Podcasts about Goin

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

(00:00-20:06) Get involved in a myriad of ways. Cards go to the South Side and get a nice little sweep. People aren't happy with the cameras this morning. Chairman is like a new girlfriend. Audio of Contreras's game tying homerun in Game 1. Is Jackson a lightweight? Pacers ship the Thunder and force a Game 7 for the first time since 2016.(20:14-37:47) Martin wants video of the Plow Wedding. Audio of the White Sox announcer having a mic issue during Benentendi's game tying grand slam. Jackson's on Jamie Rivers's dance card. Chairman Steve's golf game.(37:57-51:39) Things got a little testy in the Dodgers/Padres game last night. Audio of the Dodgers and Padres on field skirmish last night. Shildt banty ever since Jackson put him on the hot seat. Mike Shildt's approval rating in St. Louis. Rich from Maryland Heights.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Capt. Kevin cut right to the chase on this episode – there's an upwelling going on, which means all kinds[...]

We visit with David Welder, and his wife, Veronica, at their off-grid home called Fisher Cat Creek Forest Preserve (on airbnb and Hipcamp), to talk about his book, Forth to Basics: A Guide to Goin' Off-Grid (And Living More With Less), and his life experience leading up to

Welcome back to Open The Voice Gate! Case (https://twitter.com/_inyourcase) and Mike (https://twitter.com/fujiiheya) are back with an update on the comings and goings of Dragongate.Open The Voice Gate returns to discuss Dragongate and their road to Kobe Pro Wrestling Festival 2025! After the weekend of shows in Kyoto (6/14) and Hakata (6/15), the title situation at Kobe World is a lot more clear and Case and Mike give their early previews for the Dream, Triangle and Twin Gate matches and where the programs are a month out from Dragongate's biggest show of the year. As well, they talk about Love and Peace's first rebranded weekend, Mexico contra Japon, What's Goin' On with Strong Machine J, Tokyo Gurentai, Rookie of the Year discussions, and a whole lot more!Our podcast provider, Red Circle, offers the listeners the option to sponsor the show. Click on “Sponsor This Podcaster” at https://redcircle.com/shows/open-the-voice-gate and you can donate a single time, or set up a monthly donation to Open The Voice Gate!Please Rate and Review Open The Voice Gate on the podcast platform of your choice and follow us on twitter at https://twitter.com/openvoicegate.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Prime Time Jukebox Episode 162 features the 1971 album, There's a Riot Goin' On by Sly & the Family Stone. With Sly Stone's recent passing, we decided to go back and explore this landmark album. Much like an archaeologist digs and hunts for gems, on Album Archaeology we dig deep into an album. We examine each of the tracks of this album looking at the music, lyrics, and stories behind this album. Tune in to the premiere of Prime Time Jukebox Episode 162: Album Archaeology 19 – There's a Riot Goin' On, Sly & The Family Stone on YouTube on Monday 6/16/25 at 8pm ET. As always you can follow along with our Spotify Playlists: Episode 162 Playlist References Prime Time Jukebox 55: Album Archaeology #8: Pet Sounds, The Beach Boys The Drawn Out's Swallow my Pride: A Triumph of Indie Rock with the Soul of a Songwriter

Prime Time Jukebox Episode 162 features the 1971 album, There's a Riot Goin' On by Sly & the Family Stone. With Sly Stone's recent passing, we decided to go back and explore this landmark album. Much like an archaeologist digs and hunts for gems, on Album Archaeology we dig deep into an album. We examine each of the tracks of this album looking at the music, lyrics, and stories behind this album. Tune in to the premiere of Prime Time Jukebox Episode 162: Album Archaeology 19 – There's a Riot Goin' On, Sly & The Family Stone on YouTube on Monday 6/16/25 at 8pm ET. As always you can follow along with our Spotify Playlists: Episode 162 Playlist References Prime Time Jukebox 55: Album Archaeology #8: Pet Sounds, The Beach Boys The Drawn Out's Swallow my Pride: A Triumph of Indie Rock with the Soul of a Songwriter

