O-Rama: Lobo/Mask by Arcudi,  Alan Grant, Henry Gilroy, Doug Mahnke, and Ramon Bachs, and Convert by Arcudi, Savannah Finley, and Miguel Go, Plastic Man No More by Christopher Cantwell, Alex Lins, Jacob Edgar, and Marcelo Maolo, Milk White Steed by Michael D. Kennedy from Drawn & Quarterly, Libby & Holly by Winton Kidd, Lady Mayhem by Jenna Lyn Wright and Karl Slominski from Calculated Rebellion, plus a whole mess more!

The Saga of Satana continues! The Devil's Daughter seeks a back door into her father's realm to warn him of the mutinous plans of The Four. On the way, she is reunited with a childhood companion, the incubus Zannarth, and they encounter pack of hellish demons sent to stop them. From The Haunt of Horror #2 (July, 1974) by Gerry Conway & Enrique Badía Romero. CAST: Athena Howell as Satana, Jacob Balcom as Zannarth, Renee Howell as Karath, and Matt Howell as Narrator and assorted voices. It's also on YouTube: https://youtu.be/Re-ebmYtTEA SATANA WILL RETURN IN "THIS SIDE OF HELL"... MAIL: bronzeagemonsters@gmail.com  STORE: https://bronzeagemonsters.threadless.com/ SUPPORT THE SHOW: https://www.patreon.com/BronzeAgeMonsters DISCORD: https://discord.gg/NcFaq9Ednq

¿Último programa del año? ¿Chi lo sá? Fernando, Rafa, Juanjo, Enrique y Jotaele nos reunimos para hablar del trailer del Superman de james Gunn, de la presentación de Sombras de Aokigahara, publicado por Tengu, mañana sábado 21/12 en Cards Cómics Sevilla, del primer Marvel Héroes del Spiderman de Gerry Conway y del fantástico Hate. Crónicas del odio de Adrian Smith, recientemente publicado por Mondo Cane Books. Felices fiestas. 🎼 - Brenda Lee - Rockin´ around a Christmas Tree 🎼 - Tom Petty - Christmas all over again Puedes encontrarnos en: Facebook: https://www.facebook.com/tdtpodcast Twitter: @PodcastTDT tertuliadetebeos@gmail.com tertuliadetebeos.blogspot.com Instagram: @tdtpodcast_ YouTube: https://www.youtube.com/tdtpodcast TikTok: @podcasttdt Bluesky: tdtpodcast

This is our Patreon-exclusive November 1973 Omnibus, featuring local Portland comics streamer and journalist Jennifer aka Comics Will Break Your Heart, and covering all 14 of the Marvel comics that we didn't get to last week, including:"Betrayed!" - Amazing Spider-Man #130, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg"... We, the Gargoyles!" - Astonishing Tales #22, written by Tony Isabella, art by Dick Ayers, letters by "Richard B." (Dick Ayers), colors by Linda Lessmann"Death-Stars of the Zodiac!" - Avengers #120, written by Steve Englehart, art by Bob Brown and Don Heck, letters by Artie Simek, colors by George Roussos"Bust-Out!" - Captain America #171, written by Mike Friedrich and Steve Englehart, art by Sal Buscema and Vince Colletta, letters by Artie Simek, colors by Linda Lessmann"Cry... Beetle!" - Daredevil #108, written by Steve Gerber, art by Bob Brown and Paul Gulacy, letters by John Costanza, colors by Petra Goldberg"The Titan Strikes Back!" - Defenders #12, written by Len Wein, art by Sal Buscema and Jack Abel, letters by Charlotte Jetter, colors by Petra Goldberg"The Terrible Triumph of Doctor Doom!" - Fantastic Four #143, written by Gerry Conway, art by Rich Buckler and Frank Giacoia, letters by John Costanza, colors by Petra Goldberg"Death Stalks the Demolition Derby!" - Ghost Rider #4, written by Gary Friedrich, art by Jim Mooney and Vince Colletta, letters by Charlotte Jetter, colors by Petra Goldberg"Anybody Out There Remember... The Cobalt Man?" - Incredible Hulk #173, written by Roy Thomas, art by Herb Trimpe, letters by Jean Izzo, colors by Petra Goldberg"Nowhere to Go But Down!" - Man-Thing #2, written by Steve Gerber, art by Val Mayerik and Sal Trapani, letters by Jean Izzo, colors by Petra Goldberg"Where Bursts the Bomb!" - Marvel Team-Up #18, written by Len Wein, art by Gil Kane, Frank Giacoia, and Mike Esposito, letters by Jean Izzo, colors by Glynis Wein"Two Worlds... and Dark Destiny" - Sub-Mariner #69, written by Steve Gerber, art by George Tuska and Vince Colletta, letters by Charlotte Jetter, colors by Glynis Wein"Hercules Enraged!" - Thor #221, written by Gerry Conway, art by John Buscema and Mike Esposito, letters by John Costanza, colors by George Roussos"Lo, the Monster Strikes!" - Werewolf by Night #14, written by Marv Wolfman, art by Mike Ploog and Frank Chiaramonte, letters by John Costanza, colors by Petra GoldbergAll issues ©1973 Marvel Comics."Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonthMuch of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information.

Jennifer from Comic Books Will Break Your Heart joins us for a fifth helping of Marvel's monster comics! The Man-Thing saves a baby! Ghost Rider takes frequent naps between sick stunts! The Werewolf fights sharks and helicopters! Dracula time-travels through black mirrors! And we learn a valuable lesson about how dads are the true monsters!Senior Florida Correspondent Jennifer aka Comics Will Break Your Heart talks comics on the internet every weekend on the Casually Comics Sunday Chat. Support her on Patreon and follow her on Instagram!This Patreon-exclusive extended episode contains 55 minutes of extra content not found in the public version, including our discussions of Tomb of Dracula #4-5 and Werewolf by Night #1-2. Stories Covered in this Episode: "Through a Mirror Darkly!" - Tomb of Dracula #4, written by Archie Goodwin, art by Gene Colan and Tom Palmer, ©1972 Marvel Comics"Death to a Vampire-Slayer!" - Tomb of Dracula #5, written by Gardner Fox, art by Gene Colan and Tom Palmer, ©1972 Marvel Comics"Eye of the Beholder!" - Werewolf by Night #1, written by Gerry Conway, art by Mike Ploog and Frank Monte, ©1972 Marvel Comics"The Hunter -- And the Hunted!" - Werewolf by Night #2, written by Gerry Conway, art by Mike Ploog and Frank Chiaramonte, ©1972 Marvel Comics"Man-Thing!" - Adventure Into Fear #10, written by Gerry Conway, art by Gray Morrow and Howard Chaykin, ©1972 Marvel Comics"Night of the Nether-Spawn!" - Adventure Into Fear #11, written by Steve Gerber, art by Rich Buckler and Jim Mooney, ©1972 Marvel Comics"Angels from Hell!" - Marvel Spotlight #6, written by Gary Friedrich, art by Mike Ploog and Frank Monte, ©1972 Marvel Comics"Die, Die, My Daughter!" - Marvel Spotlight #7, written by Gary Friedrich, art by Mike Ploog and Frank Monte, ©1972 Marvel Comics "MONSTER by the Month" theme v. 1.0 by Robb Milne, sung by Barb Allen. All incidental music by Robb Milne.Visit us on internet at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information.

In this episode, Chris -- in his first one-shot solo episode -- discusses the fan favorite scifi adventure comic ATARI FORCE (1984), written by Gerry Conway and drawn by Jose Luis Garcia-Lopez. A special projects DC Comics' series took inspiration for the legendary Atari 2600 video game console.+ We appreciate your support of the show via Patreon: https://www.patreon.com/comicsrotyourbrain  Comics Rot Your Brain! is a deep dive into ‘80s comics (plus a few noteworthy exceptions). Screenwriters Chris Derrick (STAR TREK: PICARD) and Steven Bagatourian (AMERICAN GUN) discuss their favorite books, runs, and creators from the Bronze Age.⏱ SHOW NOTES00:00 Theme song01:10 The origins of the Atari Force comic.01:45 What does ATARI Force stand for?02:23 Who were the original members?02:59 The 80s SciFi staple - Mankind has crippled Earth3:30 Pop Culture Minute of the Time06:15 The main characters of ATARI Force06:37 Discussing Issue One13:09 Introducing the Nameless Villain16:24 Kidnapping Bade harkens back to TransAtlantic Slave Trade18:21 Praising Jose Luis Garcia-Lopez's Art29:16 Discussing Issue Two34:!5 Poignant Moment for Tempest36:09 Introducing Martin Champion from the original team39:46 Ciritique of First Mate on Slave Ship44:10 Dart's background and how is shapes her internal conflict49:00 The First Fact File50:53 Gerry Conway explains how he got involved with Atari Force53:16 Discussing Issue Three1:01:10 Lamenting No TPB for Atari Force1:03:14 Pining Over Lost Art of Thought Balloons1:13:30 Andy Helfer's Confesson1:18:14 Wrap Up Discussion©2024 Comics Rot Your Brain!Drop us a line! + Check out our YouTube channel to get a look at some of the fantastic art featured in our episodes. Visit ComicsRotYourBrain.com to sign up for our newsletter, Letter Column. You can also find us wherever you stream your favorite podcasts.+ We appreciate your support of the show via Patreon: ComicsRotYourBrain+ For even more cool shit, read Chris's Substack (cinema, comics, and culture) - THIN ICE©2024 Comics Rot Your Brain!#dccomics #vertigocomics #alanmoore #comicbooks #new #content #80scomics #explained #indiecomics #scificomics #marvelcomics #horrorstories #spaceopera #scifi

