glass eyes podcasts

Glass Eyes Don't Cry

Play Episode Listen Later Jun 24, 2025 53:18

Sometimes things we think are harmless are hiding the darkest traps. Like dolls, meant to be cute, cuddly companions but are more like haunted houses stitched tight with thread, holding restless souls trapped beneath their painted smiles. What looks like innocence can be a wolf hiding in sheep's clothes, and those glassy eyes? They might be watching you, waiting for the day the thread unravels. First, silent eyes are watching Followed by doll makers last stitch Finally in our last story, rock-a-bye regret Learn more about your ad choices. Visit megaphone.fm/adchoices

glass eyes

Song 178: “Who Knows Where the Time Goes?” by Fairport Convention, Part Two: “I Have no Thought of Time”

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jun 23, 2025

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

christmas america god tv american family california death live church australia lord english uk men battle england action olympic games americans british song friend gratitude solo australian radio holidays mind dm guns north america current songs irish grammy band island track middle east wind wall hearts sweden daughter sea jump britain muslims beatles eagles lights plant breakfast islam records cd farewell boy rolling stones thompson scottish milk birmingham elvis stream denmark swedish drunk rock and roll unicorns flood north american loyalty deliverance morris ravens longtime sanders folk bob dylan victorian marry generous elton john abba dolly parton peters playboy john lennon faced rabbit ballad matthews blue sky pink floyd generally richard branson brotherhood boyd pond sailors led zeppelin johns santa monica dreamer bbc radio candle happily needing beach boys eps jimi hendrix scientology conway millennium transit fleetwood mac kami excerpt goin kinks full house quran scandinavia alice cooper sloths rendezvous stonehenge sweeney rails bow tidal covington rod stewart tilt opec paul simon rufus mccabe hark kate bush peter gabriel sex pistols mixcloud donaldson janis joplin guinness book hampshire white man hilo brian eno sufi partly garfunkel bright lights rowland zorn john coltrane clockwork orange jimmy page chopping zeppelin messina robert plant buddy holly jerry lee lewis donahue evermore private eyes jethro tull byrds lal linda ronstadt lief troubadour easy rider searchers emmylou harris prince albert first light islander honourable nick drake lomax scientologists broomsticks sumer larry page accordion richard williams rafferty baker street edwardian dusty springfield arab israeli steve winwood steve miller band bonham roger daltrey everly brothers john bonham london symphony orchestra judy collins john cale hutchings southern comfort john paul jones richard thompson island records muff mike love liege brenda lee john wood david bailey all nations ned kelly dimming geer pegg hokey pokey rock on robert fripp loggins fairport convention adir fats waller page one pinball wizard cilla black gerry conway roches warners tam lin average white band alan lomax conceptually barry humphries louie louie southern us royal festival hall wild mountain thyme melody maker albert hall linda thompson flying burrito brothers gerry rafferty peter grant swarbrick thompsons willow tree big pink carthy ian campbell rick nelson benjamin zephaniah roger mcguinn martha wainwright chris blackwell albert lee white dress van dyke parks human kindness glass eyes sandy denny ink spots rob young fairport ronstadt joe boyd joe meek tony cox vashti bunyan glyn johns damascene shirley collins incredible string band ewan maccoll bruce johnston george formby dame edna everage steeleye span martin carthy chrysalis records music from big pink human fly painstaking eliza carthy johnny otis robin campbell unthanks i write wahabi tim hart norma waterson maddy prior silver threads i wish i was ostin fool for you iron lion judy dyble john d loudermilk doing wrong simon nicol vincent black lightning dave pegg henry mccullough dave swarbrick smiffy only women bleed sir b paul mcneill davey graham windsor davies mick houghton tilt araiza

Brando with a Glass Eye

Showreel

Play Episode Listen Later Jun 19, 2025

We speak with director/writer Antonis Tsonis about his first feature Brando with a Glass Eye as it begins it's theatrical release in Australia. It will be showing with Q&A on Wed, June 25th at 8pm at the Lido in Hawthorn tickets.

australia lido brando hawthorn glass eyes

Interview || Antonis Tsonis || The Greek Breakfast Show || 18/06/25

Rythmos Radio

Play Episode Listen Later Jun 18, 2025 50:46

Γεννημένος στην Ελλάδα, ο συγγραφέας και σκηνοθέτης Αντώνης Τσώνης σπούδασε Νομική και Ιστορία και ολοκλήρωσε το διδακτορικό του στη Νομολογία στο Πανεπιστήμιο της Μελβούρνης στην Αυστραλία. Η αφηγηματική και οπτική έμπνευσή του προέρχεται από τον κινηματογραφικό Ιταλικό Νεορεαλισμό, τον γαλλικό ποιητικό ρεαλισμό και τον ανεξάρτητο αμερικανικό κινηματογράφο του Νέου Κύματος της δεκαετίας του '70. Ως σύγχρονος σκηνοθέτης, ο Αντώνης εστιάζει ιδιαίτερα σε ιστορίες που αφορούν χαρακτήρες που αγωνίζονται εκτοπισμένοι στο κοινωνικό περιθώριο. Οι θεματικές του είναι σύγχρονες και το ύφος του διαχρονικό - οι ιστορίες του θα μπορούσαν να διαδραματίζονται σε οποιαδήποτε γλώσσα ή σε οποιαδήποτε πόλη. Οι δύο τελευταίες του ταινίες μικρού μήκους προβλήθηκαν σε περισσότερα από 100 φεστιβάλ κινηματογράφου και κέρδισαν πολλά βραβεία και υποψηφιότητες ανά τον κόσμο για το Καλύτερο Πρωτότυπο Σενάριο, την Καλύτερη Σκηνοθεσία και την Καλύτερη Ταινία Μικρού Μήκους σε πολλά διεθνή φεστιβάλ κινηματογράφου. Τιμήθηκε με επίσημες προβολές, επίσημες συμμετοχές και βραβεία στο 57ο Φεστιβάλ Κινηματογράφου Θεσσαλονίκης στην Ελλάδα, στο 34ο Διεθνές Φεστιβάλ Κινηματογράφου Sulmona στην Ιταλία, στο 43ο Διεθνές Φεστιβάλ Κινηματογράφου Athens στο Οχάιο των ΗΠΑ, στο Flickerfest στην Αυστραλία, στο Διεθνές Φεστιβάλ Ταινιών Μικρού Μήκους Δράμας στην Ελλάδα, στο Φεστιβάλ Ανεξάρτητου Κινηματογράφου Magnolia στο Μισισίπι των ΗΠΑ και στο Φεστιβάλ Κινηματογράφου του Μανχάταν στη Νέα Υόρκη. To "BRANDO WITH A GLASS EYE" αποσκοπεί στο να προσφέρει μια κινηματογραφική προοπτική πάνω στον αμερικανικό κινηματογραφικό πολιτισμό μέσα από τα μάτια ενός ηθοποιού μεθόδου, εμβαθύνοντας στο μέγεθος που μπορεί να αποκτήσει η προσωπικότητα του ηθοποιού. Η αφήγηση εξερευνά την ιδέα ότι το καμίνι μιας «μικρής ζωής» μπορεί να είναι εκεί που γεννιέται η ψυχή ενός ηθοποιού μεθόδου. Η ιστορία θέτει το ερώτημα αν ένας Έλληνας Μάρλον Μπράντο ή Αλ Πατσίνο, ή οι αντίστοιχοί τους από οποιοδήποτε σημείο του κόσμου, μπορούν να αναδειχθούν στη σύγχρονη Αθήνα ή κάπου αλλού. Τελικά, η ιστορία υπογραμμίζει την έννοια ότι το μάτι του ηθοποιού είναι το σημείο όπου η δημιουργική φαντασία και η κατοχή μιας ψυχής γίνονται αδιάσπαστα από τον ρεαλισμό. Γιορτάζει τη νίκη της ομορφιάς στην διαμόρφωση ενός χαρακτήρα, ακόμη και μπροστά στο άσχημο και το ανησυχητικό. Brando with a Glass Eye Αθήνα, Ελλάδα. Ο Λούκα, ένας ταλαντούχος ηθοποιός, ζει με τον αδερφό του, τον Αλέκο, σε δύσκολες κοινωνικοοικονομικές συνθήκες. Η ζωή του Λούκα παίρνει δραματική τροπή όταν λαμβάνει την ευκαιρία της ζωής του—μία πρόσκληση για να σπουδάσει υποκριτική μέθοδος σε μία διάσημη σχολή στη Νέα Υόρκη. Για να αρπάξουν αυτή την ευκαιρία και να ξεφύγουν από τη δύσκολη κατάσταση τους, οι αδερφοί καταφεύγουν σε μία ένοπλη ληστεία για να εξασφαλίσουν τα απαραίτητα χρήματα. Κατά τη διάρκεια της ληστείας, ο Λούκα πυροβολεί κατά λάθος έναν αθώο περαστικό, τον Ηλία, τον τραυματίζει σοβαρά. Οι αδερφοί καταφέρνουν να διαφύγουν χωρίς να συλληφθούν. Ο Λούκα επισκέπτεται τον Ηλία στην πτέρυγα τραυμάτων του νοσοκομείου, προκειμένου να τον φιμώσει ως μάρτυρα, αλλά αντ' αυτού αναπτύσσει φιλία μαζί του χωρίς να του αποκαλύψει ότι ήταν εκείνος ο αρχάριος που τον πυροβόλησε. Ο Ηλίας, ένας απογοητευμένος αστός, βρίσκει παρηγοριά στην αινιγματική παρουσία του Λούκα και ο Λούκα βυθίζεται στον κόσμο της μεθόδου της υποκριτικής καθώς προετοιμάζεται για την ακρόαση του. Μαζί, οι δυο τους πλοηγούνται στις θολές γραμμές της φιλίας και της απάτης, ξεπερνώντας τα κοινωνικά σύνορα. Δύο απίθανοι φίλοι βρίσκουν παρηγοριά και σκοπό στην παρέα του άλλου, όλα σε ένα φόντο γεμάτο από τις επιλογές που άλλαξαν τη ζωή τους. Ο Λούκα εισάγει τον Ηλία στον κόσμο της υποκριτικής, φτάνοντάς τους στα άκρα. Καθώς πλησιάζει η ακρόαση στη Νέα Υόρκη, ο Λούκα αγωνίζεται με το βάρος των πράξεών του. Η επιδίωξή του να σπουδάσει υποκριτική στη Νέα Υόρκη γίνεται η κινητήριος δύναμη που τον αναγκάζει να αντιμετωπίσει το παρελθόν του και τα πολύπλοκα συναισθήματα που ποτέ δεν πίστευε ότι θα έπρεπε να αντιμετωπίσει.