Episode 64 will include our Chick Chat: a recap of what we've been up to in our daily lives; Life in the Lifestyle: we address a question we get asked often - how to discuss trying the LS with your partner; and then we wrap things up with Goin' Deep: an interesting light play foursome story from Madison! Connect with us: Instagram/X: FWAT_Podcast Email: friendswithatwist@yahoo.com Website: friendswithatwist.com Check out our Partners: Shivers/Luv'ure Gummies: https://shivers.store - Coupon Code FWAT4th for 20% off through July 6th!! - Coupon Code FWAT for 10% off Shameless Care: STI Testing/ED Meds/Arousal Cream for Women: https://shamelesscare.com/fwat/?lead-source=FWAT https://shamelesscare.com/cream/ to order 'Shamelessly Aroused' prescription vulva cream - Coupon Code FWAT for a discount off your order Game of Lifestyle Cards: https://www.gameoflifestyle.com - Coupon Code FWAT10 for 10% off Quiver LS Site: https://www.quiver.us/?QCode=FWAT - QCode FWAT for a free all access 30-day trial DK Apparel - Wear Your Lifestyle: https://www.dklsapparel.com/?aff=5  - LS focused clothing & more!

The Frampitheatre Comes Alive! This week, our hosts FiG and Knob are heading to Palo Alto. It's April 30th, 1988 and the Grateful Dead are playing the Frost Ampitheatre in Palo Alto, California. Along the way, discussions abound about the passing of Sly Stone, the debut of Let the Good Times Roll, and rare encores Good Times >  Feel Like a Stranger Row Jimmy Walking Blues Hey Pocky Way Ramble on Rose Let It Grow Shakedown Street Man Smart Woman Smarter Ship of Fools >  Playin' in the Band >  Drums >  Space >  Goin' Down the Road Feelin' Bad > All Along the Watchtower > Black Peter >  Sugar Magnolia  China Cat Sunflower >  I Know You Rider >  One More Saturday Night

Soooo.. Where Is Texans Linebacker Christian Harris, & What the hell is Goin' On with the LB? Caserio Answers- full 520 Fri, 13 Jun 2025 01:34:08 +0000 XcmS0bx0ah4kbzpxiZVye2QsX9lCBhq6 afc,cj stroud,houston texans,nick caserio,demeco ryans,linebacker,afc south,texans,christian harris,htown,houston texans nfl,texans news,stroud,caserio,texans defense,demeco,afc news,nfl texans,cstroud,sports The Drive with Stoerner and Hughley afc,cj stroud,houston texans,nick caserio,demeco ryans,linebacker,afc south,texans,christian harris,htown,houston texans nfl,texans news,stroud,caserio,texans defense,demeco,afc news,nfl texans,cstroud,sports Soooo.. Where Is Texans Linebacker Christian Harris, & What the hell is Goin' On with the LB? Caserio Answers- 2-6PM M-F © 2025 Audacy, Inc. Sports False

join Goin of Timber Truss joins us to talk some golf and give picks for the US Open. Next we talk some baseball in the MLB followed up by the Big Number of the Day.

This is a promotional MixTape of our station sound. All mixed by Head DJ, Programer, and Station owner DJ Quartermane. Coughfee Shoppe Radio free listening link can be found on our YouTube channel profile page. MixTapes and individual songs from major Artist are played in rotation and royalties paid to the Artist respected PROs. ( Publishing Companies ) As they survey our rotation list monthly. MixTapes are made monthly and displayed here and played on our station. enjoy    

Sessi

Michele D'Amour and The Love Dealers (Cradle To The Hearse); Wayne Baker Brooks (Tricks Up My Sleeve); Ronnie Baker Brooks (Instant Gratification); Gina Coleman (How The Blues Feels); The Canes (Why Should I Suffer With The Blues); Jimmy McCracklin (Suffer); Soulmate (Keep The Blues Alive); Juke Boy Bonner (Trying To Call Home); Memphis Slim (Call Before You Go Home); John D. Twitty (Sold It To The Devil); Dave Edwards and His Alabamians (Done Sold My Soul To The Devil); Larry McCray (Everything Falls On Me); Bobby "Blue" Bland (That Did It); Heather Newman (That's All); Harvey Brindell (Pennies On The Dollar); Boogie Ramblers (I'm Goin'). 