More Marvel this month as we review one of the most significant comics in history with the Death of Gwen Stacy issues of Amazing Spider-Man by Gerry Conway, Gil Kane, and John Romita Sr. Plus it's our third annual Marvel Trivia Challenge, so get ready to put your thinking caps on and play along with our gang! Host: Andy Larson Co Hosts: Chad Smith, JA Scott, & Mikey Wood

No me on this one besides the intro. I put Gerry Conway and Bendis together for this online comic con in 2020. Some sunshine at the height of covid. They shared DC and Marvel Observations 

CAPÍTULO #378… Esta semana nos enfrentamos a las fuerzas del orden y el caos con los D.I.O.S.E.S. de Jonathan Hickman. Este apodado guionista arquitecto regresó a la editorial con una de sus propuestas más ambiciosas, donde prometía reformular la magia del Universo Marvel al completo e introducir nuevos conceptos y personajes ¿Estará a la altura de las expectativas?. Además haremos un repaso exhaustivo por todas las noticias que nos ha dejado la pasada New York Comic Con, con bombazos como el regreso del sello de Vertigo. Y por supuestísimo tendréis una buena dosis de las mejores reseñas de novedades, tales como Calle Peligro, nuevos Marvel Essentials, uno de los mangas más perturbadores que hemos visto, el Spiderman de Gerry Conway y muchísimo más. Gracias por estar al otro lado agentes ¡Nos oímos! NOTICIAS [00:04:53] Ganadores de los Premios Harvey 2024 Dos personajes de Peacemaker tendrán su propia serie en DC Comics Jeph Loeb y Jim Lee regresan para la secuela de Batman: Silencio DC Comics resucita el sello de Vertigo James Gunn nos presenta el primer vistazo a Krypto Soule y McNiven se unen para una mini serie de Daredevil Doctor Muerte será el emperador de la Tierra Lobezno aterriza en el nuevo Universo Ultimate de Marvel Elektra contará con su propia serie Red Band Bug Wars reúne a Jason Aaron y Mahmud Asrar Repaso de novedades de la quincena NOVEDADES Y RELECTURAS [01:15:45] Adiós Birkenau Batman: Un mal día Green Lantern Green Lantern; Diario de guerra Muerte Doctor Extraño: El Juramento Wonder Woman Historia Calle Peligro El Horror de Dunwich Soy Una Matagigantes Grim Negro Horizonte Joker: Año Uno Litchi Hikari Club Necrón 1 El Rey de los Caracoles Rai Integral Lejos Spiderman de Gerry Conway Camino a G.I. Joe. Duke Hel'Blar: Saga Completa ANÁLISIS: D.I.O.S.E.S. [04:03:43] Volvemos con un viejo conocido como lo es Jonathan Hickman y en esta ocasión analizaremos al detalle su última propuesta para reinventar la Magia dentro de Marvel Comics. Un proyecto que ha dado mucho de lo que hablar desde su anuncio y que como suele ser habitual en la carrera de este guionista, termina siendo un quebradero de cabeza para los lectores. Coloquialmente acuñado con el termino “No lo entiendo, pero me gusta” debatiremos sobre los aciertos y errores en esta propuesta, que viene acompañada con un despliegue gráfico soberbio de Valerio Schiti y Marte Gracia. CORREO DEL AGENTE [06:12:48] Leemos todos vuestros mensajes dejados en las redes y nuestra sección de la voz de los Agentes de Hydra, ¡Habla pueblo Habla! ¡Muchas gracias por escucharnos y todo vuestro apoyo y participación! Nuestro PODCAST ya está en el CANAL SECUNDARIO ¡Inflate a contenido comiquero aquí! https://www.youtube.com/@tomosygrapaspodcast Tomos y grapas es un medio de comunicación transmedia, disfruta de nuestros contenidos también en nuestra web, YouTube y redes sociales. VISITA TAMBIÉN NUESTRA LIBRERÍA En la Calle Alcalá 211 o nuestra TIENDA ONLINE con el mejor servicio y atención tiendatomosygrapas.com

Grab your broomstick or in this case, fishnet stockings, we are talking DC Comics' number one witch: Zatanna. We talk Zatanna's first appearance in 1964, her solo book in 1987 and her appearance on Batman: The Animated Series. Plus, we discuss the unfortunately never realized Zatanna projects and what we'd like to see from her on the big screen. Bonus: We discuss our spoiler-free correct predictions for Agatha All Along. Ep. 143 What if Zatanna was one of the first on-screen featured heroic witches from either DC or Marvel? from Batman: The Animated Series Episode "Zatanna"Find us at https://linktr.ee/dearwatchersThis week, we chat all things Zatanna starting with her first appearance in Hackman from 1964 courtesy Gardner Fox and Murphy Anderson. Then, we talk Zatanna's 1987 solo book from the pens of Gerry Conway and Gray Morrow. Then we explore Zatanna's appearance as the first on-screen featured heroic witch with her appearance on Batman: The Animated Series, voiced by Julie Brown. We wrap up by discussing what we'd like to see from Zatanna on screen. We also talk her legendary costume and a bit of another witch, Agatha Harkness and Agatha All Along. Reading / Watch List:Hawkman Vol 1 Issue 4 (DC, November 1964)Zatanna Special 1 (DC, May 1987)Batman: The Animated Series, Season 1 Ep 54 "Zatanna" (February 1993)Email Podcast@DearWatchers.comFind us & support us at https://linktr.ee/dearwatchersTheme music is Space Heroes by MaxKoMusic (Creative Commons Attribution-ShareAlike 3.0) ★ Support this podcast ★

It's to JUMP JUMP, as Superman and Firestorm battle Kriss Kross. (Not the rappers).  Gerry Conway and Rich Buckler put together this fun little comic.  It's more Firestorm than Superman, and the can be a good thing. Check out the Earth-2 Podcast https://theearth2podcast.podbean.com/ #DCComics #DCComicsPresents #Superman #Firestorm #GerryConway #RichBuckler #KrissKross #TeamUp #comicbooks

Want to hear more of these extended episodes? Support us at patreon.com/marvelbythemonth! Subscribers at the $4/month level get instant access to our bonus feed of content that contains over 130 extended and exclusive episodes — with more being added every week! Stories Covered in this Episode: "Betrayed!" - Amazing Spider-Man #130, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg, ©1973 Marvel Comics"My Uncle... My Enemy?" - Amazing Spider-Man #131, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics "Marvel by the Month" theme v. 3 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information.

Did you like this extended episode? Want to be able to listen to 130+ more of them? Support us at patreon.com/marvelbythemonth at the $4/month level to get instant access to our bonus feed! Stories Covered in this Episode: "The Night Gwen Stacy Died" - Amazing Spider-Man #121, written by Gerry Conway, art by Gil Kane, John Romita, and Tony Mortellaro, letters by Artie Simek, colors by David Hunt, ©1973 Marvel Comics"The Goblin's Last Stand!" - Amazing Spider-Man #122, written by Gerry Conway, art by Gil Kane, John Romita, and Tony Mortellaro, letters by Artie Simek, colors by Dave Hunt, ©1973 Marvel Comics "Marvel by the Month" theme v. 3.0 by Robb Milne, sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonthand support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information.

Siskoid and the Chris Franklin's coverage of The Brave and the Bold continues with issue #171 (February 1981) by Gerry Conway and José Luis Garcia Lopez (Praise Be His Name), starring Batman and Scalphunter! It's "A Cannon for Batman". Listen to the Team-Up below, or subscribe to FW Team-Up on Apple or Spotify! Relevant images and further credits at: FW Team-Up Supplemental This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST NETWORK. And thanks for leaving a comment!

Siskoid and the Chris Franklin's coverage of The Brave and the Bold continues with issue #171 (February 1981) by Gerry Conway and José Luis Garcia Lopez (Praise Be His Name), starring Batman and Scalphunter! It's "A Cannon for Batman". Listen to the Team-Up below, or subscribe to FW Team-Up on Apple or Spotify! Relevant images and further credits at: FW Team-Up Supplemental This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER: https://twitter.com/FWPodcasts Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST NETWORK. And thanks for leaving a comment!

