Podcast appearances and mentions of Gerry Rafferty

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

George Harrison, Los Stones, Joni Mitchell, Bowie, Bruce, Carole King, Eagles, Gerry Rafferty, Al Stewart, Carly Simon, Linda Ronstadt, Ian Dury, Billy Joel, Pedro Mari Sánchez, Rosario, Dire Straits, Rod Stewart, Men At Work… Y, por supuesto, Steely Dan. ¿Quién no requirió un saxo para confirmar el éxito en los años ochenta y noventa del siglo pasado? Cuarto capítulo de la serie de canciones secretas con saxo: Boy Scaggs, Prefab Sprout, Kim Carnes, Seals & Crofts, Dan Hill o Lauran Allen.DISCO 1 MADNESS One Step BeyondDISCO 2 MARC JORDAN SurvivalDISCO 3 LINDA RONSTADT Ooh Ooh BabyDISCO 4 JOHN MARTYN Lonely LoveDISCO 5 VALERIE CARTER Trying To get To youDISCO 6 CHRISTOPHER CROSS Arthur’s Theme (Best That You Can Do)DISCO 7 PREFAB SPROUT Carnival 2000DISCO 8 LEAH KUNKEL Under The Jamaican MoonDISCO 9 GINO VANNELLI I Just Wanna StopDISCO 10 LAURA ALLAN Opening Up To YouDISCO 11 DAN HILL Just A Piece Of Your HeartDISCO 12 RANDY MEISNER If You Wanna Be HappyDISCO 13 PURE PRARIE LEAGUE You Don’t Have To Bet AloneEscuchar audio

Gerry Rafferty. MLB cliché.

George Harrison, Los Stones, Joni Mitchell, Bowie, Bruce, Carole King, Eagles, Gerry Rafferty, Al Stewart, Carly Simon, Linda Ronstadt, Ian Dury, Billy Joel, Pedro Mari Sánchez, Rosario, Dire Straits, Rod Stewart, Men At Work… Y, por supuesto, Steely Dan. ¿Quién no requirió un saxo para confirmar el éxito en los años ochenta y noventa del siglo pasado? Tercera entrega de la serie con atención a los estilos que Michael McDonald o Steely Dan contagiaron en la segunda mitad de los años setenta y parte de los ochenta. ¿Yatch Rock? Bueno, bien, vale. Y los éxitos de Rod Stewart, Dave Stewart, Chris Rea o Nicolette Larson.DISCO 1 DAVE STEWART Lily Was Here(ESCA)DISCO 2 ROD STEWART Da Ya Think I’m Sexy (ESCA)DISCO 3 NICOLETTE LARSON You Send Me (Cara 1 Corte 3)DISCO 4 STEELY DAN Black Cow (1)DISCO 5 TERENCE BOYLAN Hey Papa (ESCA)DISCO 6 IAN MATTHEWS Shake It (ESCA)DISCO 7 RICKIE LEE JONES Young Blood (4)DISCO 8 MARC JORDAN Margarita (Cara 1 Corte 2) DISC0 9 VALERIE CARTER Taking The Long Way Home (4) DISCO 10 MICHAEL JOHNSON Almost Like Being In Love (Cara 2 Corte )DISCO 11 MICHAEL FRANKS Don’t Be Blue (Cara 1 Corte ) DISCO 12 MICHAEL McDONALD Any Foolish Thing (Cara 1 Corte ?) DISCO 13 LAUREN WOOD Fallen (Cara 2 Corte ?) Escuchar audio

"Madman drummers bummers and Indians in the summer with a teenage diplomat, In the dumps with the mumps as the adolescent pumps his way into his hat, With a boulder on my shoulder feelin' kinda older I tripped the Merry-go-round, With this very unpleasing sneezing and wheezing the calliope crashed to the groundAnd she was blinded by the lightOh, cut loose like a deuce another runner in the nightBlinded by the lightShe got down but she never got tight, but she'll make it alright"Don't be blinded or get distracted, please join me on this week's Super Sounds Of The 70's for 2 hours of clarity via Music.Joining us are Lee Michaels, Gerry Rafferty, Tower Of power, Van Morrison, Jimi Hendrix, Todd Rundgren, Supertramp, Jeff Beck, Peter Frampton, Fleetwood Mac, The Moody Blues, America, Steely Dan, Jethro Tull, ZZ Top, Meat Loaf, Bruce Springsteen, Mahavishnu Orchestra, Chicago and Manfred Mann's Earth Band.

George Harrison, Los Stones, Joni Mitchell, Bowie, Bruce, Carole King, Eagles, Gerry Rafferty, Al Stewart, Carly Simon, Linda Ronstadt, Ian Dury, Billy Joel, Pedro Mari Sánchez, Rosario, Dire Straits, Rod Stewart, Men At Work… Y, por supuesto, Steely Dan. ¿Quién no requirió un saxo para confirmar el éxito en los años ochenta y noventa del siglo pasado? Segundo capítulo de la serie cuando el saxo resonaba en canciones grabadas en la órbita del Reino Unido y Australia/Nueva Zelanda. De Dire Straits o Sting a Kate Bush, The blow Monkeys, Everything But The Girl, Supertramp o George Harrison.DISCO 1 RAPHAEL RAVENSCROFT Sex & Drugs & Rock & RollDISCO 2 DIRE STRAITS Your Latest TrickDISCO 3 EVERYTHING BUT THE GIRL DrivingDISCO 4 STING If You Love SomebodyDISCO 5 SUPERTRAMP The Logical SongDISCO 6 ALI THOMSON Take A Little RhythmDISCO 7 THE BLOW MONKEYS Digging Your Scene DISCO 8 LITTLE RIVER BAND Middle ManDISCO 9 TIM FINN Through The YearsDISCO 10 GEORGE HARRISON I Got My Mind Set On YouDISCO 11 GEORGE MICHAEL Careless WhisperDISCO 12 JOHN MARTYN Lonely LoveDISCO 13 KATE BUSH The Saxophone SongEscuchar audio