greek athens brando breakfast show glass eyes antonis sulmona

Glass Eye Episode 4: What Is A Photobook? with Lesley Martin & Varun Nayar

Glass Eye: A Podcast on Visual Culture from South Asia

Play Episode Listen Later May 1, 2025 78:44

Send us a textIn this episode, we interrogate the photobook, while discussing the various challenges in production and distribution that undergird the still-nascent photobook phenomenon in South Asia. The episode features a candid, free-flowing conversation where Akshay Mahajan, Adira Thekkuveettil & Kaamna Patel explore the origins and evolution of the photobook, as also their own struggles with this ambivalent form, across questions of radical experimentation, genre, dissemination, longevity, and the bequests of the market; excerpts from an insightful talk by Varun Nayar, former Managing Editor of Aperture magazine, at Printed Matter's annual book fair; and snippets of a conversation between Lesley Martin, the Executive Editor of Printed Matter, and Kaamna, illustrating parallels between a range of experimental engagements with the photobook form. Complete Show Notes: https://www.editionsjojo.com/all-episodesHosted by Adira Thekkuveettil - https://www.adirathekkuveettil.com Akshay Mahajan - https://akshaymahajan.in Kaamna Patel - https://kaamna.com Supported by PhotoSouthAsia and Art South Asia Project Produced by Editions JOJOSpecial thanks to Dayanita Singh This podcast is meant to serve as an educational resource and all the recordings used in the episodes are for the purpose of supporting the research.

managing editors south asia executive editor varun aperture photobook glass eyes nayar printed matter

Favorite Story: The Glass Eye 01/01/1949

Choice Classic Radio Mystery, Suspense, Drama and Horror | Old Time Radio

Play Episode Listen Later Apr 19, 2025 26:00

Choice Classic Radio presents Favorite Story, which aired from 1946 to 1949. Today we bring to you the episode titled "The Glass Eye.” Please consider supporting our show by becoming a patron at http://choiceclassicradio.com We hope you enjoy the show!

glass eyes favorite story

The Glass Eye Is Half Full

Peculiar Podcast

Play Episode Listen Later Mar 20, 2025 49:52

Lisa talks about her daily check-in service. Pat is a clock fan. Pat watches a guy tipping the barista who wants credit for it. Lisa has a date with a man who mansplains the entire world to her – and he laughed like the Count on Sesame Street. Good times. …

time seattle radio funny hosts air foster waves broadcast silly sesame street personalities lovin half full burp cashman glass eyes

CLASSIC SATURDAY RUB | Daniel Frawley cops the glass-eye treatment

Triple M Rocks Footy AFL

Play Episode Listen Later Feb 10, 2025 10:09

To try and make up for missing the Saturday upload, we went and found a great Classic Rub moment from April 2015, when "Daniel" Frawley appeared on the Friday Rub as a guest and gave us some proper glass eye stuff! PS: We're really sorry for missing the Saturday instalment - if you want to give the bloke who stuffed up some direct feedback for missing it, shoot him an email at rudi.edsall@sca.com.au (but try and be nice).----We'll be dropping Classic Saturday Rub moments and episodes every Wednesday and Saturday over summer (barring stuff ups!) - subscribe to Triple M Footy AFL on the LiSTNR app to get every instalment as it drops!See omnystudio.com/listener for privacy information.

treatments cops frawley glass eyes

FULL SHOW: Photo albums, a glass eye, and police reports

Jono & Ben - The Podcast

Play Episode Listen Later Feb 2, 2025 42:37

ON THE SHOW TODAY Why is Jono banned from whitcoulls? Megan and her husband get propositioned by a young man... Throwback - what was your old email address? Megan is getting cold towards Matty How stressful is it to flip a coin? I'd risk breaking both my collarbones for... We chat to the owner of the last video store in NZ! United video in Morrinsville! Facebook: The Hits Breakfast with Jono, Ben & MeganInstagram: THEHITSBREAKFAST See omnystudio.com/listener for privacy information.

throwback albums nz jono glass eyes police reports morrinsville

"Best Of" Series- Bentoni, Jerome & Sam Guttman Opener/Middle/Headliner, as it should be! Show #237

Standup Comedy "Your Host and MC"

Play Episode Listen Later Jan 12, 2025 37:35 Transcription Available

Send us a textBentoni, Jerome, and Sam Guttman are influential figures in the stand-up comedy scene, each bringing a unique perspective and style to their performances. Bentoni, known for his engaging and relatable humor, emphasizes the importance of local comedy clubs and events as platforms for emerging comedians, fostering a communal atmosphere where laughter unites audiences. Jerome, a vibrant presence in the Bay Area, captivates audiences with his witty takes on pop culture and current events, further solidifying his status as a beloved comedian despite occasional technical hiccups. Meanwhile, Sam Guttman, a seasoned headliner from the late 80s and 90s, is remembered for his charismatic stage presence and genuine camaraderie within the comedy community, leaving a lasting impact on both peers and fans alike.(00:00:04) Diverse Comedic Lineup in Standup Podcast(00:00:59) "Three-Act Comedy Showcase with Diverse Styles"(00:11:48) "DMV Photo Fiasco Funnies"(00:17:57) Glass Eye and False Teeth Bar Bet(00:19:54) "Comedy Showcase at Williamland Park"(00:34:22) Neighborly Mishaps at Comedy Club SaleSupport the showStandup Comedy Podcast Network.co www.StandupComedyPodcastNetwork.comFree APP on all Apple & Android phones....check it out, podcast, jokes, blogs, and More!For short-form standup comedy sets, listen to: "Comedy Appeteasers" , available on all platforms.New YouTube site: https://www.youtube.com/@standupcomedyyourhostandmc/videosVideos of comics live on stage from back in the day.Please Write a Review: in-depth walk-through for leaving a review.Interested in Standup Comedy? Check out my books on Amazon..."20 Questions Answered about Being a Standup Comic""Be a Standup Comic...or just look like one"

amazon apple android bay area opener stand up comedy headliner guttman glass eyes comedy showcase