The complete version of our Omnibus episodes are usually only available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — but in preparation for next week's season finale covering GIANT-SIZE X-MEN #1, we're dropping the full version of our April 1975 Omnibus, which covers all of the following issues:"The Serpent Sheds Its Skin" - Defenders #25, written by Steve Gerber, art by Sal Buscema and Jack Abel, letters by Ray Holloway, colors by Petra Goldberg, ©1975 Marvel Comics"Scorpion... Where Is Thy Sting?" - Amazing Spider-Man #146, written by Gerry Conway, art by Ross Andru, John Romita, and others, letters by Joe Rosen, colors by Don Warfield, ©1975 Marvel Comics"Death Sentence" - Marvel Preview #2, written by Gerry Conway, art by Tony DeZuniga, letters by Marcos Pelayo, ©1975 Marvel Comics"The Trial of the Watcher" - Captain Marvel #39, written by Steve Englehart with Al Milgrom and Tony Isabella, art by Al Milgrom and Klaus Janson, letters by June Braverman, colors by Phil Rachelson, ©1975 Marvel Comics"We Do Seek Out New Avengers!!" - Avengers #137, written by Steve Englehart, art by George Tuska and Vince Colletta, letters by Charlotte Jetter, colors by Phil Rachelson, ©1975 Marvel Comics"Holocaust In the Halls of Hydra!" - Daredevil #123, written by Tony Isabella, art by Bob Brown and Vince Colletta, letters by Karen Mantlo, colors by George Roussos, ©1975 Marvel Comics"The Madness Maze!" - Captain America #187, written by John Warner, art by Frank Robbins and Frank Chiaramonte, letters by Charlotte Jetter, colors by George Roussos, ©1975 Marvel Comics"In One World -- And Out the Other!" - Fantastic Four #160, written and edited by Roy Thomas, art by John Buscema and Chic Stone, letters by Ray Holloway, colors by Janice Cohen, ©1975 Marvel Comics"Eelar Moves In Mysterious Ways!" - Giant-Size Defenders #5, written by Steve Gerber with Gerry Conway, Roger Slifer, Len Wein, Chris Claremont, and Scott Edelman, art by Don Heck, Mike Esposito, and Dave Hunt, letters by Dave Hunt, colors by George Roussos, ©1975 Marvel Comics"Beware the Path of the Monster!" - Giant-Size Spider-Man #5, written by Gerry Conway, art by Ross Andru and Mike Esposito, letters by Artie Simek, colors by Petra Goldberg, ©1975 Marvel Comics"None Are So Blind...!" - Incredible Hulk #189, written by Len Wein, art by Herb Trimpe and Joe Staton, letters by Artie Simek, colors by Glynis Oliver Wein, ©1975 Marvel Comics"And All Our Past Decades Have Seen Revolutions!" - Jungle Action #16, written by Don McGregor, art by Billy Graham, letters by Janice Chiang, colors by Glynis Wein, ©1975 Marvel Comics"The Name Is... Warhawk" - Marvel Premiere #23, written by Chris Claremont, art by Pat Broderick and Bob McLeod, letters by Karen Mantlo, colors by Michelle Wolfman, ©1975 Marvel Comics"Blood Church!" - Marvel Team-Up #35, written by Gerry Conway, art by Sal Buscema and Vince Colletta, letters by Charlotte Jetter, colors by Phil Rachelson, ©1975 Marvel Comics"Is This the Day the World Ends?" - Marvel Two-In-One #10, written by Chris Claremont, art by Bob Brown and Klaus Janson, letters by John Costanza, colors by Klaus Janson, ©1975 Marvel Comics"Ulik Unchained!" - Thor #237, written by Gerry Conway, art by John Buscema and Joe Sinnott, letters by John Costanza, colors by Petra Goldberg, ©1975 Marvel Comics"Weird Stone" - Creatures on the Loose #36, written by David Kraft, art by George Pérez and Frank McLaughlin, letters by Tom Orzechowski, colors by Petra Goldberg, ©1975 Marvel Comics"A Phoenix Berserk!" - Frankenstein #17, written by Doug Moench, art by Val Mayerik and Bob McLeod, letters by Artie Simek, colors by Don Warfield, ©1975 Marvel Comics"Fear Times Three!" - Giant-Size Man-Thing #5, written by Steve Gerber, art by Ed Hannigan and Dan Adkins, letters by "G. L. Peter" (Gaspar Saladino), colors by Glynis Wein, ©1975 Marvel Comics"The Plunder of Paingloss" - Giant-Size Werewolf #5, written by Doug Moench, art by Yong Montaño, letters by Marcos Pelayo, colors by George Roussos, ©1975 Marvel Comics"The Scavenger of Atlanta" - Man-Thing #19, written by Steve Gerber, art by Jim Mooney and Frank Springer, letters by Dave Hunt, colors by Don Warfield, ©1975 Marvel Comics"Showdown of Blood!" - Tomb of Dracula #34, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Tom Palmer, ©1975 Marvel Comics"Death In White" - Werewolf by Night #31, written by Doug Moench with Don Perlin, art by Don Perlin, letters by Dave Hunt, colors by Michelle Wolfman, ©1975 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Episode 265.  James B and Eddie debate whether the Web of Spider-Man or Spectacular Spider-Man books from November and December of 1989 are better and why. (00:22) Book Battle Open (01:22) From October of 1989 Stan Lee presents Web of Spider-Man Annual 5 Atlantis Attacks Chapter 11 War Zone: New York by Gerry Conway, Javier Saltares and Randy Emberlin.   (04:19) From Mid-November and December of 1989 Web of Spider-Man 57 “Flesh and Blood “ and “Rematch” by Conway Saviuk and Williams   (07:40) From Mid-November and December of 1989 Stan Lee presents SSM 157 and 158 “Shakedown” and “The Paste and the Power” By Conway, Buscema and Esposito.    (12:02) Sponsor - Tinkerer Repair Shop   (13:11) Emails   (15:22) Close   (16:44) Aftershow: Spider-Man's Most Dubious    Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by James B and Eddie and Bootsy Collins.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"One Life to Give!" - Thor #236, written by Gerry Conway, art by John Buscema and Joe Sinnott, letters by Artie Simek, colors by Phil Rachelson, ©1975 Marvel Comics"The Judgment!" - Strange Tales #180, written by Jim Starlin, art by Jim Starlin, letters by Tom Orzechowski, colors by Jim Starlin, ©1975 Marvel Comics"To Bestride the World!" - Giant-Size Super-Villain Team-Up #2, written by Roy Thomas, art by Mike Sekowsky and Sam Granger, letters by John Costanza, colors by Phil Rachelson, ©1975 Marvel Comics"Havoc In the Hidden Land!" - Fantastic Four #159, written by Roy Thomas, art by Rich Buckler and Joe Sinnott, letters by Joe Rosen, colors by Janice Cohen, ©1975 Marvel Comics"Crime and Circuses" - Power Man #25, written by Tony Isabella and Bill Mantlo, art by Ron Wilson and Fred Kida, letters by Charlotte Jetter, colors by Petra Goldberg, ©1975 Marvel Comics"Mind Over Mayhem!" - Incredible Hulk #188, written by Len Wein, art by Herb Trimpe and Joe Staton, letters by Artie Simek, colors by Glynis Oliver Wein, ©1975 Marvel Comics"Gwen Stacy Is Alive... And, Well...?!" - Amazing Spider-Man #145, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg, ©1975 Marvel Comics"The Soft Parade of Slow, Sliding Death!" - Astonishing Tales #30, written by Rich Buckler and Doug Moench, art by Rich Buckler, Keith Pollard, Arvell Jones, and Al McWilliams, letters by Charlotte Jetter, colors by George Roussos, ©1975 Marvel Comics"Hydra-and-Seek" - Daredevil #122, written by Tony Isabella, art by Bob Brown and Vince Colletta, letters by Karen Mantlo, colors by Janice Cohen, ©1975 Marvel Comics"In the Jaws of the Serpent!" - Defenders #24, written by Steve Gerber, art by Sal Buscema and Bob McLeod, letters by Tom Orzechowski, colors by Phil Rachelson, ©1975 Marvel Comics"Rights of Passage!" - Doctor Strange #8, written by Steve Englehart, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Tom Palmer, ©1975 Marvel Comics"Slave to the Power Imperious!" - Iron Man #75, written by Mike Friedrich, art by Arvell Jones and Chic Stone, letters by Karen Mantlo, colors by George Roussos, ©1975 Marvel Comics"Beware the Death Crusade!" - Marvel Team-Up #34, written by Gerry Conway, art by Sal Buscema and Vince Colletta, letters by Dave Hunt, colors by George Roussos, ©1975 Marvel Comics"The Doorway Screaming Into Hell!" - Adventure Into Fear #28, written by Doug Moench, art by Frank Robbins and Vince Colletta, letters by Tom Orzechowski, colors by Don Warfield, ©1975 Marvel Comics"Phantom of the Killer Skies" - Ghost Rider #12, written by Tony Isabella, art by Frank Robbins, Frank Giacoia, and Mike Esposito, letters by Karen Mantlo, colors by Janice Cohen, ©1975 Marvel Comics"The Art of Dying!" - Giant-Size Dracula #5, written by David A. Kraft, art by Virgilio Redondo and Dan Adkins, letters by Marcos Pelayo, colors by Don Warfield, ©1975 Marvel Comics"School's Out!" - Man-Thing #18, written by Steve Gerber, art by Jim Mooney, letters by Ray Holloway, colors by Phil Rachelson, ©1975 Marvel Comics"Journey Into Himself!" - Marvel Spotlight #22, written by Steve Gerber, art by Sal Buscema and Bob McLeod, letters by Artie Simek, colors by Phil Rachelson, ©1975 Marvel Comics"Blood On My Hands!" - Tomb of Dracula #33, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Tom Palmer, ©1975 Marvel Comics"Red Slash Across Midnight" - Werewolf by Night #30, written by Doug Moench, art by Don Perlin, letters by Dave Hunt, colors by Don Warfield, ©1975 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Foggy Nelson, Agent of SHIELD" - Daredevil #121, written by Tony Isabella, art by Bob Brown and Vince Colletta, letters by Karen Mantlo, colors by Don Warfield, ©1975 Marvel Comics"The Snakes Shall Inherit the Earth!" - Defenders #23, written by Steve Gerber, art by Sal Buscema and Vince Colletta, letters by June Braverman, colors by Don Warfield, ©1975 Marvel Comics"Who Lurks Beyond the Labyrinth!" - Thor #235, written by Gerry Conway, art by John Buscema and Joe Sinnott, letters by John Costanza, colors by Petra Goldberg, ©1975 Marvel Comics"Invasion From the 5th (Count It, 5th!) Dimension" - Fantastic Four #158, written by Roy Thomas, art by Rich Buckler and Joe Sinnott, letters by Joe Rosen, colors by Janice Cohen, ©1975 Marvel Comics"There's a Gremlin In the Works!" - Incredible Hulk #187, written by Len Wein, art by Herb Trimpe and Joe Staton, letters by Artie Simek, colors by Glynis Wein, ©1975 Marvel Comics"Death Is a Ninja" - Marvel Premiere #22, written by Tony Isabella, art by Arvell Jones and Aubrey Bradford, letters by Karen Mantlo, colors by George Roussos, ©1975 Marvel Comics"Scream the Scarlet Skull!" - Captain America #185, written by Steve Englehart, art by Frank Robbins, Sal Buscema, and Frank Giacoia, letters by Tom Orzechowski, colors by Stan Goldberg, ©1975 Marvel Comics"No Way Out!" - Captain Marvel #38, written by Steve Englehart, art by Al Milgrom and Klaus Janson, letters by Charlotte Jetter, colors by Klaus Janson, ©1975 Marvel Comics"The MODOK Machine!" - Iron Man #74, written by Mike Friedrich, art by Arvell Jones, Keith Pollard, and Dick Ayers, letters by Tom Orzechowski, colors by Phil Rachelson, ©1975 Marvel Comics"Thorns In the Flesh, Thorns In the Mind" - Jungle Action #15, written by Don McGregor, art by Billy Graham and Dan Green, letters by Karen Mantlo, colors by Glynis Oliver Wein, ©1975 Marvel Comics"The Man Who Hunted Dinosaur!" - Ka-Zar #9, written by Gerry Conway, art by John Buscema and Sonny Trinidad, letters by Marcos Pelayo, colors by Petra Goldberg, ©1975 Marvel Comics"Anybody Here Know a Guy Named Meteor Man?" - Marvel Team-Up #33, written by Gerry Conway, art by Sal Buscema and Vince Colletta, letters by John Costanza, colors by Janice Cohen, ©1975 Marvel Comics"When a God Goes Mad!" - Marvel Two-In-One #9, written by Chris Claremont and Steve Gerber, art by Herb Trimpe and Joe Giella, letters by Charlotte Jetter, colors by Janice Cohen, ©1975 Marvel Comics"Wolfquest" - Creatures on the Loose #35, written by David Kraft, art by George Perez and Frank McLaughlin, letters by Dave Hunt, colors by Petra Goldberg, ©1975 Marvel Comics"A Book Burns In Citrusville!" - Man-Thing #17, written by Steve Gerber, art by Jim Mooney, letters by Joe Rosen, colors by Petra Goldberg, ©1975 Marvel Comics"Code-Name: Berserker!" - Frankenstein #16, written by Doug Moench, art by Val Mayerik and Bob McLeod, letters by John Costanza, colors by Janice Cohen, ©1975 Marvel Comics"And Some Call Him... Madness!" - Tomb of Dracula #32, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Tom Palmer, ©1975 Marvel Comics"A Sister of Hell" - Werewolf by Night #29, written by Doug Moench, art by Don Perlin, letters by John Costanza, colors by George Roussos, ©1975 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