Greetings, dear listener, and welcome back to "Jump on the Bat-Wagon" with James and Brian, where we watch through the entire DC Animated Universe from start to finish in the controversial airdate order, to experience these shows the way human beings experienced them in the far-gone days of the 1990s. The twist? Brian has never seen any of the DCAU. Will he become a super-fan like James or regret his decision?This week's episode:"Ascension""Batman Beyond"Original airdate: 5/22/1999When Gotham finds out that Derek Powers and Blight are the same, he's forced into hiding. Derek's son, Paxton, teams up with Batman to help Blight, but things don't work out according to plan.Timecodes:0:00 - Intro12:11 - Review and Ratings53:33 - Yoppie Mail1:05:25 - OutroGoogle Form for the next live show!https://bit.ly/yoplocationNext episode:"The Demon Reborn" (Superman: TAS)DCAU Airdate Viewing Order:https://bit.ly/watchdcauSend us an email!batwagonpod @gmailBuy us a coffee!https://www.buymeacoffee.com/yoppieBuy a Yoppie Dude T-Shirt!https://watchtowerdatabase.com/shopSpecial thanks to our yoppie community!Dylan Pollack, Movies to Watch Before You Diehttps://creators.spotify.com/pod/show/moviestowatchJordan Blueman, The Fandom Optimistshttps://open.spotify.com/show/2GyhxgiZR64XcDmIjQMoezHosted by:James StreckerBrian ManeelyEdited by:James StreckerMusical themes by:Kimi LevoeKuni PhoenixJordan BluemanEric LeBowViltsuLegacy AllenKathleen StreckerBrian ManeelyJames StreckerNew episodes debut Fridays on the Podtower YouTube channel and your favorite podcast feed!https://www.youtube.com/thepodtowerSubscribe to the Watchtower Database for more DCAU videos!https://www.youtube.com/watchtowerdatabaseHang out with us on Discord!https://discord.com/invite/RWZ7TaxAar

DMA IS SCARY (00:02:00)  THREE MAN WEAVE (00:07:04) DDG AND HALLE (00:09:17)  CAN YOU GET YOUR GIRL BACK FROM BRENT FAIYAZ? (00:19:24)  DID HE DIDDY DIDDY? (00:21:04) ZOE SPENCE BULLIED (00:37:55) NBD DENIED STU (00:42:56)  HOT ROUND (00:46:34) GET IT OFF YA CHEST (51:00) LEAVE US A RATING!!!!!!Follow our mains on IG@IAMTHEONLYNAS@sirmisterbizz @DmaGotDaJuice Audio Mixed by @dmagotdajuiceNothing But Discussion Social's!!!https://instagram.com/nothingbutdiscussion?igshid=YmMyMTA2M2Y=Twitter: https://twitter.com/nothingbutdisc1