#031 - Larry Fessenden // Producer, Director, and Founder of Glass Eye Pix

WRAP DRINKS

Play Episode Listen Later Nov 15, 2024 105:44

Larry Fessenden is a producer, director, and the founder of Glass Eye Pix. Above all, he is a lover of cinema and not afraid to get involved in the technical process and do the work. In fact, he prefers it. A performer in his own right, when Larry isn't making films, he's starring in them.In many ways, Larry is a local legend and icon of the horror genre. His career spans over 40+ years and 20+ films throughout which he has earned a spirit award and acknowledgment from the Criterion Collection. His production company Glass Eye Pix, has not only been a film school of sorts for successful directors like Ti West, he's even invested in their earlier work.Larry is a fascinating case study of what it takes to make your film when you're up against all the odds. His process is his and he doesn't claim to have the right one either but he'll fight you tooth and nail for it. Literally.-----This episode is brought to you in part by MUBI Experience groundbreaking cinema on MUBI with the stunning 4K restoration of Tarsem Singh's THE FALL. Filmed over four years in 28 breathtaking locations and starring Lee Pace, it's a monumental production that transcends genres. For a limited time, you can try MUBI free for 30 days at mubi.com/shittyrigsLet us know if we're doing a shitty job.Support the show

founders fall 4k filmed ti west criterion collection producer director mubi lee pace larry fessenden tarsem singh glass eyes glass eye pix

Doc Sleaze: Jagged Reflections in a Shattered Glass Eye (5/31/24)

The Overnightscape Underground

Play Episode Listen Later Jun 1, 2024 44:37

44:37 – Back to the Seventies with Isaac Hayes as Doc Sleaze takes another stroll through the underbelly of pop culture, pondering over the opportunities afforded invisible men, whether Italian movies can be judged on poorly edited and dubbed VHS duplicates and goes ‘Down Under’ for some detective action. Plus some topical political ranting. Includes: […]

italian reflections vhs includes down under seventies isaac hayes sleaze jagged shattered glass glass eyes

My Wife, She Loves That Reprise Show Episode 39: This Murderer Did Nothing Wrong

Totally Reprise - Audio Entropy

Play Episode Listen Later May 23, 2024

A museum curator feels it slipping from her fingers and decides the only thing to do is kill everyone in her family. We look at some old money and artifacts on this weeks Columbo. We talk about: Dragon's Dogma, Movies About Movies, Molly Has Always Farmed Hard, Museum Business, Treat Yo Self, Nerdy Cop, Fainting, Glass Eyes, Old Maid, Cigarette Butts, Columbo's New Haircut, Bandana Wallpaper, Framing Your Daughter, Rich People Problems, Cartoon Hair, Sex Museums, Note: Ashley lost her audio so it's gonna sound worse than usual.Episode Watched: S6 EP2: Old Fashioned Murder

wife dragon loves murderer dogma reprise columbo nothing wrong fainting treat yo self glass eyes old maid rich people problems

One Glass Eye

McAvoy Layne & Mark Twain in 2021

Play Episode Listen Later Apr 5, 2024 3:51

What Would Mark Twain Say?

glass eyes

Glass Eye Episode 3: Active Listening with Gauri Gill

Glass Eye: A Podcast on Visual Culture from South Asia

Play Episode Listen Later Mar 4, 2024 67:40

In Episode 3, we meet the eminent photographer Gauri Gill, recent winner of the prestigious Prix Pictet. We also meet Rajesh Chaitya Vangad, renowned Warli artist & Gauri's collaborator on the body of work Fields of Sight , which is shortlisted for the Deutsche Börse Photography Foundation Prize prize 2024. Touching upon two recent publications with Patrick Frey, Gauri opens up to Adira about her life's work and process, thinking through collaboration, representation and what she calls active listening. Translations:Excerpt 02: 14:14 - 15:42Before anyone else, my parents were like gurus to me; you might say even beyond that. Later on, I learned from Jivya Somha Mashe, a Padma Shri award winning local artist who has done a lot of work for the Warli artfrom and presented it across the world. So I joined him. We had no money in those days, I couldn't afford to go to school. My parents were poor and I had to abandon the traditional Warli way of life to go work for a company outside, which was a very difficult decision for me to make. I depict some of those experiences in my paintings and in this way connect our communal life with my lived experiences. My paintings feature traditional motifs as well as new ones like the company, trains, planes, the city and pollution; this is how we have evolved the art form. We want to say that we are not against education or progress but given the world's present condition, humans need to understand the issues we are grappling with and seek out the right solutions. We try to address this through our artform. Excerpt 03: 17:15 - 17:39(referring to one of his paintings) You can see the fire god, the flies and the butterflies which are all very important to the Warli way of life. Without the animals we share our spaces with, our way of life is impossible. Here you see the peacock and Hirva, one of our gods that lives in the Kuldev (shrine). In this painting that depicts our communal life, it's written that there is no distinction between us and them - all the animals are sacred. Excerpt 04: 18:27 - 18:55We (Gauri and I) traced my personal stories, the stories of my parents, the stories of the village school, stories of moneylenders here, stories of battles, stories from the company I worked for. We went and saw the temple here, the jungle here - the deforestation that's taking place. We revisited all of these relevant locations in the village, took pictures and did many tests before I started to paint over them. Excerpt 05: 23:40 - 24:25It was very difficult to paint over the photographs - If I drew a line with ink, it would sometimes create a tear. I had to be very careful when creating the works - each line was final, we did not redraw or modify a line. Each line had to be painted directly with a stick (I didn't have a brush). It was hard to manage all these aspects in the beginning - drawing the line, thinking about it & keeping my patience - but with time, it started to feel more natural.Hosted by Adira Thekkuveettil - https://www.adirathekkuveettil.com Akshay Mahajan - https://akshaymahajan.in Kaamna Patel - https://kaamna.com Supported by PhotoSouthAsia and Art South Asia Project Produced by Editions JOJOSpecial thanks to Dayanita Singh This podcast is meant to serve as an educational resource and all the recordings used in the episodes are for the purpose of supporting the research.

sight fields touching active listening gauri deutsche b adira padma shri glass eyes

Evil Genius Chronicles Podcast for February 10 2024 - Be the Merch You Want to See In The World

Evil Genius Chronicles

Play Episode Listen Later Feb 10, 2024 51:54

I play a song by Glass Eye; Mastodon is fine for social media but social media is the right answer to the wrong question; going viral is supposed to be the goal but it makes me nervous; no social media is designed to make you happier; I may drop 60 Songs that Explain the 90s with only a few...

songs explain merch mastodon glass eyes evil genius chronicles

Evil Genius Chronicles Podcast for February 10 2024 - Be the Merch You Want to See In The World

Evil Genius Chronicles

Play Episode Listen Later Feb 10, 2024 51:54

I play a song by Glass Eye; Mastodon is fine for social media but social media is the right answer to the wrong question; going viral is supposed to be the goal but it makes me nervous; no social media is designed to make you happier; I may drop 60 Songs that Explain the 90s with only a few...

songs explain merch mastodon glass eyes evil genius chronicles

Evil Genius Chronicles Podcast for February 10 2024 – Be the Merch You Want to See In The World

Evil Genius Chronicles

Play Episode Listen Later Feb 10, 2024 51:54 Transcription Available

I play a song by Glass Eye; Mastodon is fine for social media but social media is the right answer to the wrong question; going viral is supposed to be the goal but it makes me nervous; no social media is designed to make you happier; I may drop 60 Songs that Explain the 90s … Continue reading Evil Genius Chronicles Podcast for February 10 2024 – Be the Merch You Want to See In The World The post Evil Genius Chronicles Podcast for February 10 2024 – Be the Merch You Want to See In The World first appeared on Evil Genius Chronicles.

songs explain merch mastodon glass eyes evil genius chronicles

CLASSIC SATURDAY RUB | The Glass Eye Award is birthed by a late night voicemail from Spud, and the first ever winner is anointed

Triple M Rocks Footy AFL

Play Episode Listen Later Jan 23, 2024 14:03

"Say that again?" On today's Classic Saturday Rub we've gone back to 2013, when a late night voicemail from Spud birthed the Glass Eye Award, and the grand final show when the first ever edition is awarded with Steve Johnson around as guest!----We're dropping a new (or old?) Classic Saturday Rub every Saturday and Wednesday all the way through summer - subscribe to Triple M Footy AFL on the LiSTNR app to get every instalment as it drops!See omnystudio.com/listener for privacy information.

winner late night anointed voicemail spud birthed steve johnson glass eyes

1 - 22 - 24 THE GLASS EYE

Coast Mornings Podcasts with Blake and Eva

Play Episode Listen Later Jan 22, 2024 6:07

1 - 22 - 24 THE GLASS EYE by Maine's Coast 93.1

maine coast glass eyes

Broken Furnace, Aliens, and a Glass Eye Midweek Howl Ep. 189

From The Shadows

Play Episode Listen Later Jan 17, 2024 30:17

The Howler and Shane discuss getting a new furnace and why you call the professionals. Shane asks the Howler his take on the recent alien sightings in a Miami mall.The Midweek Howl Disclaimer: The Skeptic of the From The Shadows Podcast crew, aka the Ozark Howler, joins Shane each week, to share a story or two and discuss current events. Just a little midweek humor to brighten your day. We like to call this segment “The Midweek Howl.” Enjoy!From The Shadows Podcast is a program where we seriously discuss the supernatural, the paranormal, cryptozoology as well as ufology. Anything that cannot be rationally explained has a platform for discussion here on the From The Shadows Podcast.https://www.fromtheshadowspodcast.comhttps://www.facebook.com/fromtheshadowspodcasthttps://www.instagram.com/shanegroveauthorhttps://www.instagram.com/fromtheshadowspodcast#aliens #coldweather #Miami #glasseye #funny #storytelling

miami funny storytelling aliens furnaces howl cold weather howler glass eyes

Why the Reds Haven't Traded India (Pineapples and Glass Eyes)