On this episode of Songs of Our Lives, it's Greg Davis! Greg and I go pretty far back - I think I first covered him on Foxy Digitalis when “Curling Pond Woods” came out in 2004, but this year he's got a new LP from Asterisk, his awesome hip-hop/beats project. With a slew of incredible MCs on board, “No School” is fun, deep, and an incredible record that invites repeat listens. We get into all of that before going long on Brian Eno & John Cale, Norma Tanega, Stevie Wonder, Gerry Rafferty, Nina Simone, MJ, and loads more!Listen to all of Greg's picks HEREAsterisk “No School”Autumn RecordsGreg's WebsiteGreg's BandcampGreg on InstagramSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyThe Jewel GardenSong ListStevie Wonder “Sir Duke” Michael Jackson “Don't Stop Til You Get Enough”Simon & Garfunkel “Song For The Asking”Brian Eno & John Cale “Lay My Love”John Lennon “Imagine”Gerry Rafferty “Baker Street”John Coltrane “Say It (Over and Over Again)”Grateful Dead “That's It For The Other One”Beach Boys “Surf's Up”Norma Tanega “I'm The Sky”Nina Simone “Just Like Tom Thumb's Blues”Paul Simon “The Rhythm of the Saints”Christopher Cross “Sailing”

My co-host today is Foster Kid advocate and mentor Amira Therese, With Foster Fierce Alum, Host of Interview with a Foster Kid.  You can watch at Youtube Interview with a foster Kid podcast on YouTube or listen on spreaker  Interview with a foster kid podcastAn excellent Podcast!National Eggs Benedict day.  Entertainment from 1982.  Lincoln freed all the slaves in Washington DC, LSD invented, Texas City explosion.  Todays birthdays - Wilber Wright, Charlie Chaplin, Pope Benedict 16, Bobby Vinton, Dusty Springfield, Gerry Rafferty, Ellen Barkin, Dave Pirner, Martin Lawrence, Selina, Akon.  Madam Tussaurd died.Intro - God did good - Dianna Corcoran  https://www.diannacorcoran.com/ Eggs Benedict song - FNAF Sister Location RapBenny and the Jets - Elton JohnA very special love song - Charlie RichBlue velvet - Bobby VintonI only want to be with you - Dusty SpringfieldStuck in the middle with you - Steelers WheelRunaway train - Soul AsylumBidi Bidi Boom Boom - SelenaDon't matter - AkonExit - Never have I ever - Elyse Saunders   https://www.elysesaunders.com/ countryundergroundradio.comHistory and Factoids website

"Ride the wind let your dream blowIn the stream of the wind flowAnd you will know the reason why I ride the windSee the colors flashing like a rainbow,Drink them in until your senses overflowAnd you will find that you can grow by letting go"It's the 1st Sunday of  Spring so let's ride the wind together with 2 hours of  terrific tunes on this weeks Super Sounds Of The 70's. Joining us are  Batdorf and Rodney, Ben Sidran, Argent, Boston,  Van Morrison,  Queen, Bill Withers, Orleans, Badfinger, Steely Dan, Joe Walsh, Blues Image, Gerry Rafferty, David Bowie, Donovan, Joe Walsh, Steve Miller Band, Doobie Brothers, America, Billy Joel, Spirit, Blood  Sweat & Tears and The Youngbloods.

"I wish that for just one timeYou could stand inside my shoesAnd just for that one moment I could be youYes I wish that for just one timeYou could stand inside my shoesYou'd know what a drag it is to see you"Sage words from a Poet Laureate of the 60's. Please join Bob along with Billy Cobham, Judy Collins, Tom Petty, Genesis, Crack The Sky, John McLaughlin, Counting Crows, Roxy Music, The Eagles, Beatles, Pink Floyd, Tears For Fears, Derek & The Dominos, Free, The Rolling Stones, Doors, Carole King, Graham Nash, Simon & Garfunkel, Elton John, Jr. Walker & The All Stars, Gerry Rafferty and Bob Dylan...

While we obviously do Debut Buddies for the Money, what really drives us is the ceaselessness of Time and maybe a little Brain Damage. It's not just Us and Them, either, a whole host of folks are preparing for The Great Gig in the Sky. We discuss Pink Floyd's FIRST #1 RECORD, The Dark Side of the Moon with special guest writer and educator, Steve Livingston. Plus, we talk prog rock, being old, and so much more! And of course, there's a delightful MouthGarf Report and I See What You Did There! Please give us a 5 star rating on Apple Podcasts! Check out the cool Moon Composite that Steve shared here.Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Ghost Busters 

National spaghetti day. Entertainment from 1969. Utah becam 45th state,1st appendectomy performed, Longest worker strike in world history settled. Todays birthdays - Louis Braille, Sterling Holloway, Sorrell Booke, Dyan Cannon, Mark Hollis, Patty Loveless, Michael Stipe, Dave Foley, Deana Carter. Gerry Rafferty died.Intro - Pour some sugar on me - Def Leppard      http://defleppard.com/I love spaghetti - The Mimbles on BLue BagooI heard it through the grapevine - Marvin GayeDaddy sang bass - Johnny CashBirthday - The BeatlesBirthdays - in da club - 50 Cent    http://50cent.com/Dukes of Hazzard TV themeIt's my life - Talk TalkHurt me bad in a real good way - Patty LovelessI am superman - REMWe danced anyway - Deana CarterStuck in the middle with you - Stealers WheelExit - In my dream - Dokken     https://www.dokken.net/

"When I was youngIt seemed that life was so wonderfulA miracle, oh it was beautiful, magicalAnd all the birds in the treesWell they'd be singing so happilyOh joyfully, oh playfully watching me"Let's defy logic together on  a Fall Sunday in Southern California, with 2 hours of terrific tunes from the 1970's you probably won't hear anywhere else. Joining us are Joni Mitchell, Batdorf and Rodney, Quicksilver Messenger Service, Jefferson Starship, Ian Hunter, Hall & Oates, Earth, Wind & Fire, Meat Loaf, Elvis Costello, Billy Cobham, Jeff Beck, Aerosmith, The Bee Gees, Doobie Brothers, Neil Diamond, Free, Eddie Money, Gerry Rafferty, Minnie Riperton, America, Roxy Music, Dexy's Midnight Runners, Grand Funk Railroad, Alice Cooper and Supertramp...