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“Wait, the reason you cut your hair was for 2 dudes?”   It's officially our 6th anniversary! That's right, 6 years of metal discussions, ludicrous nonsense, and beers of the episode, and what better way to wrap up our 6th year in podcasting excellence than with STEEL PANTHER, the parody band that helped make 80's hair metal FUN again, with every hyperbolic metal cliché you can think of that makes them the epitome of everything that made late 80's hair metal so awesome. If S.O.D. is thrash metal with a generous side of hilarity, then STEEL PANTHER is quite obviously their hair metal counterpart.   Find out what happened “three or four days later…after the crying stopped”, discover which Slayer song is considered their “ballad”, understand why it's healthy and fun to maintain the silliness of your youth as you get older and JOIN US as we celebrate 6 years of metal and nonsense by going deep INSIDE THE METAL of a band that blends hair metal and nonsense together on a level that our inner 8th grader would have greatly appreciated with the kings of L.A. hair metal absurdity, STEEL PANTHER.   Visit www.metalnerdery.com/podcast for more on this episode   Help Support Metal Nerdery https://www.patreon.com/metalnerderypodcast Leave us a Voicemail to be played on a future episode: 980-666-8182 Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on the iTunes/Apple Podcasts - Spotify or your favorite Podcast app Follow us on the Socials: Facebook - Instagram - TikTok   Email: metalnerdery@gmail.com Can't be LOUD Enough Playlist on Spotify Metal Nerdery Munchies on YouTube @metalnerderypodcast STEEL PANTHER on the InterWebs: www.steelpanther.com  Show Notes: (00:01): Happy 6th anniversary to #MetalNerderyPodcast!!! / #NakedGunRemake / “That was when he was trippin' balls…”/ ***WARNING: #listenerdiscretionisadvised *** / “Did y'all ever used to do #OlanMills when you were little?” / ***WELCOME BACK TO THE METAL NERDERY PODCAST!!!*** / #thisepisodesbeeroftheepisode #SceptreBrewingArts #Mastodon #SickleAndPeace / “Carpety for a 4.6ABV…”/ “It's one HUGE load…”/ #Mastodon SICKLE AND PEACE (Hushed And Grim – 2021) / “Fuck yeah, dude…WIZARDS!!!” / “Thank you to Russell for the burps…”   (09:00): “We do…do we?” / ***EMAIL US AT metalnerdery@gmail.com SOCIAL MEDIA US AT #Instagram #Facebook #YouTube #TikTok at #metalnerderypodcast or VOICEMAIL US at 980-666-8182!!!*** / #SlayerOfTheEpisode WAR ENSEMBLE (Seasons In The Abyss – 1990) / #SlayerReflections / “I was a little disappointed…”/ “You think Spill The Blood was their ballad?” / #RussellsReflections   (15:52): #PatreonShoutOut ***JOIN US on the Patreon at patreon.com/metalnerderypodcast *** / #ThankYou / “If you wanna raw dog it…yeah…”/ #TheDocket METAL NERDERY PODCAST PRESENTS:  STEEL PANTHER – INSIDE THE METAL / NOTE:  the word was cliché / “They're like the meme of metal…they're the epitome of 80's excess…the hyperbole of #hairmetal”/ Some backstory regarding the history of #SteelPanther aka #MetalSkool aka #MetalShop aka #DangerKitty / “The reason I cut my hair…was for two dudes?” / “Ladies and gentlemen, Meatloaf is here!” / “Three or four days later after the crying stopped…”/ “They're like the #hairmetal version of #SOD…” / “Free cocoin?” / #PlatinumPocketPussyMelter    (27:07): Feel The Steel – 2009 / DEATH TO ALL BUT METAL / “I wanna bang a cheerleader now…”/ FAT GIRL (THAR SHE BLOWS) / “The music sounds so legit…”/ ASIAN HOOKER (LIVE) / “It takes so little…I'm still a teenager sometimes…”   (35:07): Balls Out – 2011/ “Play the ballad real quick…”/ IF YOU REALLY REALLY LOVE ME / “Do you think girls in general just don't like…”/ I LIKE DRUGS / “It's got all the #cokelines…”/ WEENIE RIDE / “They should have got him for the #MotleyCrue reunion…”   (40:34): All You Can Eat – 2014 / “The way it opens…” / “I kinda can't believe we haven't done this sooner…”/ PUSSYWHIPPED / FUCKING MY HEART IN THE ASS / “That's just applicable across the board, really…you're more beautiful when you sound like this…”/ “Think 80's power ballad…”/ BUKKAKE TEARS / “It's so serious…but not…”/ “Do y'all care to guess what that stands for?” / B.V.S.    (49:00): Lower The Bar – 2017 / “I think that was always my favorite Cheap Trick song…”/ “I'm sorry, make that a button and #markthetime…”/ “Too many people don't understand that, because a date can be…”/ GOIN' IN THE BACKDOOR / “We could do that…that could be #SoomDicle…”/ POONTANG BOOMERANG / “That's such a rip-off…”/ “I don't know why I always go the long way around to get to that…”/ WASTED TOO MUCH TIME / “They're writing hit riffs…”/ PUSSY AIN'T FREE    (56:40): “Pull up the ‘Steel Panther Roasts Zakk Wylde'…” / #ZakkWyldeRoast / “It was weird, but we were listening to #JudasPriest…”/ “Maybe check out the Dee Snider one…”/ #DeeSniderRoast #Revolver / #TheGuyFromFirehouse / “I think we're in the homestretch at this point…”   (1:03:40): Heavy Metal Rules – 2019 / “What do you think based on titles alone?” / ALL I WANNA DO IS FUCK (MYSELF TONIGHT) / HEAVY METAL RULES / “Gene Simmons said it…”/ GODS OF PUSSY / “That was pre-plague…”   (1:09:01): On The Prowl – 2023 / “How many references do you think there's gonna be to 1987?” / 1987 / “I like the melodies and the music…they found all the cliches…”/ “Before we leave, I've gotta know what Magical Vagina is like…” / MAGICAL VAGINA / “That's a perfect way to close it out…”/ “Age is a bitch, isn't it?” / “That's only 17 years away…I remember 17 years ago…I remember being 17…”/ #RussellsReflectionsSteelPantherEdition / “We keep getting skipped…but we get all the good hip-hop shows…”/ #DirtySouth / “It's said in a million rap songs…”/ “What does that mean?” / THANK YOU FOR JOINING US!!!/ “They're definitely a band of moments…and the videos make it better, too…”/ #untilthenext #DoomsiclePreview #outroreel 