The New Nasty Boys

Play Episode Listen Later Jan 10, 2024 55:33

reds traded pineapple glass eyes

Martin Popoff Talks KISS At 50 - Cobras & Fire

Rock N Roll Pantheon

Play Episode Listen Later Dec 12, 2023 87:47

Martin Popoff joins Bakko to discuss his latest book, KISS At 50. They talk all things KISS including the announcement of Avatar KISS seconds after their last show ever. They wrap it all up with their own rankings of every KISS album. Martin Popoff is the author of 115-ish books on hard rock, heavy metal, prog rock, punk and record collecting, plus work for Banger Films and writing for Goldmine and bravewords.com Past Work: Amazon.com, musicmusicmusic.com, hmv.com, metalshop.com, CMJ, Chart, chartattack.com, Outsider, VH1.com, Glass Eye, Maximum Guitar, Guitar World, Lollipop, Record Collector, Revolver, Live Wire, Enrage, Radio M.O.I..com, Juggernaut, Classic Rock, bwbk.com, lollipop.com, seaoftranquility.com, interview radio show called BraveWords Radio at internet station VirtuallyCanadian ‘96 - ‘98, BBC doc on heavy metal, longrm reviews and features for special edition Metal Hammer mags on AC/DC, Motörhead and Iron Maiden, work for some Spanish, Australian and Brazilian mags, Foreword in Neil Daniels' book, All Pens Blazing: A Heavy Metal Writers Handbook, a couple other things for Neil as well as Greg Prato, Brave Words & Bloody Knuckles (‘94 – ‘08): Editor in Chief and Writer, Rush: Beyond the Lighted Stage feature film and DVD – Researcher, Metal Evolution (11-episode series on metal genres for VH1 Classic), a Sam Dunn and Scot McFadyen production – Researcher, Rock Icons – Researcher, transcribing work on Hip Hop Evolution, additional work on docs on ZZ Top, Alice Cooper, Triumph and Satan. Welcome to Martin Popoff dot com Pantheon Podcasts Reach out to us! Rate, review and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Learn more about your ad choices. Visit megaphone.fm/adchoices

Cobras & Fire: Martin Popoff Talks KISS At 50

Cobras & Fire: Comedy / Rock Talk Show

Play Episode Listen Later Dec 12, 2023 87:47

Martin Popoff joins Bakko to discuss his latest book, KISS At 50. They talk all things KISS including the announcement of Avatar KISS seconds after their last show ever. They wrap it all up with their own rankings of every KISS album. Martin Popoff is the author of 115-ish books on hard rock, heavy metal, prog rock, punk and record collecting, plus work for Banger Films and writing for Goldmine and bravewords.com Past Work: Amazon.com, musicmusicmusic.com, hmv.com, metalshop.com, CMJ, Chart, chartattack.com, Outsider, VH1.com, Glass Eye, Maximum Guitar, Guitar World, Lollipop, Record Collector, Revolver, Live Wire, Enrage, Radio M.O.I..com, Juggernaut, Classic Rock, bwbk.com, lollipop.com, seaoftranquility.com, interview radio show called BraveWords Radio at internet station VirtuallyCanadian ‘96 - ‘98, BBC doc on heavy metal, longrm reviews and features for special edition Metal Hammer mags on AC/DC, Motörhead and Iron Maiden, work for some Spanish, Australian and Brazilian mags, Foreword in Neil Daniels' book, All Pens Blazing: A Heavy Metal Writers Handbook, a couple other things for Neil as well as Greg Prato, Brave Words & Bloody Knuckles (‘94 – ‘08): Editor in Chief and Writer, Rush: Beyond the Lighted Stage feature film and DVD – Researcher, Metal Evolution (11-episode series on metal genres for VH1 Classic), a Sam Dunn and Scot McFadyen production – Researcher, Rock Icons – Researcher, transcribing work on Hip Hop Evolution, additional work on docs on ZZ Top, Alice Cooper, Triumph and Satan. Welcome to Martin Popoff dot com Pantheon Podcasts Reach out to us! Rate, review and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Learn more about your ad choices. Visit megaphone.fm/adchoices

12/6 5-2 Popping Out the Glass Eye

Todd N Tyler Radio Empire

Play Episode Listen Later Dec 6, 2023 13:05

Just a good hard sneeze.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

popping glass eyes

Glass Eye Episode 1: Kodak Women

Glass Eye: A Podcast on Visual Culture from South Asia

Play Episode Listen Later Aug 30, 2023 29:17

In Episode 1, Sabeena Gadihoke shines a light on forgotten women amateur photographers from 20th century in India - ‘the Kodak women in striped sarees' whose contributions to the field of photography in the region have been remarkable. Featuring Nony Singh, Manobina Roy & Debalina Mazumder, Homai Vyarawala and many other inspiring women !About Sabeena Gadihoke:As a scholar, curator and filmmaker, Sabeena Gadihoke's work has focussed on cinema, popular culture and the history of Indian photography. In 1998, she completed her documentary film Three Women and a Camera, a feminist history of the lives of three Indian female photographers, Homai Vyarawalla, Sheba Chachchi and Dayanita Singh. Sabeena has also curated several exhibitions, including an exhibition called Twin Sisters with Cameras in 2022 that traces the life and work of Manobina Roy & Debalina Mazumder which she co-curated with Dr. Mallika Leuzinger & Tapati Guha Thakurta. Gadihoke lives and works in New Delhi, where she is professor of video and TV production at the MCRC, Jamia Millia Islamia, a position she has held since 1990.Source: https://mapacademy.io/article/sabeena-gadihoke/Links Lectures: Dr. Leuzinger - www.youtube.com/watch?v=M9kIuwe8CdI Sabeena Gadihoke - www.youtube.com/watch?v=pOyxJbYtloA Kara Felt - https://www.youtube.com/watch?v=x4i5r8O9EJ4Kodak Ads: Kodak Christmas 1976 - www.youtube.com/watch?v=DtFwLNBTjBA Kodak India (n.a) - www.youtube.com/watch?v=6iuZoXbPyPs Kodak Disc Camera 1982 - www.youtube.com/watch?v=O6uTCSfaXVo Harriet Nelson Kodak 1957 - www.youtube.com/watch?v=_iLrCa_iVvE Kodak Instamatic (n.a) - www.youtube.com/watch?v=IS3llQUI7tI Exposing the Zenana: Maharaja Sawai Ram Singh II's Photographs of Women in Purdah: https://maharajacourse.files.wordpress.com/2012/01/weinstein_exposing-the-zenana.pdf The Archivist by Nony Singh: http://www.letterpressdesignstudio.com/letterpress-rukminee-guha-thakurta-the-archivist-by-nony-singhHosted by Adira Thekkuveettil - https://www.adirathekkuveettil.com Akshay Mahajan - https://akshaymahajan.in Kaamna Patel - https://kaamna.com Supported by PhotoSouthAsia and Art South Asia Project Produced by Editions JOJOSpecial thanks to Dayanita Singh This podcast is meant to serve as an educational resource and all the recordings used in the episodes are for the purpose of supporting the research.

tv women indian camera cameras new delhi kodak photographs archivist three women twin sisters glass eyes mcrc jamia millia islamia dayanita singh

TWW: E86 – When Yoga makes you FART like an AIR COMPRESSOR!!!