Back again with another episode full of opinions, suggestions, and reminiscences. A few documentary recommendations, reflections on the end Taylor Swift's Eras Tour, and plenty more featuring Chappell Roan, Gerry Rafferty, Yacht Rock, 2024 Top Twenties, "Ready, Steady, Go", Kendrick Lamar, Matthew Sweet,Annie Bosko and others. Eclectic and enjoyable listening!

Gracias a un tuit de Fernando Neira me he enterado de que Joe Egan falleció este verano. Su dúo Stealers Wheel junto a Gerry Rafferty y sus dos discos en solitario merecen un repaso. Arrancamos en modo italiano de Lucio Battisti a Alex Puddu y exploramos sonidos electrónicos con melodías emotivas de New Musik, The Smile o Clairo. Descubrimos a nosotros mismos a Mia Lardner. Más lo nuevo de Basia Bulat, o Daryl Hall. Hoy Quique González cumple 51 años. DISCO 1 FITNESS FOREVER & PEPPINO DI CAPRIO Ischia (ESCA)  DISCO 2 ALEX PUDDU Texas Blonde (2) DISCO 3 LUCIO BATTISTI Almeno L’inizio (1) DISCO 4 NEW MUSIK Changing Minds (Cara 2 Corte) DISCO 5 CLAIRO Juna (Cara 2 Corte 2) DISCO 6 BASIA BULAT Baby (ESCA) DISCO 7 FLEETWOOD MAC Back On The Road (Disco 2 Cara B Corte 3) DISCO 8 JOE EGAN No Time For Sorrow (OUT OF NOWHERE Cara 2 Corte ) DISCO 9 STEALERS WHEEL Back On The Road (ESCA)  DISCO 10 STEALERS WHEEL Stuck In The Middle With You (ESCA) DISCO 10 JOE EGAN Survivor (MAP Cara 1 Corte 1) DISCO 12 MIA LARDNER Es Triste (ESCA) DISCO 13 DARYL HALL Can’t Say No To You (Cara 1 Corte 3) DISCO 14 QUIQUE GONZÁLEZ Su día libre (ESCA)Escuchar audio

"It's nature's way of telling you, it's in the breezeIt's nature's way of telling you, dying trees, warming seasIt's nature's way of receiving you, it's nature's way of retrieving youIt's nature's way of telling you something's wrong"Nature reminds us that today is the 1st day of the Autumnal Equinox as the days become ever shorter...Please join me as we welcome Fall with Taste, Les Dudek, David Bowie, Joe Walsh, Harry Chapin, Neil Young, Al Stewart, Joni Mitchell, Gerry Rafferty, Joe Jackson, Bad Company, Blodwyn Pig, War, Crosby, Stills & Nash, Colosseum, Santana . Foreigner, Steve Miller Band, Quicksilver Messenger Service, Jefferson Airplane and Spirit...

Welcome to Episode 49 of This is Not Happening (TINH).  An Album of the Month (AOTM) Podcast where in Part 1 we deep dive into an Album that one of us has chosen and in Part 2 we play 'Spin it or Bin it'.  This is where we pick a theme and each select a song that represents that theme. We judge each others selections by asking the question 'Spin It or Bin It'?This month, in Part 1, Nolan goes back to his spiritual home, Hip Hop and has picked an album that the genre has been waiting decades for - Common and Pete Rock, The Auditorium Vol. 1. In Part 2, Spin It or Bin It, the theme sounds simple but it turned out to be deceptively divisive. This month we delve into 'Power Ballads' ... but what actually is a Power Ballad?Part 1 | Common & Pete Rock | The Auditorium Vol. 1If you're age (old AF) and you like Hip Hop then you've probably been listening to these two legends for 30 odd years. Common is 52, Mr. Rock is 54. They've been at the top of their games for decades but does the combination deliver synergy or something a little less?Listen to the album HEREWatch some videos HEREand  HEREand HEREGuy references the performance of 'When the Sun Shines Again' on Jimmy Fallon.If you've got 4 hrs then watch this monster chat with the pair onDrinks ChampsI reference a NY Time Popcast Episode discussing what 'What's an ageing rapper to do'Guy references Part 2 | Spin It or Bin It | Power Ballads.So what is a Power Ballad? We all know the classics, but if we try and bring something a little different then first we have to have some sort of definition. We've picked 4 tracks that aren't on many Power Ballad playlists ... Guy chose Nothing Compares 2U by Sinead O'Connor.David chose The Way That You Do It by Gerry Rafferty. Joey chose Drivers License by Olivia Rodrigo.Nolan chose Roar by Katy Perry. See you on Episode 50 ... We've been writing the blog for years come and have a look - https://thisisnothappening.net/

Soft Rock i 70'erne, en musik form der blev udskældt både i tiden og senere hen, men lyttet til og købt i million oplag. Det var grupper som Wings, den canadiske duo Hearts, Hall & Oats, Gerry Rafferty, Poco med flere, de kunne om nogen skrive ørehængere og radiovenlige hits.

My fourth annual end of summer Yacht Rock Special! Artists include The Doobie Brothers, The Commodores, Toto, Foreigner, Gerry Rafferty, Karla Bonoff, Christopher Cross, Chilliwack, Firefall, Atlanta Rhythm Section and more! 

"Lately, I've been thinking, oh, how much I miss my ladyAmoreena's in a cornfield, oh, brightening the daybreakLiving like a lusty flower, running through the grass for hoursRolling through the hay, whoa, like a puppy, like a puppy, child,"We've all had an Amoreena or 2 in our life, so please join me on this Afternoon's Super Sounds Of The 70's Musical Journey  and rediscover the joy of forgotten music. Joining us are Todd Rundgren, Flash, Hall & Oates, Joe Cocker, Manfred Mann's Earth Band, Harry Nilsson, Gerry Rafferty, Al Green, Led Zeppelin, The Romantics, Toto, The Moody Blues, Genesis, Earth Wind & Fire, Peter Frampton, Aretha Franklin, Pink Floyd, Talking Heads, Van Halen, Emerson Lake & Palmer, and Elton John...