It's a special Best Of episode! The CCC team shares some of fun conversations Josh has had over the years with Rob Paulsen, Rob Liefeld, Geoff Johns and Gerry Conway. Take a trip back to the past with this Best Of Bash.

Jordan Morris is the Eisner-nominated co-creator of the Bubble graphic novel (and the podcast that it was adapted from), as well as the co-host of the Maximum Fun network's Jordan, Jesse, Go! and Free With Ads. Pre-order his upcoming YA horror comedy graphic novel, Youth Group, at bit.ly/youthgroupbook!For 30 minutes of bonus content — including our in-depth discussions of the Vision's origin and some ancient Kree history in Avengers #133-135 — support us at patreon.com/marvelbythemonth. Subscribers at the $4/month level get instant access to our bonus feed of content that contains over 130 extended and exclusive episodes — with more being added every week! Stories Covered in this Episode: "Let All Men Bring Together" - Giant-Size Avengers #4, written by Steve Englehart, art by Don Heck and John Tartaglione, letters by Charlotte Jetter, colors by Petra Goldberg, ©1975 Marvel Comics"... And the Wind Cries: Cyclone!"- Amazing Spider-Man #143, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Janice Cohen, ©1975 Marvel Comics"The Delusion Conspiracy" - Amazing Spider-Man #144, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Ray Holloway, colors by George Roussos, ©1975 Marvel Comics "Marvel by the Month" theme v. 3 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram and Threads at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Episode 258.  James B and Eddie finish off the Lobo Gang War storyline and continue with Atlantis Attacks. Books covered in this episode: (01:35) From October of 1989 Stan Lee presents Web of Spider-Man 55 “Showdown” Written by Gerry Conway, Pencils by Alex Saviuk, Inks by Keith Williams (04:52) From November of 1989 Stan Lee presents SSM 155 “Crash Out!” Witten by Gerry Conway, Pencils by Sal Buscema, Inks by Mike Esposito   (08:00)  From November of 1989 Stan Lee presents Web of Spider-Man 56 “Skin-Deep” by Conway, Saviuk and Williams  (13:30) From November of 1989 Stan Lee presents SSM 156 “The Search for Robbie Robertson” by Conway, Buscema and Esposito (16:35) From September of 1989 Stan lee presents SSM Annual 9 “The Serpent in the Shadow” which is the 6th chapter of Atlantis Attacks written by Conway, Penciled by Dave Ross, and Inked by Andy Mushynsky and Mike Gustovich (22:56) This episode is Sponsored by The Friends of Eddie Club   Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by Skinhead Eddie and Eddie.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit  

Episode 256.  James B and Eddie discuss if Gloria and Eduardo Lobos seem to be in genuine love, why MJ can't work, why Peter and MJ are living at Aunt May's, if Kristy has an eating and if now is the perfect time to start a Spidey fan club again. Books covered in this issue include Web of Spider-Man 52 53 and 54 and Spectacular Spider-Man 152, 153 and 154. This episode is sponsored by Nickie Katzenburg Photography. Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by Eddie and Bruiser.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

Carl Sciacchitano is a Portland  writer and illustrator whose work can be seen in comics by Monkeybrain, Archie, and IDW, including The Army of Dr. Moreau with friend of the show David F. Walker. Carl's latest work is the extraordinarily moving The Heart That Fed, a graphic novel published by Simon and Schuster/Gallery 13 that recounts his father's experience in Vietnam during the Tet Offensive and the fall of Saigon. It's on sale June 4th at the best bookstores and comics shops, so add it to your stack next week!The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Among Us Walks... Black Goliath!"- Power Man #24, written by Tony Isabella, art by George Tuska and Dave Hunt, letters by Dave Hunt, Harry Blumfield, and Karen Pocock (Karen Mantlo), colors by Don Warfield, ©1975 Marvel Comics"Too Cold a Night For Dying!"- Giant-Size Defenders #4, written by Steve Gerber, art by Don Heck and Vince Colletta, letters by David Hunt, colors by Petra Goldberg, ©1975 Marvel Comics"... And a Hydra New Year!"- Daredevil #120, written by Tony Isabella, art by Bob Brown and Vince Colletta, letters by Ray Holloway, colors by Petra Goldberg, ©1975 Marvel Comics"O, Bitter Victory!"- Thor #234, written by Gerry Conway, art by John Buscema and Joe Sinnott, letters by John Costanza, colors by Petra Goldberg, ©1975 Marvel Comics"Fangs of Fire and Blood!"- Defenders #22, written by Steve Gerber, art by Sal Buscema and Mike Esposito, letters by Charlotte Jetter, colors by Stan Goldberg, ©1975 Marvel Comics"And Now -- The Endgame Cometh!"- Fantastic Four #157, written by Roy Thomas, art by Rich Buckler and Joe Sinnott, letters by Joe Rosen, colors by Petra Goldberg, ©1975 Marvel Comics"... And the Wind Cries: Cyclone!"- Amazing Spider-Man #143, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Janice Cohen, ©1975 Marvel Comics"The Times That Bind!"- Avengers #134, written by Steve Englehart, art by Sal Buscema and Joe Staton, letters by Tom Orzechowski, colors by Phil Rachelson, ©1975 Marvel Comics"Cap's Back!"- Captain America #184, written by Steve Englehart, art by Herb Trimpe, Frank Giacoia, and Mike Esposito, letters by Tom Orzechowski, colors by George Roussos, ©1975 Marvel Comics"The Demon Fever!"- Doctor Strange #7, written by Steve Englehart, art by Gene Colan and John Romita, letters by Tom Orzechowski, colors by Phil Rachelson, ©1975 Marvel Comics"All the Fires In Hell...!"- Marvel Team-Up #32, written by Gerry Conway, art by Sal Buscema and Vince Colletta, letters by Artie Simek, colors by Janice Cohen, ©1975 Marvel Comics"A Meeting of Blood" - Giant-Size Werewolf #4, written by Doug Moench, art by Virgil Redondo, letters by Marcos Pelayo, colors by Don Warfield, ©1975 Marvel Comics // "When the Moon Dripped Blood!"- Giant-Size Werewolf #4, written by Doug Moench, art by Yong Montaño, letters by Marcos Pelayo, colors by Janice Cohen, ©1975 Marvel Comics"Night of the Vampire-Stalker"- Adventure Into Fear #27, written by Doug Moench, art by Frank Robbins and "D. Fraser" (Leonard Starr), letters by Charlotte Jetter, colors by Janice Cohen, ©1975 Marvel Comics"The Desolation Run!"- Ghost Rider #11, written by Tony Isabella, art by Sal Buscema, John Tartaglione, and George Roussos, letters by Joe Rosen, colors by Phil Rachelson, ©1975 Marvel Comics"The Kid's Night Out!"- Giant-Size Man-Thing #4, written by Steve Gerber, art by Ed Hannigan, Ron Wilson, and Frank Springer, letters by Tom Orzechowski, colors by Phil Rachelson, ©1975 Marvel Comics // "Frog Death!"- Giant-Size Man-Thing #4, written by Steve Gerber, art by Frank Brunner, letters by Tom Orzechowski, colors by Frank Brunner, ©1975 Marvel Comics"Decay Meets the Mad Viking!"- Man-Thing #16, written by Steve Gerber, art by John Buscema and Tom Palmer, letters by Artie Simek, colors by Tom Palmer, ©1975 Marvel Comics"Mourning At Dawn!"- Marvel Spotlight #21, written by Steve Gerber, art by Sal Buscema and Joe Giella, letters by Karen Mantlo, colors by Petra Goldberg, ©1975 Marvel Comics"Ten Lords a Dying!"- Tomb of Dracula #31, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by Ray Holloway, colors by Tom Palmer, ©1975 Marvel Comics"The Darkness From Glitternight"- Werewolf by Night #28, written by Doug Moench, art by Don Perlin, letters by John Costanza, colors by Petra Goldberg, ©1975 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Episode 254.  James B and Eddie have a book battle between the six Web of Spider-Man and Spectacular Spider-Man issues from April, May and June of 1989. Which issues will emerge victorious?  Listen to find out.    (00:44) From April of 1989   Stan Lee Presents Web of Spider-Man  49 “--Corner Business” written by Peter David, Penciled by Val Mayerik, Inked by Val Mayerik     (03:14) From May of 1989   Stan Lee Presents Web of Spider-Man 50   “1000 words” Written by Gerry Conway, Penciled by Alex Saviuk, and Inked by Keith Williams     (06:46) From June of 1989  Stan Lee Presents Web of Spider-Man 51 “The Crimelord of New York!” by Conway, penciled by Mark Bagley, and ink by Keith Williams     (09:01) From April May and June of 1989 Stan Lee Presents The Spectacular Spider-Man 149 150 and 151  “What About Carrion” “Guilty” and “Lock-Up”  by Gerry Conway and Sal Buscema     (12:39) Sponsor - Fox Sports BKLKFL     Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by James B and Eddie and Winston.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/    Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts.   Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit   