Time Well Wasted

Play Episode Listen Later Jul 13, 2023 120:49

Episode 86 featuring Jeff Mercer. We start things off with a round of Guess That Vid. Then we took the Wheel of Shots for a spin – trick shot this show was called the Glass Eye in honor of our guest. Then we play some Go Fish followed by the Money in the Bag challenge. Lastly, we finish the show off with some Ur Ma Sister. That and so much more! Enjoy. Time Well Wasted is so much more than just a podcast! It's a fully interactive live streamed experience that will have you laughing your ass off. Tune in live every Wednesday at 8:00PM EST if you want the full TWW experience!Want to get featured on our show? Have some content that you'd love for us to check out? Maybe you want to be a guest live on our show? Well don't be shy - reach out to us by email or on our website! Website: https://www.twwshow.netEmail: contact@twwshow.netFor TWW submissions, you can submit everything directly on our submission page! https://www.twwshow.net/submitCheck out our social media!TWW Website: https://www.twwshow.net/TWW on Facebook: https://www.facebook.com/wellwastedTWW on Instagram: https://www.instagram.com/wastedtalkshowTWW on Twitter: https://twitter.com/wastedshowTWW on Twitch: https://www.twitch.tv/tww_showTWW on Tiktok: https://www.tiktok.com/@twwshow

tiktok money yoga twitch wheel shots hilarious farts bag comedy podcasts gone fishing funny podcasts go fish glass eyes tww netemail air compressor

Episode 905: Glass Eye - Sty - Mom's Ring - Tainted Bethany

Everything To Guppy

Play Episode Listen Later May 2, 2023 62:24

This week's episodes: Glass Eye, Sty, Mom's Ring, and Tainted Bethany

mom ring tainted glass eyes sty

Glass Eyes & Coloring Books!!!

Unapologetically Stupid

Play Episode Listen Later Mar 28, 2023 65:34

This week Jeff and Nick are joined by their good friend Brittany. For this laid back episode they decide to take it back to preschool with some coloring books. While coloring they talk about small town living, Tik Tok trends, and that one time Jeff knocked out a girl's eye.

tiktok unapologetically unapologetic coloring books glass eyes

Stereo Embers The Podcast: Sam "Sammytown" McBride (Fang)

Stereo Embers: The Podcast

Play Episode Listen Later Feb 15, 2023 79:20

“No Warning Shots Fired” Fang got their start in the early '80s in the East Bay. The Berkeley hardcore band's early start was a little less hardcore and more experimental but that lineup, which featured future Glass Eye bassist Brian Beattie, only lasted under two years. The new lineup, with newly minted singer Sam McBride on vocals, became the punk rock powerhouse that blasted their way across the Bay Area with shows that were feral, wild and filled with rabid intensity and hardcore muscle. But feral as they were, Fang's fans felt a part of a discernible community. As a friend of mine who never missed a Fang show once said to me: "Being at Fang concert was like being at a fistfight where everyone's winning.” The band's first two efforts—Landshark and Where The Wild Things Are—remain undisputed punk rock classics and although that lineup dissolved in '85, McBride soldiered on with new personnel and as a result, Fangs' legacy became firmly cemented in punk rock lore, with their songs being covered over the years by Nirvana, Green Day and the Butthole Surfers. Fang pretty much tore through the ‘80s on a pretty big winning streak, and although that streak came to an end when McBride ended up in prison, the band's second act is a feral as their first and their new album No Warning Shot Fired is a raw and nervy blast of classic hardcore. www.fangofficialmerch.bigcartel.com www.bombshellradio.com www.stereoembersmagazine.com www.alexgreenonline.com www.emberarts.com Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

bay area berkeley nirvana green day fang stereo mcbride east bay embers fangs butthole surfers landshark glass eyes where the wild things are brian beattie

S6E269 - Glass Eye 'Bent By Nature' with Larry Smith

That Record Got Me High Podcast

Play Episode Listen Later Jan 14, 2023 63:24

This week's guest Larry Smith brings us a record by the critically acclaimed, highly influential but criminally unheralded 80s Austin TX band Glass Eye. 'Bent By Nature' is a melodic-yet-quirky, highly intelligent collection of post-punk tunes with nods to kooky neighbors, invasive lizards and Daniel Johnston, among others. Songs featured in this episode: I Am A Baby In My Universe - Kathy McCarty; Introduction - Chicago; Walking The Cow - Daniel Johnston; Don't Worry About The Government - Talking Heads; Come Back And Stay - Paul Young; Dalis Car - Dalis Car; Second Coming - The Stranglers; Rejoyce - Jefferson Airplane; Whiskey - Glass Eye; Desperate Man Blues - Daniel Johnston; Comeback, Oblivion, Living With Reptiles, We Don't Touch - Glass Eye; This House That I Call Home - X; Love Gone Wrong, Dimpsey Naish, Kicking The Dog, People In The House, Heywire, Parking Space, Christine, Mechanical Chihuahua - Glass Eye; That's How I Escaped My Certain Fate - Mission Of Burma; Walking The Cow - Kathy McCarty

nature songs comeback austin texas oblivion daniel johnston larry smith parking space glass eyes love gone wrong dave cameron scott marcus brian beattie

Through the Looking Glass - Eye for an Eye's Interview with a Las Vegas PD Homicide Detective- Episode 84

Eye for an Eye

Play Episode Listen Later Jan 2, 2023 109:31

Welcome back Eye for and Eye Family! We're kicking off season three with an episode you do not want to miss. Join Matt, Lisa, and Jules as we conduct our most gripping interview yet, with one of our most unique guest stars to grace our show yet. Sonny Bogatay is a 20 year veteran of the Las Vegas Police Department, having served the majority of that time in the homicide investigative unit. Dive in with us as we explore some of her most intense memories and insights into the criminal justice system. She gives us the insider perspective of what it's like to witness a mass shooting aftermath, as well as the day to day experience of what life in law enforcement is really like. Be sure to check out this episodes sponsor- Damsel in Defense : Their mission is to equip, empower and educate women to protect themselves and their families. Their Damsel Pros are not only arming others and experiencing financial freedom, but also offering empowerment and healing to those affected by assault. http://mydamselpro.net/PRO27697/ Special thanks to the producers of todays show, your support means the world! : Michael and Carolyn Y. Matt M Kimbrough's Coaching *Please note all opinions in the show are our own and solely in regards to the specific case we are discussing in this episode* We made a one stop shop for all the Eye for an Eye links our listeners might want to check out whether its where to listen, our merch shop, all of our socials, our email, or ways to support the show, we'd love for you to visit the link below! https://msha.ke/eyeforeyepod/ Tired of Ads? Want to support our show? Please consider supporting Eye for an Eye with as little as $1 a month via patreon.com/eyeforeyepod Enjoy today's show? Don't forget to rate (those 5 stars are waiting to be clicked), review, subscribe and tell your friends! Want in on the discussion?Join us on our Facebook page or group, Instagram @eyeforeyepod, twitter @eyeforeyepod or shoot us an email at eyeforeyepod@gmail.com and let us know your thoughts- does the punishment fit the crime? __ Cover Art Created by: Rachel Gregorino, dollbambino@gmail.com Music: GarageBand Mix made by Lisa __ Learn more about your ad choices. Visit podcastchoices.com/adchoices

las vegas dive tired detectives ads looking glass damsel eye for an eye homicide detective glass eyes las vegas police department

Bob Pittman: How a Kid With a Glass Eye Became A Radio Star and Founded MTV at Age 27 | E40

In Search Of Excellence

Play Episode Listen Later Dec 20, 2022 35:51

Bob Pittman desperately needed $10 for his first flying lesson but was turned down for a job at a retail store and another at Piggly Wiggly. Refusing to take no for an answer, he walked into his local radio station and managed to snag a position that paid $1.65 an hour – never imagining that this perseverance would set him up to become not only a pilot, but the co-founder and former CEO of MTV Networks, COO of AOL Time Warner, CEO of Six Flags, CEO of Century 21, and a co-founder and CEO of iHeartMedia – the leading audio company in the United States whose broadcast reaches over 250 million Americans every month. In this episode, Randall and Bob discuss:- Bob's experience growing up in the segregated South- Leaving your comfort zone to identify problems and find solutions- How Bob's passion for aviation led him to the radio industry- The necessity (or not) of a college degree- Moving a company from a $20 million operating loss to turning a profit within 18 months- How companies can create a brand without spending millions on marketing- Why success and failure are the same thing- The critical importance of marketing- The great opportunities in working for a company nobody's ever heard of- 3 key elements to success- And other topics…Bob Pittman is a rockstar radio and TV programmer, marketer, investor, and media entrepreneur. He is currently co-founder, CEO, and Chairman of iHeartMedia, the leading audio company in the United States. iHeartMedia owns 863 radio stations, reaches over 250 million people every month, and had $3.85 billion in revenues over the last 12 months.Bob is also the former COO of AOL Time Warner after its $180 billion merger, the former CEO of Six Flags Theme Parks, the former CEO of Century 21 Real Estate, and the former CEO of Clear Channel Outdoor, one of the world's largest outdoor advertising companies. He is a founding member of the Pilot Group, a New York-based private investment firm whose investments include Huffington Post, Zynga, and Facebook. Bob is also a co-founder of Casa Dragones Tequila, a host of a podcast called Math and Magic Stories from the Frontiers of Market, and is also a dedicated philanthropist among many other organizations.Resources Mentioned:Incognito, by David Eagleman: https://www.amazon.com/Incognito-David-Eagleman-audiobook/dp/B0053ET3WO New York's Public Theater:https://publictheater.org/Rock and Roll Hall of Fame:https://www.rockhall.com/Time Magazine's Man of the Year:https://time.com/Sponsors:Sandee – https://sandee.com/Bliss: Beaches – https://www.amazon.com/Bliss-Beaches-Randall-Kaplan/dp/1951836170/Want to Connect? Reach out to us online!Website – https://insearchofexcellencepodcast.comInstagram – https://www.instagram.com/randallkaplan/LinkedIn – https://www.linkedin.com/in/randall-kaplan-05858340/

Episode #46 - South African president gig, 45 quid Dave, Ball of glass, Eye bag update, Chatsworth, Glove foot, Dinkle facts, Have you ever?