The story of Gerry Rafferty's "Baker Street" has it all: a troubled, ambivalent creator, an unforgettable sax riff whose ownership has spawned controversy for almost 50 years, and a mysterious, compelling lyric. One of Scotland's leading artistic lights, Rafferty, who started as partner to the beloved comedian Billy Connolly in The Humblebums, went on the wow the world with Stealer's Wheel's irresistible mega-hit "Stuck in the middle with you, before torpedoing that early success. He refused to tour, and after going solo, became increasingly withdrawn into an alcoholic death-spiral, which ended with his death at age 63. Bill and Rich, The Splendid Bohemians relate the story as only they can - with reverence, tempered with their unique perspective. Take a walk with us down BAKER STREET. 

"Did you hear the cops finally busted Madame MarieFor tellin' fortunes better than they doFor me this boardwalk life's through, babeYou ought to quit this scene, tooSandy, the aurora is rising behind usThis pier lights our carnival life foreverOh, love me tonight and I promise I'll love you foreverOh, I mean it, Sandy, girl"With Summer now in full swing, please join me and Sandy live from Laguna Beach on the Saturday Edition of Whole 'Nuther Thing. Joining us are Al Stewart, Pat Metheny, Robert Plant, Roxy Music, The Beatles, Doobie Brothers, Yes, Rod Stewart, Gerry Rafferty, Marc Cohn, Phil Collins, Lonnie Mack, Genesis, Meat Loaf, Mott The Hoople, Dire Straits, Tommy James & The Shondells, Elvis Presley and Bruce Springsteen. And don't forget your Sunscreen.

Joe Matera is a returning guest to the podcast. Joe has a brand new book titled Louder Than Words: Beyond The Backstage Pass. This is a follow-up to 2021's Backstage Pass: The Grit and the Glamour. Joe holds a unique position as a music journalist who is also a professional musician. It's allowed him access to areas where music journalists aren't able to.In this, his second book, Joe traces his childhood influences and meets the musicians who changed his life from heroes such as Janne Schaffer, who played on ABBA's studio albums, to Gerry Rafferty (the genius behind ‘Baker Street') and international superstar Bryan Adams and his songwriting partner Jim Vallance. Louder Than Words also delves into the often torturous touring life of a musician, with life on the road often leading to band break-ups or mental breakdowns. Joe also examines the impact of MTV on a generation of musicians, particularly one video by rising rock star Billy Squier that's said to have ruined his career. In addition to his solo music career as a singer/songwriter/guitarist, Joe Matera has written for international music magazines like Guitar Player, Guitar World, Record Collector, and Goldmine. He also writes a popular newspaper music column for the Shepparton News. His list of interviewees includes Metallica, Queen, Blondie, Bon Jovi, KISS, and Black Sabbath, to name just a few.Purchase a copy of Louder Than Words: Beyond The Backstage Pass JoeMatera.com---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

National Eggs Benedict day.  Entertainment from 1982.  Lincoln freed all the slaves in Washington DC, LSD invented, Texas City explosion.  Todays birthdays - Wilber Wright, Charlie Chaplin, Pope Benedict 16, Bobby Vinton, Dusty Springfield, Gerry Rafferty, Ellen Barkin, Dave Pirner, Martin Lawrence, Selina, Akon.  Madam Tussaurd died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Eggs Benedict song - FNAF Sister Location RapI love Rock & Roll - Joan Jett & the BlackheartsThe clown - Conway TwittyBirthdays - In da club - 50 Cent     http://50cent.com/Blue velvet - Bobby VintonI only want to be with you - Dusty SpringfieldStuck in the middle with you - Steelers WheelRunaway train - Soul AsylumBidi Bidi Boom Boom - SelenaDon't matter - AkonExit - Its not love - Dokken    http://dokken.net/

"If you smile at me you know I will understandCause that is something everybody everywhere doesIn the same languageI can see by your coat my friend that you're from the other sideThere's just one thing I got to knowCan you tell me please who wonYou must try some of my purple berriesI been eating them for six or seven weeks nowHaven't got sick onceProbably keep us both alive"Please join us on this week's Red Eye edition of Whole 'Nuther Thing. Joining us are Dar Williams, Bob Seger, Bonnie Raitt, Lyle Mays, Lou Reed, Counting Crows, The Cars, Beatles, Elvis Costello, Bill Evans, Laura Nyro, Jackson Browne, Leon Russell, Gerry Rafferty, Bob Dylan, Wings, Elton John, Fred Neil, Dire Straits, John Prine, Crosby Stills & Nash and Jefferson Airplane.

Everybody knows "Baker Street"-- even if you don't know the artist's name or the song title, you probably know that sax riff. But there's more to Gerry Rafferty than "Baker Street" (or "Stuck In The Middle", for that matter). Here's an incredibly moving song that's every bit as good as his biggest hits. The Ark (Gerry Rafferty) Copyright 1977 The Hudson Bay Music Co. BMI Learn more about your ad choices. Visit megaphone.fm/adchoices

Everybody knows "Baker Street"-- even if you don't know the artist's name or the song title, you probably know that sax riff. But there's more to Gerry Rafferty than "Baker Street" (or "Stuck In The Middle", for that matter). Here's an incredibly moving song that's every bit as good as his biggest hits. The Ark (Gerry Rafferty) Copyright 1977 The Hudson Bay Music Co. BMI -- This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Get 'em while they're red hot!  And don't forget to follow our show, so you never miss an episode! Learn more about your ad choices. Visit megaphone.fm/adchoices

Deep into the pandemic, drummer AC Paterra and his musical partner in Zombi, bassist-keyboardist Steve Moore also went deep; deep into the sounds and songs that created who they have become today as a pillar of Relapse Records, a label often associated with noisy artists. However the songs that moved AC and Steve over these covid days were the yachti-rock based sounds of Gerry Rafferty, Paul Davis, Steely Dan and Barry Gibb. So faithful were these renditions that many assumed they were singing over the original tracks. This attention to detail doesn't escape their own original music they make as Zombi, a band releasing it's 7th album, Direct Inject, again on Relapse in late March '22. Sure, their band reflects the sounds of the 90's Pittsburgh heros such as Trans AM and a dash of Don Caballero, (to wit Phil Manley of TA guests on Direct Inject) but it would be short-sighted to assume this band is a cookie cutout of those giants. AC goes out of his way to avoid math in his deep grooves. In fact, Zombi continues to expand their sound and even include a touch of the yacht into their songs with Steve Moore's sax. AC is also busy as keyboardist for Grails and tours with them as well. He is living his best life as a full time musician who also happens to be making the best music of his life. 