The Punisher (Francis "Frank" Castle, born Castiglione) is an antihero appearing in American comic books published by Marvel Comics. The character was created by writer Gerry Conway and artists John Romita Sr. and Ross Andru. The Punisher made his first appearance in The Amazing Spider-Man #129 (cover-dated February 1974), originally depicted as an assassin and adversary of the superhero Spider-Man. --- Send in a voice message: https://podcasters.spotify.com/pod/show/rangerryan/message

Under the cover of a full moon, we shed a light on Jack Russell, WEREWOLF BY NIGHT! How many Warren Zevon references do we fit into this episode? Listen now to find out! Intro Apologies for delays in episodes - Doc and I going thru stuff (separately)  Reminder that Shenanicon registration is now open - still no word on exact date & time of Baccano panel Background (3:13) Jack Russell, Werewolf by Night, created by Roy Thomas, Jeanie Thomas, Gerry Conway, & Mike Ploog in Marvel Spotlight #2 (Feb. 1972) Jacob Russoff is the son of Gregor Russoff, a Transylvanian baron whose ancestor was bitten by a werewolf working for Vlad Dracula in 1795 Gregor acquired the Darkhold and read it, triggering the latent curse and turning him into a werewolf - after he was killed, his wife Laura moved to America and remarried her brother-in-law Phillip Russell, and Jacob became Jack Russell Jack's curse took effect on his 18th birthday, and shortly thereafter his family's driver sabotaged his mother's car to crash under Phillip's orders - before her death she told Jack the truth about his heritage and made him promise not to take revenge on Phillip (no promise was made about the driver, though…) Spent most of the next few years on the run from the Committee, who wanted to capture him and use him for their own purposes - among the many people hired by the Committee was Moon Knight, who defeated Jack before having a change of heart and teaming up with Jack to escape Spends a chunk of the 80s on a motorcycle driving around the country - after a battle with the Hulk, his father's spirit tells him he must accept his beastly nature or die; he does, and gains control over his transformation and abilities Unfortunately his control didn't last, and he began seeing visions of Hell during his transformations - this drove him to alcoholism and suicidal thoughts until he encountered a woman similarly afflicted and under siege by a small town - they killed the leaders and agreed to help each other live free He was given a vaccine by Michael Morbius that helped him regain control, and he joined the Midnight Sons - his new mindset was that of acceptance, and he was determined to find other “monsters” around the world and help them the way he had been helped - this includes Rahne Sinclair's son, who she rejected because the child was feral He had his head blown off by Deadpool after Wade found him in bed with his wife - he survived, but it took some time for his head to grow back Issues - Theme is “a sheep in wolf's clothing” (7:46) Finally reached an acceptance of his werewolf nature, even if the world hasn't Formerly suicidal alcoholic (14:10) A drifter who's unattached to any one place for too long (24:28) Break (32:12) Plugs for I Am Your Target Demographic and Hops Geek News Treatment In-universe - Treat yo self Out of universe - Focus on the addiction issues first, and then work on the other things Skit (41:40) Hello Jack, I'm Dr. Issues. - Hi. Man, I could have used you a long time ago. *pause* Thaaanks? So, what can I do for you…now? - Just hear me out. I've hesitated to do any therapy because I didn't think anyone would listen.  Oh, so my reputation precedes me. -You never answered my calls or emails. I can be scant in my availability, yes. But that should be a deterrent, right?. -Every review I read said that you are the most patient psychiatrist they've ever met, but you're hard to track. I like that. Maybe you can tolerate my story.  My goal is more than tolerance. I want patients to thrive. But sometimes you have to crawl, then walk, then run. -You got that right! So I did my homework. I know this is confidential as long as I'm not a threat, right? Yup. -Well, what if I told you that there's only a certain number of nights where I was a threat, but I kept everyone safe with an airtight plan? Makes sense, right?  I guess -*interrupting* and what if I told you that I even went so far as to meditate to harness my rage in a form that was productive. Are you with me? Is this a metaphor for male menopause or -*interrupts again* Heck man, I even found a, uh, “alternative healer” to basically cure me. This is some wild stuff, huh? You sound like an infomercial right now. What is your angle? Are you trying to promote some woo-woo healthy positivity or what? I'm confused. You're way more upbeat than I thought you'd be. I just scrolled through your emails -Better late than never *Interrupting* No wonder I blew you off. You sent me an autobiography that reads like Ann Rice decided to make out with Kafka. -*pause* So a bit melodramatic? Therapy is supposed to be more than just venting. You say you have all of these tools to…wow this is long…survive with lycanthropy?! You could have just said “I'm a werewolf.” -Well you always use those vocab words in your writing so I was trying to match you. And how dare you try to shame a patient. I've come a long way, you know! No shame, no blame. Just…*sigh* I get this a lot. You want to connect on a human level. That's awesome. I'm impressed, because you're clearly putting the proper energy into this. But there IS a way to swing too far on that pendulum. I want to be your trusted professional, but I'm not your buddy. There's a difference. Let's focus on your accomplishments so far, since that's your focus out of the gate. -Cool! First off, I survived a family that sometimes turned feral. Lots of reconciliation. Great. -I am on the sober path. Wonderful. -I can live in my own skin…and fur.  Check. -No, further east than that. Huh? -Nevermind, bad joke.  Not rushin ya -Huh? Even worse joke. -*snaps fingers* You DO have a bright side.Anywho, what I'm trying to say is, I don't have everything figured out. But I've taken care of the boulders. Now I need to take care of the smaller rocks, the pebbles…you get it? Yup. Much better clarity. I'll take you on as a patient under one condition -No werewolf? How'd you guess? -Just a hunch. Oh, and here's my local pharmacy.  I don't think you need a prescription -It's the only one I know willing to incorporate silver compounds. *pause* Welp, that's either a dark backup plan, or the wickedest joke of this encounter. *simultaneously* WHY NOT BOTH? Ending (46:03) Recommended reading: Legion of Monsters Next episodes: Storm, Wonder Woman, Shadowman Plugs for social & GonnaGeek Network Transcript References: “BBL Drizzy” - Anthony (2:23) Shenanicon 2024 - Anthony (2:50) “Werewolves of London” - Doc (8:55) “Papa Was a Rollin' Stone” - Doc (25:30) SHE CAME DOWN IN A BUBBLE - Anthony (36:00) “Hair of the Dog” - Anthony (46:40) Apple Podcasts: here Google Play: here Stitcher: here TuneIn: here iHeartRadio: here Twitter Facebook TikTok  Patreon TeePublic Discord

Host Anthony Desiato and guest Nick Farina share their thoughts on James Gunn's recent reveal of actor David Corenswet in costume from the forthcoming SUPERMAN 2025 film. Now that the dust has settled after the initial unveiling, what impressions, questions, and predictions remain?Then, in the episode's main segment, Anthony and guest Chris Jacobsen (SUPERBOY BEYOND) dig into the Bronze Age period when Superboy shared his title and the spotlight with his teammates from the 30th Century: the 1977-1979 SUPERBOY AND THE LEGION OF SUPER-HEROES run by Paul Levitz, Gerry Conway, Mike Grell, James Sherman, Joe Staton, and more. "A Superboy Fan Journey" Chapter IV. NOTE: The podcast is off next week for the Memorial Day holiday and will return in two weeks with coverage of the 1980s comic book series THE NEW ADVENTURES OF SUPERBOY!Support the show and receive exclusive podcast content at Patreon.com/AnthonyDesiato, including the spinoff podcasts BEYOND METROPOLIS and DIGGING FOR JUSTICE!Visit BCW Supplies and use promo code FSP to save 10% on your next order of comics supplies. FACEBOOK GROUP: Digging for Kryptonite: A Superman Fan GroupFACEBOOK PAGE: @diggingforkryptonitepodINSTAGRAM: @diggingforkryptonitepodTWITTER: @diggingforkrpodEMAIL: flatsquirrelproductions@gmail.comWEBSITE: FlatSquirrelProductions.com Digging for Kryptonite is a Flat Squirrel Production. Key art Isaiah Simmons (2020-2024 version by Gregg Schigiel). Theme music by Basic Printer.Mentioned in this episode:Aw Yeah ComicsFat Moose ComicsAcme ComicsAlways Hold On To SmallvilleSam LimHang On To Your Shorts Film FestivalThe Pop Break