Brew with the Bennetts

Play Episode Listen Later Nov 27, 2022 92:28

On this weeks cracker of a pod!South African president gig45 quid DaveBall of glassEye bag updateChatsworthGlove footDinkle factsHave you ever?Contact us via bwtbpod@gmail.com! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

acast foot south africans glove quid chatsworth south african president glass eyes dave ball dinkle

STAGES SPOTLIGHT - CONVERSATIONS REVISITED: Eva Grace Mullaley - from December, 2019

STAGES with Peter Eyers

Play Episode Listen Later Nov 25, 2022 42:40

With episodes nearing 350 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages. The Yirra Yaakin Theatre Company is Australia's leading Aboriginal theatre company, based in Perth, WA, in the heart of the Nyoongar Nation. Formed in 1993, Yirra Yaakin provides the means and environment to assist the nurturing of Aboriginal community cultural development. Yirra Yaakin means ‘stand tall' in the Nyoongar language. At the commencement of 2019, Yamaji woman, Eva Grace Mullaley was appointed as Artistic Director. Eva Grace grew up predominantly in the South West of Western Australia and moved to Perth in 2002. She is a graduate of the Aboriginal Theatre course at WAAPA. She soon joined Yirra Yaakin as an actor performing in Whaloo is That You?, and with Black Swan in the production, Tear From a Glass Eye. In 2005 Eva Grace lectured the Aboriginal students at WAAPA on script writing and directed the collaborative piece Black Tracks. She assisted David Milroy during the Windmill Baby creative development for Yirra Yaakin and was Stage manager during its first public season. She has keenly embraced the extensive roles existing in the theatre. Such work has included roles as a tour manager, producer, event manager, dramaturge, actor and extensive time in administration - essential experiences that have informed her work as a director. At her appointment, Eva Grace was looking forward “to continuing such an inspirational legacy and building on the shoulders of those that came before (her) to lead Yirra Yaakin to a new era.” Four years on, it is a delight to return to an early conversation with Yirra Yaakin Artistic Director, Eva Grace Mullaley. The Stages podcast is available from Apple podcasts, Spotify, and where you find your favourite podcasts. www.stagespodcast.com.au

spotify australia conversations apple stage wa stages southwest perth formed western australia artistic directors aboriginal black swan glass eyes waapa nyoongar yamaji

Glass Eye

Lost Notes

Play Episode Listen Later Nov 2, 2022 69:26

Glass Eye represented the very best of what Austin, TX had to offer, which at the time also included “SNAP!” staples like the Reivers, the Wild Seeds, and Poi Dog Pondering. And whenever Glass Eye came to L.A., Deirdre welcomed them with open arms and a sincere appreciation of their own bent nature. Their third session from February 1990 captures the band at its zenith: a tightly-coiled blast of nervous energy, delivering their best performance yet.

tx snap glass eyes poi dog pondering

Wild Hollow Shorts: The House of Glass Eyes (A Holloween Special)

The Chronicles of Wild Hollow

Play Episode Listen Later Oct 26, 2022 18:17

Wild Hollow is full of interesting creatures... And sometimes there's just not enough airtime to go around. Introducing 'Wild Hollow Shorts' - a miniseries of standalone audio drama tales starring the various weird and wonderful secondary characters met along the way in 'The Chronicles of Wild Hollow'. 'The House of Glass Eyes' is a first for Shouting Is Funny, as we surrender to our darker sides, bringing you our debut ‘Holloween' special. Rodney and Lisa are the picture of young romance. They even had their picture in the Hollow Herald: ‘Cutest Couple'. When a mysterious letter arrives in the post, inviting them to a weekend stay at Creepy House, they can't believe their luck. This is sure to be the romantic getaway they've been dreaming of! But some things are too good to be true… An original series by Shouting Is Funny, 'Wild Hollow Shorts' was created by Harvey Badger, Angus Maxwell and Christian Powlesland, with original music and songs written by the company. Alice E. Mayer and Loris Scarpa guest voice in this episode. Sound effects were sourced from ZapSplat.com. You can follow us on Instagram, Twitter and Facebook, and support us further via our Patreon, by simply searching Shouting Is Funny. TRANSCRIPT: https://www.shoutingisfunny.com/whshortstranscripts Featured in Feedspot's 50 Best Audio Drama Podcasts: https://blog.feedspot.com/audio_drama_podcasts/

sound wild shorts feedspot zapsplat holloween glass eyes 'the chronicles house of glass

8-Ball Glass Eye

Final Descent Outdoors

Play Episode Listen Later Sep 30, 2022 49:37

Brad and Adam talk about the glory days of high school. Brad being an admin on Kendall Jones' FB page and talk about responding to the inappropriate comments from men to her. And Adam has started the rebuild of his home! Lots of great stuff in this one!

fb glass eyes

"The Glass Eye" by John Keir Cross

EnCrypted: The Classic Horror Podcast

Play Episode Listen Later Sep 30, 2022 43:19

Life changes for a lonely woman when she develops a romantic infatuation with a stage ventriloquist. But is her passion destined to remain unrequited? This original recording is an audio presentation by Jasper L'Estrange for EnCrypted: The Classic Horror Podcast. "The Glass Eye" by John Keir Cross (1944).

music cross anchor credit audacity pub researching attribution freesound keir scott buckley strange stories glass eyes bandlab

Shorts #3 - Glass Eye

New Ghost Stories Podcast

Play Episode Listen Later Sep 14, 2022 10:31

It was supposed to be a joke. Something to scare her. Now it's on the loose. And she doesn't know when it's watching.

halloween stories ghosts story horror weird strange scary fiction nightmare spooky spirits supernatural paranormal creepy shorts gothic uncanny fortean glass eyes

Has anyone seen my glass eye

Sips, Suds, & Smokes

Play Episode Listen Later Jun 3, 2022 53:46

Has anyone seen my glass eye @drinkhoplark #beer #beachesofjersey Co hosts : Good ol Boy Dave, Good ol Boy Kendall, Good ol Boy Mike, and Good ol Gal Julieanna SUDS Episode – The first objective of a Summer of Questionable Decisions is to HAVE AN EXIT STRATEGY. #epicfail We have turned to exploring hops and tea with Hoplark. Be sure to check out the companion episode that reviews hop water from HopLark. It sounds like we know what we are talking about, but not so much. We'll prep you for your trip to the beach. In Jersey. We taste and rate the following HopTea from 1-5: This was a blind tasting of various sparkling , no calorie, no sugar, non-alcoholic HopTea from Hoplark HopTea Boulder, CO. 7:00 The Green Tea one – made with Organic Green Tea and Mosaic hops. SUDS-3 14:32 The Mile-High Hibiscus One – made with Organic Hibiscus Petals, and Cashmere and Lemondrop hops – SUDS-4 18:45 The Citra Bomb One – made with Organic White tea and Citra Hops – SUDS-3 31:44 The Calm One – made with Organic Chamomile Flowers and Citra Hops -SUDS-2 36:56 The Thai Basil One – made with Thai Basil and Comet Hops – SUDS-3 42:00 The Really Hoppy One – made with Organic Black Tea and Citra and Simcoe hops – SUDS-2 46:50 The Sprucy One – made with Wild Spruce Tips and Sabro Hops – SUDS-1 info@sipssudsandsmokes.com @sipssudssmokes Sips, Suds, & Smokes™ is produced by One Tan Hand Productions using the power of beer, whiskey, and golf. Available on Apple & Google Podcasts, PRX, Spotify, Podbean, Soundcloud, and nearly anywhere you can find a podcast. Check out Good ol Boy Dave on 60 Second Reviews https://www.instagram.com/goodoleboydave/ Kendall has now decided that most things with the word “tea” are not honoring the tat . His beer blog is: https://www.beermakesthree.com/ Enjoying that cool new Outro Music, it's from Woods & Whitehead – Back Roads Download your copy here: https://amzn.to/2Xblorc The easiest way to find this award winning podcast on your phone is ask Alexa, Siri or Google, “Play Podcast , Sips, Suds, & Smokes” Credits: TITLE: Maxwell Swing PERFORMED BY: Texas Gypsies COMPOSED BY: Steven R Curry (BMI) PUBLISHED BY: Alliance AudioSparx (BMI) COURTESY OF: AudioSparx TITLE: Flapperjack PERFORMED BY: Texas Gypsies COMPOSED BY: Steven R Curry (BMI) PUBLISHED BY: Alliance AudioSparx (BMI) COURTESY OF: AudioSparx TITLE: Back Roads PERFORMED BY: Woods & Whitehead COMPOSED BY: Terry Whitehead PUBLISHED BY: Terry Whitehead COURTESY OF: Terry Whitehead Post production services : Pro Podcast Solutions Advertising sales: Global, True Native Media Solutions, PodBean Content hosting services: PRX, NCRA, Radio4All, PodBean, Soundcloud

spotify google apple global soundcloud google podcasts siri podbean mosaic sips smokes green tea suds cashmere prx citra simcoe lemondrop glass eyes ncra thai basil