"Can you imagine us years from todaySharing a park bench quietly?How terribly strange to be seventyOld friends, memory brushes the same yearsSilently sharing the same fearTime it wasAnd what a time it wasIt was . . ."Please join me as we share a virtual Park Bench on this week's Red Eye Edition of Whole 'Nuther Thing. Joining us are Leonard Cohen, Minnie Ripperton, Richie Havens, Dire Straits, Lizz Wright, Steely Dan, Buffalo Springfield, Jimi Hendrix Eperience, Genesis, Laurence Juber, Fleetwood Mac, Gerry Rafferty, Neil Diamond, Phoebe Snow, Bob Dylan, Roxy Music, Sandy Denny, Bruce Springsteen, Renaissance, Procol Harum, Traffic, U2, Paul Simon, Circus Maximus and Simon & Garfunkel.

"One more song about moving along the highwayCan't say much of anything that's newIf I could only work this life out my wayI'd rather spend it being close to youBut you're so far awayDoesn't anybody stay in one place anymore"Distance does not matter on the Red Eye edition of Whole 'Nuther Thing, so please come on board with me wherever you are. Joining us are Al DiMeola, Little River Band, Genesia, Dan Fogelberg w Tim Weisberg, Elton John, Graham Parker, Coldplay, Chicago, Laura Nyro, Love, King Crimson, Doors, Beatles, Moody Blues, Ben Folds, Bob Dylan, Gerry Rafferty, Doors, Garland Jeffreys, Hall & Oates, Elvis Costello, Counting Crows and Carole King...

SummaryIn this episode, the Back in Time Brothers discuss their favorite songs from the disco and rock eras. Paulie shares his top disco songs, including hits from Thelma Houston, Andrea True Connection, and Yvonne Elliman. Lou then presents his favorite rock songs, featuring tracks from The Knack and Gerry Rafferty. The brothers also share some random facts, including unusual animal facts and historical tidbits. In this part of the conversation, Lou and Paulie discuss their favorite songs from the 70s, including ELO and disco hits. They also talk about TV performances that never won an Emmy and rank fast food french fries. The conversation ends with funny show and tell stories. In this episode, the hosts share childhood memories and funny stories. They also discuss a mix-up on the show and plan their upcoming segments. The conversation then transitions to their favorite songs from the 70s, featuring artists like Steely Dan, Fleetwood Mac, and Queen. They also explore the unique terminology for sex in the 1800s. The episode concludes with the hosts discussing their final two song selections and teasing their upcoming Valentine's Day show.  As heard on URL Radio.Net.Support the showThanks for listening. Join us each Monday at 1pm Central at www.urlradio.net and follow us on Facebook!

Recorded live on KX FM 104.7 in Laguna Beach, California, today's Keith's Music Box show features Grand Funk Railroad, The Clash, The Plimsouls, U2, The Church, Cat Stevens, Radiohead, Gerry Rafferty, Gomez, Asia, Europe, America, Joe Jackson, Men at Work, Small Faces, Sugarloaf, Arctic Monkeys, INXS, Paul Simon, BTO, Steppenwolf, The Band, Otis Redding, Canned Heat, The Zombies and Queen.

National spaghetti day. Entertainment from 2007. Utah becam 15th state,1st appendectomy performed, Longest worker strike in world history settled. Todays birthdays - Louis Braille, Sterling Holloway, Sorrell Booke, Dyan Cannon, Mark Hollis, Patty Loveless, Michael Stipe, Dave Foley, Deana Carter. Gerry Rafferty died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I love spaghetti - The Mimbles on BLue BagooIrreplacable - BeyonceShe's everything - Brad PaisleyBirthday - The BeatlesBirthdays - in da club - 50 Cent http://50cent.com/Dukes of Hazzard TV themeIt's my life - Talk TalkHurt me bad in a real good way - Patty LovelessI am superman - REMWe danced anyway - Deana CarterStuck in the middle with you - Stealers WheelExit - It's not love - Dokken

mélange azimut pour public épicurien....

I stand corrected about Jimmy Buffett's success, not to mention his impact on our culture. I mentioned on the radio show and podcast the numbers of recordings. Here are the facts: 32 studio albums, 11 compilation albums, 14 live LPs, one soundtrack LP and 67 singles! Jimmy was a very busy guy. He brought out the “party” in people. He also got melancholic. Like He Went to Paris. He wrote after meeting a musician, a one-armed veteran of the Spanish Civil War. It was a song he rarely played live and found out that Bob Dylan liked the song, and it was later recorded by Waylon Jennings and Doug Supernaw. Thank you, Jimmy and if you don't mind, save us a place in the next room. There's also a new journey we're on to hear where some successful artists were before they gained their star. Tom Petty's Mudcrutch, Ed King's Strawberry Alarm Clock and Skynyrd and so on. This time it's Gerry Rafferty, with 3 different groups. Good stuff. Fairly historical. Hope you like. Sure, there's a boatload of great LP cuts from the 60s and 70s. Your financial support of Tales Vinyl Tells is so appreciated from all who have already signed up and those who will in the future. Maybe today? Check out my story at patron.podbean.com/talesvinyltellssupport. Hat tip and thanks to each and all of you for listening/reading/sharing. Listen live at 5PM Central time on RadioFreeNashville.org, in Nashville at 103.7 & 107.1 FM, and the podcast is a replay of the radio program on http://www.studiomillswellness.com/tales-vinyl-tells, as well as a lot of podcast spots, Google, Apple, Spotify etc.