Episode 253.  James B and Eddie conclude Inferno while also looking back at some PSA's and crossovers with Power Pack and Spider-Man.   Books covered in this podcast: Web of Spider-Man 48 “Eyes of the Demon” by Conway, Saviuk, and Keith Williams.   ASM 313 “Slithereens” by Michelinie and McFarlane  The Spectacular Spider-Man 148 “Night of the Living Ned!” by Gerry Conway and Sal Buscema   From January of 1982 Stan Lee presents Spider-Man Powerman and Storm in “Spider-Man PowerMan and Storm vs. Smokescreen” drawn by Romita and Giacoia https://readallcomics.com/spider-man-storm-and-power-man/   Spider-Man and Power Pack 1 in “Secrets” By Jim Sallicrup Nancy Allen Jim Mooney and Mike Esposito https://readallcomics.com/spider-man-and-power-pack-v1-1/   Power Pack 6 “Secrets” by Simonson, Brigman and Wiacek https://readallcomics.com/power-pack-v1-006/   Power Pack 29 “ Obsession “ by Simonson, Bogdanove and Green. https://readallcomics.com/power-pack-v1-029/   Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by James B and Eddie and track coach Powerman.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Lift-Off!" - Captain Marvel #37, written by Steve Englehart and Al Milgrom, art by Al Milgrom and Klaus Janson, letters by Tom Orzechowski, colors by Glynis Oliver Wein, ©1974 Marvel Comics"Middle Game!" - Fantastic Four #156, written by Roy Thomas and Len Wein, art by Rich Buckler and Joe Sinnott, letters by John Costanza, colors by Janice Cohen, ©1974 Marvel Comics"Midgard Aflame!" - Thor #233, written by Gerry Conway, art by John Buscema and Chic Stone, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"They're Tearing Down Fogwell's Gym!" - Daredevil #119, written by Tony Isabella, art by Bob Brown and Don Heck, letters by Dave Hunt, colors by Stan Goldberg, ©1974 Marvel Comics"Daughters of the Death-Goddess" - Marvel Premiere #21, written by Tony Isabella, art by Arvell Jones and Vince Colletta, letters by Joe Rosen, colors by Stan Goldberg, ©1974 Marvel Comics"Turnabout: A Most Foul Play!" - Iron Man #73, written by Mike Friedrich, art by Arvell Jones, Keith Pollard, and Jim Mooney, letters by Tom Orzechowski, colors by Stan Goldberg, ©1974 Marvel Comics"Yesterday and Beyond..." - Avengers #133, written by Steve Englehart, art by Sal Buscema and Joe Staton, letters by Tom Orzechowski, colors by Phil Rachelson, ©1974 Marvel Comics"Nomad: No More!" - Captain America #183, written by Steve Englehart, art by Frank Robbins and Frank Giacoia, letters by Tom Orzechowski, colors by Stan Goldberg, ©1974 Marvel Comics"Deathknell!" - Incredible Hulk #185, written by Len Wein, art by Herb Trimpe, letters by Ray Holloway, colors by Glynis Oliver Wein, ©1974 Marvel Comics"There Are Serpents Lurking In Paradise" - Jungle Action #14, written by Don McGregor, art by Billy Graham and Pablo Marcos, letters by Charlotte Jetter, colors by Glynis Oliver Wein, ©1974 Marvel Comics"For a Few Fists More! - Marvel Team-Up #31, written by Gerry Conway, art by Jim Mooney and Vince Colletta, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Nightflight" - Creatures on the Loose #34, written by Dave Kraft, art by Goerge Pérez and Frank McLaughlin, letters by Joe Rosen, colors by Phil Rachelson, ©1974 Marvel Comics"Tactics of Death!" - Frankenstein #15, written by Doug Moench, art by Val Mayerik and Klaus Janson, letters by Artie Simek, colors by Phil Rachelson, ©1974 Marvel Comics"Let It Bleed!" - Giant-Size Dracula #4, written by David Kraft and Marv Wolfman, art by Don Heck and Frank Springer, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"A Candle For Sainte-Cloud" - Man-Thing #15, written by Steve Gerber, art by Rico Rival, letters by Marcos Pelayo, colors by Glynis Oliver, ©1974 Marvel Comics"Memories on a Mourning's Night!" - Tomb of Dracula #30, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Tom Palmer, ©1974 Marvel Comics"The Amazing Doctor Glitternight" - Werewolf by Night #27, written by Doug Moench, art by Don Perlin, letters by Karen Pocock, colors by Phil Rachelson, ©1974 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Episode 251.  James B and Eddie discuss Marvel Comics' Inferno storyline in the six Spider-Man books from January and February of 1989. (01:32) From January of 1989 Stan Lee presents Web of Spider-Man 46 “The Power of… Hate!” written and penciled by Richard Howell Inks by Keith Williams   (04:04) From January of 1989 Stan Lee presents ASM 311 “Mysteries of the Dead” by Michelinie and Todd McFarlane   (07:14) From January of 1989 Stan Lee presents The Spectacular Spider-Man 146 “Demon Night” written by Gerry Conway and art by Sal Buscema   (10:45) From February of 1989 Stan Lee presents Web of Spider-Man 47 “The face in the mirror” by Conway, saviuk, and Keith Williams.     (12:22) From Feb of 1989 Stan Lee presents ASM 312 “The Goblin War!” by Michelinie and McFarlane   (14:09) From February of 1989 Stan Lee presents The Spectacular Spider-Man 147 “When the Bugle Blows” written by Gerry Conway and art by Sal Buscema   (16:09) Sponsor - Hobgoblin Costumes   Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by James B and Eddie..  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

Robert K. Elder is the president and CEO of Outrider Foundation, an award-winning author of 20+ books, including Hemingway In Comics. Find him online at robelder.com.For 20 minutes of bonus content — including our in-depth discussion of the debut of the Headmen in Defenders #21 and the repercussions of the original Clone Saga — support us at patreon.com/marvelbythemonth. Subscribers at the $4/month level get instant access to our bonus feed of content that contains over 120 extended and exclusive episodes — with more being added every week! Stories Covered in this Episode: "The Man's Name Appears to Be... Mysterio!" - Amazing Spider-Man #141, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Dead Man's Bluff!" - Amazing Spider-Man #142, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Joe Rosen, colors by Linda Lessmann, ©1974 Marvel Comics"Silent Night... Deadly Night!" - Marvel Two-In-One #8, written by Steve Gerber, art by Sal Buscema and Mike Esposito, letters by Charlotte Jetter, colors by George Roussos, ©1974 Marvel Comics "Marvel by the Month" theme v. 3 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram and Threads at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Kang War II" - Avengers #132, written by Steve Englehart and Roy Thomas, art by Sal Buscema and Joe Staton, letters by John Costanza, colors by Petra Goldberg"... What Time Hath Put Asunder!" - Giant-Size Avengers #3, written by Steve Englehart and Roy Thomas, art by Dave Cockrum and Joe Giella, letters by "L. G. Peter" (Gaspar Saladino), colors by Petra Goldberg"Madrox the Multiple Man!" - Giant-Size Fantastic Four #4, written by Len Wein and Chris Claremont, art by John Buscema, Chic Stone, and Joe Sinnott, letters by John Costanza, colors by Glynis Wein"The Woman She Was...!" - Defenders #20, written by Steve Gerber, art by Sal Buscema and Vince Colletta, letters by John Costanza, colors by Petra Goldberg"Circus Spelled Sideways Is Death!" - Daredevil #118, written by Gerry Conway, art by Don Heck and Vince Colletta, letters by Karen Pocock, colors by Petra Goldberg"Welcome to Security City" - Power Man #23, written by Tony Isabella, art by Ron Wilson and Dave Hunt, letters by Dave Hunt, colors by Phil Rachelson"Shadow on the Land!" - Incredible Hulk #184, written by Len Wein, art by Herb Trimpe, letters by Artie Simek, colors by Glynis Wein"The Man's Name Appears to Be... Mysterio!" - Amazing Spider-Man #141, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg"Five to One, Deathlok... One in Five... No One Here Gets Out Alive!" - Astonishing Tales #28, written by Rich Buckler, art by Rich Buckler, letters by Karen Pocock, colors by Linda Lessmann"Lift High the Veil of Fears!" - Doctor Strange #6, written by Steve Englehart, art by Gene Colan and Klaus Janson, letters by Tom Orzechowski, colors by Petra Goldberg"Battle Royal!" - Fantastic Four #155, written by Len Wein, art by Rich Buckler and Joe Sinnott, letters by John Costanza, colors by Glynis Wein"Revenge of the River Gods!" - Ka-Zar #8, written by Gerry Conway, art by John Buscema and Bob McLeod, letters by Dave Hunt, colors by Bill Mantlo"All That Glitters Is Not Gold!" - Marvel Team-Up #30, written by Gerry Conway, art by Jim Mooney and Vince Colletta, letters by John Costanza, colors by Petra Goldberg"Who Is Adam Warlock?" - Strange Tales #178, written by Jim Starlin, art by Jim Starlin, letters by Annette Kawecki, colors by Jim Starlin"Lo, the Raging Battle!" - Thor #232, written by Gerry Conway, art by John Buscema and Dick Giordano, letters by John Costanza, colors by Petra Goldberg"A Stillborn Genesis!" - Adventure Into Fear #26, written by Doug Moench, art by Frank Robbins and Frank Giacoia, letters by June Braverman, colors by Bill Mantlo"The Blood of Kings!" - Giant-Size Man-Thing #3, written by Steve Gerber, art by Alfredo Alcala, letters by Marcos Pelayo, colors by Petra Goldberg"Tower of the Satyr!" - Man-Thing #14, written by Steve Gerber, art by Alfredo Alcala, letters by Marcos Pelayo, colors by Glynis Wein"The Fool's Path!" - Marvel Spotlight #20, written by Steve Gerber, art by Sal Buscema and Al McWilliams, letters by John Costanza, colors by George Roussos"'Vengeance Is Mine!' Sayeth the Vampire!" - Tomb of Dracula #29, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Tom Palmer"A Crusade of Murder" - Werewolf by Night #26, written by Doug Moench, art by Don Perlin, letters by Karen Pocock, colors by Phil Rachelson"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