Has anyone seen my glass eye

Sips, Suds, & Smokes

Play Episode Listen Later Jun 3, 2022 51:16

Has anyone seen my glass eye @drinkhoplark #beer #beachesofjersey Co hosts : Good ol Boy Dave, Good ol Boy Kendall, Good ol Boy Mike, and Good ol Gal Julieanna SUDS Episode – The first objective of a Summer of Questionable Decisions is to HAVE AN EXIT STRATEGY. #epicfail We have turned to exploring hops and tea with Hoplark. Be sure to check out the companion episode that reviews hop water from HopLark. It sounds like we know what we are talking about, but not so much. We'll prep you for your trip to the beach. In Jersey. We taste and rate the following HopTea from 1-5: This was a blind tasting of various sparkling , no calorie, no sugar, non-alcoholic HopTea from Hoplark HopTea Boulder, CO. 7:00 The Green Tea one – made with Organic Green Tea and Mosaic hops. SUDS-3 14:32 The Mile-High Hibiscus One – made with Organic Hibiscus Petals, and Cashmere and Lemondrop hops – SUDS-4 18:45 The Citra Bomb One – made with Organic White tea and Citra Hops – SUDS-3 31:44 The Calm One – made with Organic Chamomile Flowers and Citra Hops -SUDS-2 36:56 The Thai Basil One – made with Thai Basil and Comet Hops – SUDS-3 42:00 The Really Hoppy One – made with Organic Black Tea and Citra and Simcoe hops – SUDS-2 46:50 The Sprucy One – made with Wild Spruce Tips and Sabro Hops – SUDS-1 info@sipssudsandsmokes.com @sipssudssmokes Sips, Suds, & Smokes™ is produced by One Tan Hand Productions using the power of beer, whiskey, and golf. Available on Apple & Google Podcasts, PRX, Spotify, Podbean, Soundcloud, and nearly anywhere you can find a podcast. Check out Good ol Boy Dave on 60 Second Reviews https://www.instagram.com/goodoleboydave/ Kendall has now decided that most things with the word “tea” are not honoring the tat . His beer blog is: https://www.beermakesthree.com/ Enjoying that cool new Outro Music, it's from Woods & Whitehead – Back Roads Download your copy here: https://amzn.to/2Xblorc The easiest way to find this award winning podcast on your phone is ask Alexa, Siri or Google, “Play Podcast , Sips, Suds, & Smokes” Credits: TITLE: Maxwell Swing PERFORMED BY: Texas Gypsies COMPOSED BY: Steven R Curry (BMI) PUBLISHED BY: Alliance AudioSparx (BMI) COURTESY OF: AudioSparx TITLE: Flapperjack PERFORMED BY: Texas Gypsies COMPOSED BY: Steven R Curry (BMI) PUBLISHED BY: Alliance AudioSparx (BMI) COURTESY OF: AudioSparx TITLE: Back Roads PERFORMED BY: Woods & Whitehead COMPOSED BY: Terry Whitehead PUBLISHED BY: Terry Whitehead COURTESY OF: Terry Whitehead Post production services : Pro Podcast Solutions Advertising sales: Global, True Native Media Solutions, PodBean Content hosting services: PRX, NCRA, Radio4All, PodBean, Soundcloud

spotify google global soundcloud siri podbean mosaic sips smokes green tea suds cashmere prx citra simcoe lemondrop glass eyes ncra thai basil

Ajax Diner Book Club Episode 204

Ajax Diner Book Club

Play Episode Listen Later May 2, 2022 176:21

Willie Nelson "Red Headed Stranger"fIREHOSE "The Red and the Black"Otis Spann "Five Spot"Johnny Cash "You'll Get Yours, I'll Get Mine"Irma Thomas "Don't Mess With My Man"Cedric Burnside "Hands Off That Girl"Dejan's Olympia Brass Band of New Orleans "Down By The Riverside"Chubby Newsome "New Orleans Lover Man"THE BLACK CROWES "Nonfiction"Precious Bryant "My Chauffeur"Richard Berry "Yama Yama Pretty Mama"Wanda Jackson "Fujiyama Mama"don't mean maybe "Hot Smoke and Sasafrass"Glass Eye "Dimsey Naish"Tom Waits "On The Nickel"The Mills Brothers "Baby, Won´t You Please Come Home"Willie Nelson & Leon Russell "Trouble In Mind"Billie Jo Spears "Harper Valley P.T.A."Charlie Parr "Over the Red Cedar"Joan Shelley "If the Storms Never Came"Speedy West "Stratossphere Boogie"Robert Nighthawk "Maxwell Street Medley"Lucinda Williams "Sundays"Smiley Lewis "When Did You Leave Heaven"The Black Keys "Do The Rump"Lula Reed "Watch Dog"Dr. John "Black John The Conqueror"Daniel Bachman "Won't You Cross Over to That Other Shore"Josh White "Jim Crow Train"Loretta Lynn "Blue Steel"Bonnie 'Prince' Billy "A Minor Place"Junior Kimbrough and the Soul Boys "Done Got Old"Gillian Welch "One Monkey"Rev. Gary Davis "You Got To Move"Billie Holiday & Her Orchestra "No Regrets (Take 1)"Robert Plant & Alison Krauss "Last Kind Words Blues"Ray Price "Heartaches by the Number"Willie Nelson "Pancho and Lefty (With Bob Dylan)"R.L. Burnside "Peaches"Willie Bryant "Jerry the Junker"Valerie June "Astral Plane"Built To Spill "Distopian Dream Girl"Louis Armstrong & His Orchestra "Star Dust (Take 1)"

63: Austin Getz: The Things You Do When You're Young to Make it Happen

The First Ever Podcast

Play Episode Listen Later Nov 10, 2021 77:49

This week Jeremy talks Austin Getz of the band Turnover Jeremy is honored to host Austin Getz on his first ever podcast and the two discuss playing their first show back in Los Angeles, Virginia Beach, Living in New Orleans till he was 13, Blink 182, Napster, His first concert, he and his brother Casey's interests growing up, his hippy guitar teacher, falling in love with jazz and piano, his first band Tears From a Glass Eye, playing in a band with people who listened to completely different music, the first time he recorded, the evolution of his vocals, the hardships of the Magnolia recording session, the sonic shift on their album Peripheral Vision, his first tour experience and first van, the first show he ever played, the release of the debut turnover 7”, how their relationship with Run For Cover started, the Turnover / Citizen split, mixing business with friendship, their ongoing relationship with Will Yip, playing mixed bills, and so much more! Discuss this episode with Jeremy and other listeners: Instagram - https://www.instagram.com/thefirsteverpodcast Twitter - https://www.twitter.com/thefirsteverpod Patreon - https://www.patreon.com/thefirsteverpatreon

los angeles living young new orleans falling in love blink turnover virginia beach make it happen napster getz glass eyes run for cover peripheral vision

370: Shut Up Alfred Poochinski

Extra Hot Great

Play Episode Listen Later Sep 1, 2021 48:17

EEHG 102: Sarah Forces Everyone To Watch Alfred Hitchcock Presents S03.E01: The Glass Eye Join us for the third-season premiere of Sarah's go-to mid-century anthology series, Alfred Hitchcock Presents, featuring Captain Kirk, Jessica Tandy, ventriloquism Deadheads, spinster-ist propaganda, and a hall-of-fame crappy TV kid. EEHG 122: Dave Forces Everyone To Watch The Failed 1990 Pilot Of Poochinski Woof! Woof! I'm Poochinski, the talking dog! EEHG 131: Hey You, Shut Up 150 things that need to shut up. TOPICS Lead Topic:

tv hall of fame peacock shut up captain kirk woof deadheads jessica tandy alfred hitchcock presents glass eyes poochinski