Gerry Rafferty's 1978 single entitled "Right Down the Line" is a pure classic on the experience of imputation. Imputation, for the record, is when someone lovingly regards you as different from the way you perceive yourself; and somehow in being thus regarded, you actually become the person someone sees you as. That's a lot of prepositions, but that's what imputation is. It's like when the frog, having been kissed by the beautiful princess, becomes, in the twinkling of an eye, a prince. Or when the Beast, having been embraced by Beauty, turns into a shining knight. Or it's like when you, at a low directionless point in your love, met a girl who loved you as if you were fine, self-confident and purposeful. And what happened then? To your own surprise, let alone that of everyone else, you became... fine, self-confident and purposeful. It's like Magic. It is Magic, God's magic. This cast reflects on "The Power of Love" (Huey Lewis & the News, 1985), and specifically the mind-blowing power of imputing love to create (unlooked-for) change. It's been done to me, and I'll bet it's been done to you. LUV U.

Get ready to set sail with this week's episode of Song Swap Showdown! Chris and Amanda are taking to the high seas with some classic yacht rock tunes. They'll be sharing three songs each to rate on a scale of 1-5 records. Amanda's got some classic duets with "The Girl is Mine" by Michael Jackson and Paul McCartney, as well as "Don't Go Breaking My Heart" by Elton John and Kiki Dee and "On and On" by Stephen Bishop Meanwhile, Chris is bringing some smooth vibes with Steely Dan's "Peg," Rupert Holmes' "Escape (The Piña Colada Song)," and Gerry Rafferty's "Baker Street." Who will come out on top with the ultimate yacht rock playlist? Tune in to find out! Songs Featured in this episode: The Girl is Mine - Michael Jackson and Paul McCartney, Don't Go Breaking My Heart - Elton John On and On - Stephen Bishop Peg - Steely Dan Escape (The Piña Colada Song)- Rupert Holmes Baker Street - Gerry Rafferty Watch the VIDEO VERSION of this episode SPONSOR: Campsite.bio A Blazing Fast Bio Link Made Your Way! Add Campsite.bio to any of your social sites now and CONVERT more followers into customers with a link in bio tool created just for you. SIGN UP FOR FREE or get $10 off a prop plan by using this code 1LM1JTJD, at checkout https://campsite.bio/landing/thechrisandamandashow   Join our Facebook Community - https://www.facebook.com/groups/1161768424439762 Give us a call, leave us a voicemail at +1 973 506 8009 Listen to our Song Swap Showdown 2023 Playlist https://open.spotify.com/playlist/4282nflhL3RxbeiHdOma29... Connect with us at - http://campsite.bio/songswapshowdown Feel free to support this show for as little as $2 a month through Buy Me a Coffee Email us at info@songswapshowdown.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/songswapshowdown/message Support this podcast: https://podcasters.spotify.com/pod/show/songswapshowdown/support

The poets call it Scotia. The Romans called it Caledonia. In Scottish Gaelic it is known as Alba. The world over knows it as Scotland, and it is magic, so we hear. Golf, the telephone and penicillin were created there. And let's not sleep on the music. For decades, the Scots have given the world some of the greatest bands and artists to ever race up the charts. From Aberdeen to Edinburgh to Glasgow, Scotland knows its music. To help us count down our favorite bands and artists from Scotland, we are happily joined by our 3 most beloved friends whose names start with the letter "F". From Scotland itself, singer/songwriter and all around sweet soul Fjaere joins the pod with her man Frankie Mooney, along with longtime fan and host favorite Fernando Perdomo. Get a new appreciation for this amazing place and the amazing musicians that call it home.Get Fjaere's new album Cleo September wherever you get albums, but especially at her website:https://www.thebloomfieldstudios.comFernando Perdomo never ever stops doing cool shit. Writing, performing, producing... Just try to keep up with him!https://www.fernandoperdomo.com/Get those monthly bonus episodes at our Patreon! Help out the show and get some real bang for your buck. Find out more here:https://alltimetoptenpod.com/

This week's installment of Badass Records Podcast is Episode #51, and I'm pleased as punch to announce that my guest is the one, the only -- Eva Saviano.I know we touched on it in our conversation, but -- to be sure -- I wanted to peek in a few spots to make sure I had her professional title correct, and while I didn't find conviction within my search, I did find one of the best bios I've ever seen in my life, so I'll share how she has described her self and add a few details after:"Uncommonly frank and, frankly, uncommon. A sucker for the written word from a very young age, an owner of The Word Lover's Dictionary, a grammar and punctuation cowgirl, enthusiastic copy editor, bold copy writer, occasional blogger, careful proofreader, and all-around word nerd.I lead with a friendly attitude, a sense of humor, meticulous attention to detail, snappy style, and pen in hand. Effervescent. Ebullient. Energetic."I've known this gal for the better part of 20 years. I read that little passage, and all I have to say is, Can confirm. In addition, Eva is a daughter, a sister, an aunt, and a friend. She's a girlfriend, an empath, a tenderhearted loyalist, and the quickest dang wit this side of The Everglades. She's also someone you should yield to in rollerskating traffic, but that's a story for a different episode.I'm grateful that she took a chunk of an evening over her holiday visit to sit down with me and bullshit about life and music. It's possible that the list of her favorite music is endless, but we -- nevertheless -- talked about a few of her favorite records, and they are these:Alanis Morissette's Jagged Little Pill (1995)Dilate (1996), Ani DiFrancoWeezer's Pinkerton (1996)When the Pawn Hits... (1999), Fiona AppleNeko Case's The Worse Things Get... (2013)There's a reason I keep doing these with next to no traction and very little merch' sales (Note: Swag for sale!), and it's because I love it. Putting something together like each of these 51 episodes is fun and challenging, and well -- ya' can't beat the company, really.This episode is my new favorite. Seriously. Such a hoot. Many a laugh. And just plain good conversation. So, I hope you'll check it out. Peace and love to you and yours. Cheers.copyright disclaimer: I do not own the rights to the intro/outro audio. They are clips I poached from a song called, "Right Down the Line," which comes from Gerry Rafferty's City by City (1978), c/o Parlophone Records, LTD. I can't tell you that City by City is a badass record because I've only listened to this track (about 467 times) and "Baker Street," but it is one of the badassest songs ever recorded.