It's been a while since we checked in with Daimon Hellstrom's wayward sister. We decided to make up the lost time by giving you a full audio drama. This text story originally appeared in Haunt of Horror #2 (July 1974).  OUR FINALE IS MAY 3rd! Go HERE and click the 'Notify Me' button so you don't miss it.  FILL OUT YOUR BALLOT FOR THE FINALE: https://forms.gle/yMhL4Hg419yUSCvK8 MAIL: bronzeagemonsters@gmail.com  STORE: https://bronzeagemonsters.threadless.com/ SUPPORT THE SHOW: https://www.patreon.com/BronzeAgeMonsters DISCORD: https://discord.gg/NcFaq9Ednq VM: 971-220-JUNK

Episode 246.  James B and Eddie debate whether The Web of Spider-Man or Spectacular Spider-Man has the better books in July, August and September of 1988.      (01:03) From July, August, September, October of 1988 Stan Lee presents Web of Spider-Man 40, 41, 42, and 43 “All you need is Love”, “That Old-Time Religion”, “Pressure!”, “Autodafe or… ‘nobody expects the spanish Inquisition”  Written by Peter David, Penciling by Alex Saviuk, Ink by Keith Williams.      (05:10) From July, Aug and Sept of 1988, Stand Lee Presents Spectacular Spider-Man 140 141 and142 “Kill Zone” ”The Tombstone Testament”and ”Will” by Gerry Conway and Sal Buscema      (14:31) Sponsors : Students of Love & Mercy Homes      Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by James B and Eddie and The Teacher.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/       Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts.       Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

In February, we were joined by friend of the show composer/director Michael Giacchino to interview comics legend Roy Thomas. We got all kinds of behind-the-scenes stories about the creation of some of Marvel's most beloved characters made in the 1970s. Check it out and let us know what you think. OUR FINALE IS MAY 3rd! Go HERE and click the 'Notify Me' button so you don't miss it.  FILL OUT YOUR BALLOT FOR THE FINALE: https://forms.gle/yMhL4Hg419yUSCvK8 MAIL: bronzeagemonsters@gmail.com  STORE: https://bronzeagemonsters.threadless.com/ SUPPORT THE SHOW: https://www.patreon.com/BronzeAgeMonsters DISCORD: https://discord.gg/NcFaq9Ednq VM: 971-220-JUNK

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Games Godlings Play!" - Giant-Size Defenders #3, written by Steve Gerber, Jim Starlin, and Len Wein, art by Jim Starlin, Dan Adkins, Don Netwon, and Jim Mooney, letters by Charlotte Jetter, colors by Glynis Wein, ©1974 Marvel Comics"Mind Tap!" - Daredevil #117, written by Chris Claremont and Steve Gerber, art by Bob Brown and Vince Colletta, letters by Dave Hunt, colors by Petra Goldberg, ©1974 Marvel Comics"A Spectre From the Past!" - Thor #231, written by Gerry Conway, art by John Buscema and Dick Giordano, letters by John Costanza, colors by Petra Goldberg, ©1974 Marvel Comics"Batroc and Other Assassins" - Marvel Premiere #20, written by Tony Isabella, art by Arvell Jones and Dan Green, letters by Ray Holloway, colors by John Drake, ©1974 Marvel Comics"... And One Will Fall!" - Amazing Spider-Man #140, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Fury at 50,000 Volts!" - Incredible Hulk #183, written by Len Wein, art by Herb Trimpe, letters by Glynis Wein, colors by Charlotte Jetter, ©1974 Marvel Comics"A Quiet Half-Hour In Saigon!" - Avengers #131, written by Steve Englehart, art by Sal Buscema and Joe Staton, letters by Tom Orzechowski, colors by Phil Rachelson, ©1974 Marvel Comics"The Mark of Madness!" - Captain America #181, written by Steve Englehart, art by Sal Buscema and Vince Colletta, letters by Artie Simek, colors by Linda Lessmann, ©1974 Marvel Comics"The Man In the Mystery Mask!" - Fantastic Four #154, written by Stan Lee and Len Wein, art by Dick Ayers, Bob Brown, Paul Reinman, Frank Giacoia, and Mike Esposito, letters by Artie Simek, colors by Glynis Wein, ©1974 Marvel Comics"The God Killer" - Jungle Action #13, written by Don McGregor, art by Billy Graham and Craig Russell, letters by Joe Rosen, colors by Tom Palmer, ©1974 Marvel Comics"Revenge of the River Gods!" - Ka-Zar #7, written by Gerry Conway, art by John Buscema and Bob McLeod, letters by Dave Hunt, colors by Bill Mantlo, ©1974 Marvel Comics"Beware the Coming of... Infinitus!" or "How Can You Stop the Reincarnated Man?" - Marvel Team-Up #29, written by Gerry Conway, art by Jim Mooney and Vince Colletta,letters by John Costanza, colors by Janice Cohen, ©1974 Marvel Comics"Name That Doom!" - Marvel Two-In-One #7, written by Steve Gerber, art by Sal Buscema and Mike Esposito, letters by Joe Rosen, colors by Bill Mantlo, ©1974 Marvel Comics"Deathgame!" - Creatures on the Loose #33, written by David Kraft with Tony Isabella, art by George Perez and Klaus Janson, letters by Tom Orzechowski, colors by Petra Goldberg, ©1974 Marvel Comics"Fury of the Night-Creature!" - Frankenstein #14, written by Doug Moench, art by Val Mayerik and Dan Green, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Castle Curse!" - Giant-Size Werewolf #3, written by Doug Moench, art by Don Perlin and Sal Trapani, letters by Jean Simek, colors by Linda Lessmann, ©1974 Marvel Comics"Red Sails at 40,000 Feet!" - Man-Thing #13, written by Steve Gerber, art by John Buscema and Tom Sutton, letters by John Costanza, colors by Petra Goldberg, ©1974 Marvel Comics"Madness In the Mind!" - Tomb of Dracula #28, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by Ray Holloway, colors by Petra Goldberg, ©1974 Marvel Comics"An Eclipse of Evil!" - Werewolf by Night #25, written by Doug Moench, art by Don Perlin, letters by Dave Hunt, colors by Linda Lessmann, ©1974 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Ibrahim Moustafa is the brilliant writer-artist behind the original graphic novels Count and Retroactive, as well as the co-creator of the Eisner Award-nominated High Crimes (with Christopher Sebela), and yes, a bunch of Marvel stuff too! His latest OGN, Cyn, comes out this summer from Humanoids, and you can order it right now from your local comics shop — Previews order code APR241574!For 25 minutes of bonus content — including the first appearance of the Wrecking Crew and a Luke Cage guest appearance in Defenders #17-19 — support us at patreon.com/marvelbythemonth. Subscribers at the $4/month level get instant access to our bonus feed of content that contains over 120 extended and exclusive episodes — with more being added every week! Stories Covered in this Episode: "Convention of Fear!" - Iron Man #72, written by Mike Friedrich, art by George Tuska and Vince Colletta, letters by Tom Orzechowski, colors by Stan Goldberg, ©1974 Marvel Comics"The Yesterday Connection!" - Giant-Size Spider-Man #3, written by Gerry Conway, art by Ross Andru and Mike Esposito, letters by Ray Holloway, colors by George Roussos, ©1974 Marvel Comics "Marvel by the Month" theme v. 3 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram and Threads at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Episode 244.  James B and Eddie discuss the honeymoon of Peter and MJ, John Wick movies, Immigration Laws in England and why Captain America is working with La Tarantula.   (01:20) From November of 1987 Stan Lee presents Peter Parker the Spectacular Spider-Man “The Honeymoon” by James C Owsley, Alan Kupperberg and Fished art by Jim Fern and Al Milgrom    (04:39) From April of 1988 Stan Lee presents The Spectacular Spider-Man 137 “Nowhere to Run, Nowhere to Hide!” Written by  Gerry Conway and Art by Sal Buscema   (07:41)From May of 1988 Stan Lee presents The SSM 138 “Night of the Flag!” by Gerry Conway, Art by Sal Buscema   (10:00) From June of 1988 Stan Lee presents The SSM 139 “Grave Memory” by Gerry Conway and Sal Buscema   (12:58) Sponsor - La Tarantula   Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by Eddie and Puma.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"The Coming of the Nomad!" - Captain America #180, written by Steve Englehart, art by Sal Buscema and Vince Colletta, letters by Tom Orzechowski, colors by Linda Lessmann, ©1974 Marvel Comics"Day of the Grizzly!" - Amazing Spider-Man #139, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Artie Simek, colors by Jan Brunner, ©1974 Marvel Comics"Two Flew Over the Owl's Nest!" - Daredevil #116, written by Steve Gerber, art by Gene Colan and Vince Colletta, letters by John Costanza, colors by Petra Goldberg, ©1974 Marvel Comics"The City Stealers!" - Marvel Team-Up #28, written by Gerry Conway, art by Jim Mooney and Vince Colletta, letters by Artie Simek, colors by Bill Mantlo, ©1974 Marvel Comics"Dead Reckoning!" - Astonishing Tales #27, written by Rich Buckler and Doug Moench, art by Rich Buckler and Pablo Maros, letters by Desmond Jones, colors by George Roussos, ©1974 Marvel Comics"The Broadway Mayhem of 1974" - Power Man #22, written by Tony Isabella, art by Ron Wilson and Vince Colletta, letters by Joe Rosen, colors by Petra Goldberg, ©1974 Marvel Comics"Rampage!" - Defenders #18, written by Len Wein, art by Sal Buscema and Dan Green, letters by Dave Hunt, colors by Glynis Wein, ©1974 Marvel Comics"Worlds In Collision!" - Fantastic Four #153, written by Tony Isabella, art by Rich Buckler and Joe Sinnott, letters by Joe Rosen, colors by Petra Goldberg, ©1974 Marvel Comics"And What of a Vampire's Blood...?" - Adventure Into Fear #25, written by Doug Moench and Steve Gerber, art by Frank Robbins and Frank Giacoia, letters by Artie Simek, colors by Linda Lessmann, ©1974 Marvel Comics"The Hell-Bound Hero!" - Ghost Rider #9, written by Tony Isabella, art by Jim Mooney and Sal Trapani, letters by Artie Simek, colors by Jan Brunner, ©1974 Marvel Comics"Slow Death on the Killing Ground!" - Giant-Size Dracula #3, written by Chris Claremont, art by Don Heck and Frank Springer, letters by Ray Holloway, colors by Linda Lessmann, ©1974 Marvel Comics"Song-Cry of the Living Dead Man!" - Man-Thing #12, written by Steve Gerber, art by John Buscema and Klaus Janson, letters by John Costanza, colors by Glynis Wein, ©1974 Marvel Comics"Demon, Demon -- Who's Got the Demon?" - Marvel Spotlight #19, written by Steve Gerber, art by Gene Colan and Mike Esposito, letters by Charlotte Jetter, colors by George Roussos, ©1974 Marvel Comics"Night-Fire!" - Tomb of Dracula #27, written by Marv Wolfman, art by Gene Colan and Tom Palmer, letters by John Costanza, colors by Linda Lessmann, ©1974 Marvel Comics"The Dark Side of Evil!" - Werewolf by Night #24, written by Doug Moench, art by Don Perlin and Vince Colletta, letters by John Costanza, colors by Linda Lessmann, ©1974 Marvel Comics"Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