JEANNIE VANASCO

The Creative Process Â· Seasons 1 2 3 Â· Arts, Culture & Society

Play Episode Listen Later Jul 23, 2021

Jeannie Vanasco is the author of two memoirs. Her latest, Things We Didn't Talk About When I Was a Girl, was named a New York Times Editors' Choice, a TIME magazine Must-Read Book of the Year, and the 2020 winner of the Ohioana Book Award in nonfiction. Her debut, The Glass Eye, was honored as Indie Next and Indies Introduce selections by the American Booksellers Association. She lives in Baltimore and teaches at Towson University.· www.jeannievanasco.com · www.creativeprocess.info

time girl baltimore towson university must read books glass eyes indie next american booksellers association ohioana book award

(Highlights) JEANNIE VANASCO

The Creative Process Â· Seasons 1 2 3 Â· Arts, Culture & Society

Play Episode Listen Later Jul 23, 2021

“What interested me about this particular experience is that I didn't have the language to attach to it in the way I had the language to attach to a later experience that I would have no trouble calling rape, but happened to me and I call Mark in the book. I didn't know what to call that for the longest time, so I didn't know what to feel about it, and so as a writer that interests me. When I don't have the words for something, when I sense that inevitably I'm going to fail.”Jeannie Vanasco is the author of two memoirs. Her latest, Things We Didn't Talk About When I Was a Girl, was named a New York Times Editors' Choice, a TIME magazine Must-Read Book of the Year, and the 2020 winner of the Ohioana Book Award in nonfiction. Her debut, The Glass Eye, was honored as Indie Next and Indies Introduce selections by the American Booksellers Association. She lives in Baltimore and teaches at Towson University.· www.jeannievanasco.com · www.creativeprocess.info

time girl baltimore towson university must read books glass eyes indie next american booksellers association ohioana book award

JEANNIE VANASCO

The Creative Process in 10 minutes or less · Arts, Culture & Society

Play Episode Listen Later Jul 23, 2021

“What interested me about this particular experience is that I didn't have the language to attach to it in the way I had the language to attach to a later experience that I would have no trouble calling rape, but happened to me and I call Mark in the book. I didn't know what to call that for the longest time, so I didn't know what to feel about it, and so as a writer that interests me. When I don't have the words for something, when I sense that inevitably I'm going to fail.”Jeannie Vanasco is the author of two memoirs. Her latest, Things We Didn't Talk About When I Was a Girl, was named a New York Times Editors' Choice, a TIME magazine Must-Read Book of the Year, and the 2020 winner of the Ohioana Book Award in nonfiction. Her debut, The Glass Eye, was honored as Indie Next and Indies Introduce selections by the American Booksellers Association. She lives in Baltimore and teaches at Towson University.· www.jeannievanasco.com · www.creativeprocess.info

time girl baltimore towson university must read books glass eyes indie next american booksellers association ohioana book award

JEANNIE VANASCO

Feminism · Women’s Stories · The Creative Process

Play Episode Listen Later Jun 18, 2021

Jeannie Vanasco is the author of two memoirs. Her latest, Things We Didn't Talk About When I Was a Girl, was named a New York Times Editors' Choice, a TIME magazine Must-Read Book of the Year, and the 2020 winner of the Ohioana Book Award in nonfiction. Her debut, The Glass Eye, was honored as Indie Next and Indies Introduce selections by the American Booksellers Association. She lives in Baltimore and teaches at Towson University.· www.jeannievanasco.com · www.creativeprocess.info

time girl baltimore towson university must read books glass eyes indie next american booksellers association ohioana book award

(Highlights) JEANNIE VANASCO

Feminism · Women’s Stories · The Creative Process

Play Episode Listen Later Jun 18, 2021

“What interested me about this particular experience is that I didn't have the language to attach to it in the way I had the language to attach to a later experience that I would have no trouble calling rape, but happened to me and I call Mark in the book. I didn't know what to call that for the longest time, so I didn't know what to feel about it, and so as a writer that interests me. When I don't have the words for something, when I sense that inevitably I'm going to fail.”Jeannie Vanasco is the author of two memoirs. Her latest, Things We Didn't Talk About When I Was a Girl, was named a New York Times Editors' Choice, a TIME magazine Must-Read Book of the Year, and the 2020 winner of the Ohioana Book Award in nonfiction. Her debut, The Glass Eye, was honored as Indie Next and Indies Introduce selections by the American Booksellers Association. She lives in Baltimore and teaches at Towson University.· www.jeannievanasco.com · www.creativeprocess.info

time girl baltimore towson university must read books glass eyes indie next american booksellers association ohioana book award

Podcasts about glass eyes

Best podcasts about glass eyes

Todd N Tyler Radio Empire

Evil Genius Chronicles

My Son the Dungeon Master

Lost Notes

Sips, Suds, & Smokes

The Creative Process Podcast

Mikey and Bob

Books & Writers · The Creative Process

Talking Out Your Glass podcast

Latest news about glass eyes

Latest podcast episodes about glass eyes

Glass Eyes Don't Cry

Song 178: “Who Knows Where the Time Goes?” by Fairport Convention, Part Two: “I Have no Thought of Time”

Brando with a Glass Eye

Interview || Antonis Tsonis || The Greek Breakfast Show || 18/06/25

Glass Eye Episode 4: What Is A Photobook? with Lesley Martin & Varun Nayar

Favorite Story: The Glass Eye 01/01/1949

The Glass Eye Is Half Full

CLASSIC SATURDAY RUB | Daniel Frawley cops the glass-eye treatment

FULL SHOW: Photo albums, a glass eye, and police reports

"Best Of" Series- Bentoni, Jerome & Sam Guttman Opener/Middle/Headliner, as it should be! Show #237

#031 - Larry Fessenden // Producer, Director, and Founder of Glass Eye Pix

Doc Sleaze: Jagged Reflections in a Shattered Glass Eye (5/31/24)

My Wife, She Loves That Reprise Show Episode 39: This Murderer Did Nothing Wrong

One Glass Eye

Glass Eye Episode 3: Active Listening with Gauri Gill

Evil Genius Chronicles Podcast for February 10 2024 - Be the Merch You Want to See In The World

Evil Genius Chronicles Podcast for February 10 2024 - Be the Merch You Want to See In The World

Evil Genius Chronicles Podcast for February 10 2024 – Be the Merch You Want to See In The World

CLASSIC SATURDAY RUB | The Glass Eye Award is birthed by a late night voicemail from Spud, and the first ever winner is anointed

1 - 22 - 24 THE GLASS EYE

Broken Furnace, Aliens, and a Glass Eye Midweek Howl Ep. 189

Why the Reds Haven't Traded India (Pineapples and Glass Eyes)

Martin Popoff Talks KISS At 50 - Cobras & Fire

Cobras & Fire: Martin Popoff Talks KISS At 50

12/6 5-2 Popping Out the Glass Eye

Glass Eye Episode 1: Kodak Women

TWW: E86 – When Yoga makes you FART like an AIR COMPRESSOR!!!

Episode 905: Glass Eye - Sty - Mom's Ring - Tainted Bethany

Glass Eyes & Coloring Books!!!

Stereo Embers The Podcast: Sam "Sammytown" McBride (Fang)

S6E269 - Glass Eye 'Bent By Nature' with Larry Smith

Through the Looking Glass - Eye for an Eye's Interview with a Las Vegas PD Homicide Detective- Episode 84

Bob Pittman: How a Kid With a Glass Eye Became A Radio Star and Founded MTV at Age 27 | E40

Episode #46 - South African president gig, 45 quid Dave, Ball of glass, Eye bag update, Chatsworth, Glove foot, Dinkle facts, Have you ever?

STAGES SPOTLIGHT - CONVERSATIONS REVISITED: Eva Grace Mullaley - from December, 2019

Glass Eye

Wild Hollow Shorts: The House of Glass Eyes (A Holloween Special)

8-Ball Glass Eye

"The Glass Eye" by John Keir Cross

Shorts #3 - Glass Eye

Has anyone seen my glass eye

Has anyone seen my glass eye

Ajax Diner Book Club Episode 204

63: Austin Getz: The Things You Do When You're Young to Make it Happen

370: Shut Up Alfred Poochinski

JEANNIE VANASCO

(Highlights) JEANNIE VANASCO

JEANNIE VANASCO

JEANNIE VANASCO

(Highlights) JEANNIE VANASCO