In 1978, Gerry Rafferty was finally freed from his old record contract with his old band Stealers Wheel, which spawned the big hit Stuck In The Middle With You (which you may remember from a certain scene in Reservoir Dogs). After several years of commuting from his home in Scotland to London to deal with his legal issues, he was finally ready to offer up his first solo album in 7 years, City to City. The success he found was big and unexpected with the single Baker Street topping the charts all around the world. But this easy listening gem was not without its fair share of controversy. For years saxophonist Raphael Ravenscroft claimed he'd written the iconic bit, something Gerry vehemently denied. Also, the song was kept from the top of the Billboard chart thanks to an arrangement by Andy Gibb's management to keep his song at #1. The follow up single Right Down The Line was also a big hit and helped City to City sell over 5 million copies worldwide. Gerry never again found success like he did with this record and we honor his achievement after 45 years by reviewing this classic track by track. Ugly American Werewolf in London Website Twitter Instagram YouTube LInkTree www.pantheonpodcasts.com Visit RareVinyl.com and use the code PODCAST to save 10% off all orders! Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1978, Gerry Rafferty was finally freed from his old record contract with his old band Stealers Wheel, which spawned the big hit Stuck In The Middle With You (which you may remember from a certain scene in Reservoir Dogs). After several years of commuting from his home in Scotland to London to deal with his legal issues, he was finally ready to offer up his first solo album in 7 years, City to City. The success he found was big and unexpected with the single Baker Street topping the charts all around the world. But this easy listening gem was not without its fair share of controversy. For years saxophonist Raphael Ravenscroft claimed he'd written the iconic bit, something Gerry vehemently denied. Also, the song was kept from the top of the Billboard chart thanks to an arrangement by Andy Gibb's management to keep his song at #1. The follow up single Right Down The Line was also a big hit and helped City to City sell over 5 million copies worldwide. Gerry never again found success like he did with this record and we honor his achievement after 45 years by reviewing this classic track by track. Ugly American Werewolf in London Website Twitter Instagram YouTube LInkTree www.pantheonpodcasts.com Visit RareVinyl.com and use the code PODCAST to save 10% off all orders! Learn more about your ad choices. Visit megaphone.fm/adchoices

In the second hour of The Marc Cox Morning Show, Guest host Heidi Harris wonders if newly sworn in Senator John Fetterman can do the job.  We discuss the sax solo for Gerry Rafferty's Baker Street.  Jennifer Kushinka gives us an update on the Markets.  We try and figure out who is stealing Burritos.  And we have In Other News with Scott Jagow.    Coming Up Next Hour:  Genevieve Wood.

Arguably the biggest album of the entire rock era, Pink Floyd's eighth studio album would propel them to superstardom.  The Dark Side of the Moon is one of the most acclaimed records in history, and it is commercially unmatched in its longevity.  It topped the US Billboard Top LP's and Tape chart, and charted for 962 weeks in total!Pink Floyd at this time was David Gilmour on guitar and vocals, Roger Waters on bass and vocals, Richard Wright on keyboards, and Nick Mason on percussion.The Dark Side of the Moon was envisioned as a concept album focusing on different types of pressure like greed, conflict, and death.  It also included examination of mental health issues - as would much of Pink Floyd's discography - inspired by the problems experienced by former front man Syd Barrett.  While singles were released, we strongly recommend listening to the album in totality to get the best experience out of it.Bruce brings us this monster album, and friend of the show Mike Fernandez joins us in Wayne's absence. TimeThis was released in the US as the second single from the album (after Money).  Roger Waters wrote the lyrics.  David Gilmour and Richard Wright share lead vocals - unusual for Richard Wright.  The sounds of clocks were recorded by Alan Parsons in an antique store as a quadrophonic test, but the sounds fit so well with the theme of this track that the band included it.  All four principal members were credited with songwriting, and this would be the last time this would happen in the band's history.The Great Gig in the SkyThis track follows Time, and is basically an instrumental with some spoken words at the front.  The band went around the studio asking people questions and Gerry O'Driscal's response is recorded on this track.  Female vocalizations are provided by Clare Torry, a session vocalist that Alan Parsons brought in.  She wasn't really told what to sing, but was told, "There's no lyrics.  It's about dying - have a bit of a sing on that, girl."  Brain DamageRoger Waters is on lead in this song, with Gilmour providing backing vocals.  This and other insanity-themed lyrics are based on Syd Barrett.  The lyric, "And if the band you're in starts playing different tunes" has a historical basis, as Barrett would play a different song than the rest of the band on more than one occasion toward the end of his tenure with the band.  EclipseThis final track is actually a different song from Brain Damage, but is commonly played with it on rock radio stations because there is no break between the two on the album.  The song reflects the ying and yang of life - good and bad, life and death, light and dark.  "And everything under the sun is in tune, but the sun is eclipsed by the moon." ENTERTAINMENT TRACK:Theme to the television game show $10,000 PyramidDick Clark would serve as the initial host of this game show which started in March 1973.   STAFF PICKS:Crocodile Rock by Elton JohnBrian initiates the staff picks with the first number 1 song in the U.S. for Elton John.  The song has a 50's throwback sound, with lyrics that tell about a time when the singer danced the Crocodile Rock with Susie.  It was inspired by Australian band Daddy Cool and their song “Eagle Rock.”The Cisco Kid by WarRob's staff pick is from War's 1972 album, “The World is a Ghetto.” It made it to number 2 on the charts.  There's a reggae feel, a little funk, and a little ZZ Top.  The song is about two cowboys, Cisco and Poncho, and their adventures.  The band wanted their music to spread brotherhood and harmony to displace greed, racism, hunger, and gangs.Stuck in the Middle With You by Stealers Wheel Friend of the show Mike Fernandez brings us one of the classic lines in rock music - “clowns to the left of me, jokers to the right, here I am, stuck in the middle with you.”  Gerry Rafferty  is the founder and principal songwriter for the group.  This is Stealers Wheel's biggest hit.Danny's Song by Anne MurrayBruce wraps up the staff picks with a song Kenny Loggins wrote for his brother Danny at the birth of his son Colin.  It was first performed by a group called Gator Creek in 1970, then by Loggins and Messina in 1972.  This cover by Canadian country-pop singer Anne Murray would go to number 7 on the Billboard Hot 100. INSTRUMENTAL TRACK:Also Sprach Zarathustra by DeodatoThis funky take on the Richard Strauss piece famous for its use in "2001:  A Space Odyssey" was on the charts in March 1973.