Episode 239.  James B and Eddie read a comic based on a tv show about a comic.  Also Peter goes back to school, and Spider-Man plays football with one hand tied behind his back. From January, February, and March of 1988 Stan Lee presents Web of Spider-Man 34, 35, and 36 “Fourth and Eternity” “You Can Go Home Again!” and “Phreak-Out!” Written by Jim Shooter, Gerry Conway, Penciled by Sal Buscema, Alex Saviuk, Ink by Vince Colletta, Keith Williams.    (03:18) Web 34   (03:50) Segment - Guess the plot from the crazy cover   (06:25) Web 35   (07:46) Web 36   (11:20) The Daily Bugle Presents Live with Eddie   (16:24) From December of 1981 Stan Lee presents Spider-Man Amazing Friends 1 “The Triumph of the Green Goblin!” Original Screenplay by Dennis Marks, Pencils by Dan Spiegle, Inks by Vincent Coletta   Theme Music by Jeff Kenniston.  This Episode Edited by James B using Audacity and Cleanfeed.  Summaries written by Hoagy Carmichael and Eddie.  Most Sound effects and music generously provided royalty free by www.fesliyanstudios.com and https://www.zapsplat.com/  Check out all the episodes on letsreadspiderman.podbean.com or wherever you get your podcasts. Check out our live meetup and Discord Channel here https://docs.google.com/document/d/1_mW6htjJUHOzlViEvPQqR-k68tClMGAi85Bi_xrlV7w/edit

For 25 minutes of bonus content — including the Swordsman's funeral in Avengers #130 and the follow-up to Wolverine's first appearance in Incredible Hulk #182 — support us at patreon.com/marvelbythemonth. Subscribers at the $4/month level get instant access to our bonus feed of content that contains over 100 extended and exclusive episodes — with more being added every week! Stories Covered in this Episode: "Where Darkness Dwells, Dwell I!" - Thor #229, written by Gerry Conway, art by Rich Buckler and Chic Stone, letters by John Costanza, colors by Linda Lessmann, ©1974 Marvel Comics"The Sky Above... The Pits Below!" - Thor #230, written by Gerry Conway, art by Rich Buckler and Joe Sinnott, letters by John Costanza and Charlotte Jetter, colors by Stan Goldberg, ©1974 Marvel Comics"Through an Orb Darkly" - Doctor Strange #1, written by Steve Englehart, art by Frank Brunner and Dick Giordano, letters by John Costanza, colors by Glynis Wein, ©1974 Marvel Comics"A Separate Reality" - Doctor Strange #2, written by Steve Englehart and Frank Brunner, art by Frank Brunner and Dick Giordano, letters by John Costanza, colors by Frank Brunner, ©1974 Marvel Comics"... Where Bound'ries Decay" - Doctor Strange #4, written by Steve Englehart, art by Frank Brunner and Dick Giordano, letters by Tom Orzechowski, colors by Linda Lessmann, ©1974 Marvel Comics"Cloak and Dagger" - Doctor Strange #5, written by Steve Englehart and Frank Brunner, art by Frank Brunner and Dick Giordano, letters by Tom Orzechowski, colors by Bill Mantlo, ©1974 Marvel Comics "Marvel by the Month" theme v. 3 written by Robb Milne and performed by Robb Milne and Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram and Threads at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)

JR takes us back back to 1992 and reviews the Spider-Man Fear Itself graphic novel. It's a lesser known books but was written by Gerry Conway and Stan Lee. It was also the last time legendary Spider-Man penciler Ross Andru drew the webslinger.  If you'd like to see the video recording of this episode, here is the link. Be sure to subscribe to the youtube channel.  https://youtube.com/live/9GTHfzZQRYM?feature=share Are you a Crawlspace patreon member? Sign up to support the site and get free stuff!  https://www.patreon.com/crawlspace Be sure to visit our main page at: http://www.spidermancrawlspace.com Be sure to follow us on social media Facebook https://www.facebook.com/officialcrawlspace Twitter https://twitter.com/crawlspace101 Instagram https://www.instagram.com/officialcrawlspace/ Youtube https://www.youtube.com/spidermancrawlspace  

The complete version of this episode is available to Patrons who support us at the $4/month level at patreon.com/marvelbythemonth — join today to hear us cover all of these issues:"Madness Means... The Mindworm!" - Amazing Spider-Man #138, written by Gerry Conway, art by Ross Andru, Frank Giacoia, and Dave Hunt, letters by Annette Kawecki, colors by Petra Goldberg, ©1974 Marvel Comics"Moon of the Hunter!" - Creatures on the Loose #32, written by Tony Isabella, art by George Tuska and Vince Colletta, letters by Charlotte Jetter, colors by Jan Brunner, ©1974 Marvel Comics"Power Play!" - Defenders #17, written by Len Wein, art by Sal Buscema and Dan Green, letters by Annette Kawecki, colors by Glynis Wein, ©1974 Marvel Comics"A World of Madness Made!" - Fantastic Four #152, written by Gerry Conway, art by Rich Buckler and Jim Mooney, letters by Artie Simek, colors by Jan Brunner, ©1974 Marvel Comics"All Pieces of Fear!" - Frankenstein #13, written by Doug Moench, art by Val Mayerik and Jack Abel, letters by John Costanza, colors by George Roussos, ©1974 Marvel Comics"Where Lurks Death... Ride the Four Horsemen!" - Giant-Size Fantastic Four #3, written by Gerry Conway and Marv Wolfman, art by Rich Buckler and Joe Sinnott, letters by Joe Rosen, colors by Stan Goldberg, ©1974 Marvel Comics"Of Monsters and Men!" - Giant-Size Man-Thing #2, written by Steve Gerber, art by John Buscema and Klaus Janson, letters by John Costanza, colors by Linda Lessmann, ©1974 Marvel Comics"Battle: Tooth and Yellow Claw!" - Iron Man #71, written by Mike Friedrich, art by George Tuska and Mike Esposito, letters by Tom Orzechowski, colors by George Roussos, ©1974 Marvel Comics"Blood Stains on Virgin Snow!" - Jungle Action #12, written by Don McGregor, art by Billy Graham and Klaus Janson, letters by Dave Hunt, colors by Glynis Wein, ©1974 Marvel Comics"Dance to the Murder" - Man-Thing #11, written by Steve Gerber, art by Mike Ploog and Frank Chiaramonte, letters by John Costanza, colors by Linda Lessmann, ©1974 Marvel Comics"Death-Cult!" - Marvel Premiere #19, written by Doug Moench, art by Larry Hama and Dick Giordano, letters by Ray Holloway, colors by Jan Brunner, ©1974 Marvel Comics"A Friend In Need!" - Marvel Team-Up #27, written by Len Wein, art by Jim Mooney and Frank Giacoia, letters by John Costanza, colors by Glynis Wein, ©1974 Marvel Comics"Death-Song of Destiny!" - Marvel Two-In-One #6, written by Steve Gerber, art by George Tuska and Mike Esposito, letters by Artie Simek, colors by Petra Goldberg, ©1974 Marvel Comics"Where Darkness Dwells, Dwell I!" - Thor #229, written by Gerry Conway, art by Rich Buckler and Chic Stone, letters by John Costanza, colors by Linda Lessmann, ©1974 Marvel Comics"The Murderer Is a Maniac!" - Werewolf by Night #23, written by Doug Moench, art by Don Perlin and Vince Colletta, letters by Artie Simek, colors by Linda Lessmann, ©1974 Marvel Comics "Marvel by the Month" theme v. 3.0 written and performed by Robb Milne and sung by Barb Allen. All incidental music by Robb Milne.Visit us on the internet (and buy some stuff) at marvelbythemonth.com, follow us on Instagram at @marvelbythemonth and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information. (RIP Mike.)