Author Brian Sallerson leads Ray and Markus through the path he took to writing his first book, Island Music: The History Of AIR Studios Montserrat, an essential history of an important recording environment in paradise! A unique jewel in its time, AIR Montserrat, built and run by Sir George Martin, as part of the era of destination studios, has fascinated many, including Markus and Ray.How and why Brian came to the project via an epiphany of sorts is discussed, and he explains how he went from looking into Martin's Caribbean recording oasis to visiting it in its current state. Beyond the glitz and glamour, he found the deeper stories of the studio; it's equipment and construction challenges, and most importantly, the people. Whether they worked at the studio or not, the people of the island made every artist's journey a better experience. Brian also explains how the island and its people became the main character of his book. Find Brian's book in whichever format you need, using the links below:Color paperback:  https://www.amazon.com/dp/B0BGNCDKSQ?ref_=cm_sw_r_cp_ud_dp_S7986K4ZBP6J3HJXA1JMBlack & white paperback: https://www.amazon.com/dp/B0BGNDTM9N?ref_=cm_sw_r_cp_ud_dp_1FCHT93VDTXJC4YHH7SPKindle: https://www.amazon.com/dp/B0BGJMJPT9?ref_=cm_sw_r_cp_ud_dp_B2D97E64M189VWP0Q43FWe suggest that you also visit Brian's web site for more on him, and his amazing adventure!Soooo, let's get back to paradise!We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/   

Welcome to November 6, 2022 on the National Day Calendar. Today we celebrate the origins of our favorite snack and smooth solos.  Ignacio Nacho Anaya was the host of The Victory Club in the early 1940s. When the chef of the restaurant turned up missing one night, Ignacio hurried to the kitchen to whip up something for his favorite guests and nachos have been a favorite snack ever since. Though they started with humble chips, cheese and jalapenos, today's recipes are inspired by almost every culture and cuisine. Not only can nachos feed a crowd, they can be a meal in themselves when piled high with any kind of protein and sauce. Try your favorite leftovers with melted cheese over chips and you are sure to make your culinary mark. On National Nachos Day celebrate this lightning fast meal that is always a crowd pleaser.   The song “Baker Street” by Gerry Rafferty is instantly recognizable and its all thanks to the epic saxophone solo. This classic is a pretty good rock song, but could have easily been forgotten, if not for that saxophone riff. Rafael Ravenscroft, who played the solo, was paid only about 36 dollars for his work. He came up with the music on the spot and afterwards hated his performance, which he thought was off key. Clearly no one else agreed. But don't feel too bad for Mr. Ravenscroft. He went on to perform with Pink Floyd, ABBA, and even Daft Punk. On National Saxophone Day, we celebrate the birthday of Adolfe Sax, the inventor of the instrument that gave so many pop songs their smooth, memorable vibe. I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Channeling a late-era sound not dissimilar to Joe Strummer of the Clash, friend to the Colombia Calling podcast, singer songwriter Kevin McCaffrey joins us from the southwestern city of Cali to speak about his latest single, "Punk Rockin' Blues" and the creativity behind it. You'll remember McCaffrey from his last appearance here when he related the time he was drugged and robbed of his life savings in Cartagena, Colombia. Out of this experience, he has been very productive, writing and releasing several singles, the latest being punk Rockin Blues. The video is now available to enjoy on Youtube and even includes Snoop Dogg lookalike! Check it out here: https://www.youtube.com/watch?v=GBU26w9r1uk We have a jovial conversation which even goes so far as to mention Gerry Rafferty of Baker Street fame, the Clash, the Police and a great deal more. Please tune in and support McCaffrey's creativity here. Colombia news from Emily Hart.

• Intro to the question: What is the best use of cowbell in a song?• Inspiration: "More Cowbell" from Saturday Night Live• History of cowbell in popular music (from Mahler and Strauss to Buddy Holly)• Blue Oyster Cult• Honky Tonk Woman• Low Rider• Stuck In The Middle• Honorable Mentions• Marvin Gaye• The Beatles• More Honorable Mentions• Guns & Roses• Guest: Jeff Symonds• Guest: Todd Chuba• Wrap Up

This week I've got a variety program with a Guest DJ feature! Our guest DJ this time around is Mr. Andy Black of the UK, who has suggested some great stuff by Brand X, Focus, Rush, Fleetwood Mac, Yes, Genesis and Gerry Rafferty! And I'll be mixing in some great contemporary music from Todd Rundgren, Galahad, The Blackheart Orchestra, Arthur Brown, Down River Dead Men Go, and David Longdon!

The next 5 songs join the America's Damp 40 countdown, so buckle up for Gerry Rafferty, the Eagles, Todd Rundgren, Sammy Johns, and our old friend Paul Davis as we settle our first top 10. Penthouse letters gone feloniously awry, Glenn Frye-colepsy, predicting saxophone sales, the one time Sarah will let herself use the word "iconic," and a side of toasted nuts: it's Episode 02! Our intro is by Andrew Byrne, and our outro is by Stealers Wheel. To contact us or buy our books, visit MarkAndSarahTalkAboutSongs.com. To become a patron of the show, visit patreon.com/mastas. SHOW NOTES The Damp 40 homepage More on "the 'Baker Street' phenomenon" Jon Miltimore breaks down "Baker Street"'s lyrics at Intellectual Takeout The making of "Best Of My Love" MASTAS Episode 142: Don Henley, "The End Of The Innocence" Episode 103: Meat Loaf, "Paradise By The Dashboard Light" Todd Rundgren named one of his children "Rebop," and other times he was a jackwagon 1977's The Van Episode 117 on the troubling sexual politics of Paul Davis Get 10% off from our sponsor, BetterHelp And check out our other sponsor, Noom