HOUR 1 - MUCHO Goin' on in the World of H-Town Sports this Hump Day Folks! Texans OTAs have BEGUN! 'Stros/A's with LMJ on Bump! LET'S GET IT HOUSTON!! full 2112 Thu, 29 May 2025 00:46:05 +0000 U03uN9bASkWymiyOZJ2w1m9LbP6Txlr6 nfl,mlb,nba,texans,astros,rockets,sports The Drive with Stoerner and Hughley nfl,mlb,nba,texans,astros,rockets,sports HOUR 1 - MUCHO Goin' on in the World of H-Town Sports this Hump Day Folks! Texans OTAs have BEGUN! 'Stros/A's with LMJ on Bump! LET'S GET IT HOUSTON!! 2-6PM M-F © 2025 Audacy, Inc. Sports

I may've mentioned this before, but -- more often than not -- when I open the front door to greet a guest, it's our first time meeting one another. And the vibes in that initial moment vary. Sometimes they're neutral. Occasionally they're curious. Every now and again, the good energy is palpable, and such was the case when I met John Knell on my porch.John is a local artist, a son, a husband, a father, a fantastic conversationalist, and he joined me for Episode No. 169.We chewed the fat for a good little bit a couple of weeks ago, covering family, memories, John's mixed-media art approach to pop culture and sports, and of course, a few of his favorite albums, which were these:Abbey Road (1969), The BeatlesVan Halen's Fair Warning (1981)Achtung Baby (1991), U2Many thanks to John for the time and the solid chat. Please consider checking out his work at johnknell.com, and follow him on Instagram at @johnny_kc.And many thanks to those of you that support the podcast.Cheers.Note: I was mistaken in claiming that the U2 song, "I Still Haven't Found What I'm Looking For" was the feedback/sustain king. What I meant was, "With or Without You."copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are clips I poached from a Kurt Vile tune called, "Lost my Head there" from his fantastic 2015 release, B'lieve I'm Goin' Down, c/o Matador Records.

Austin shares how you can use active interviewing to win more job offers!Time Stamped Show Notes:[0:30] - Passive vs. active interviewing[2:26] - Why active interviewing is better[3:57] - Goin' fishin'[7:27] - How to crush the Q&A portion of the interview[9:55] - Always try to dive deeper with your answersWant To Level Up Your Job Search?Click here to learn more about 1:1 career coaching to help you land your dream job without applying online.Check out Austin's courses and, as a thank you for listening to the show, use the code PODCAST to get 5% off any digital course:The Interview Preparation System - Austin's proven, all-in-one process for turning your next job interview into a job offer.Value Validation Project Starter Kit - Everything you need to create a job-winning VVP that will blow hiring managers away and set you apart from the competition.No Experience, No Problem - Austin's proven framework for building the skills and experience you need to break into a new industry (even if you have *zero* experience right now).Try Austin's Job Search ToolsResyBuild.io - Build a beautiful, job-winning resume in minutes.ResyMatch.io - Score your resume vs. your target job description and get feedback.ResyBullet.io - Learn how to write attention grabbing resume bullets.Mailscoop.io - Find anyone's professional email in seconds.Connect with Austin for daily job search content:Cultivated CultureLinkedInTwitterThanks for listening!

For the first time, we whipped out our passport to go abroad to cover a Division III football story. Twenty-six years into running the website and in the 19th year of the podcast and yes, there can still be new things. A number of Division III schools left the country to give their student-athletes an educational experience and to also play a spring football game, and we followed along with one of those teams and you can follow along with three of them in this edition of the D3football.com Around the Nation Podcast. Plus ... This edition of the podcast is sponsored by GameStrat: The Most Reliable & Fastest In-Game Video Replay System on The Market. D-III football coaches should click here to learn more. St. John's went up to Winnipeg, Manitoba, Canada, to play the Winnipeg Rifles of the Canadian Junior Football League, and the Johnnies were hoping to learn a little bit more about what they have at quarterback. Since Aaron Syverson has graduated, the Johnnies were looking at five quarterback candidates, one of whom noped out before the trip even started. So four players got snaps up north on Saturday, May 17, and two are in the mix to get the start in Week 1 against Minnesota-Morris. You'll meet them and hear what their receivers, offensive coordinator, and head coach Gary Fasching think of their performance, plus you'll hear about the most Canadian thing ever that happened before the game and meet a few SJU transfers whose names you could be hearing this fall. Carnegie Mellon went to Spain, and we'll find out from coach Ryan Larsen what the Tartans were hoping to get out of their trip, since they lost so many starters and key contributors from a team which had Mount Union on the ropes in the fourth quarter of last year's playoff game. And Hampden-Sydney took its team to Italy, where coach Vince Luvara had a quite different take on what was important for his program and his student-athletes. Plus, you'll be hungry after you hear about the great eating both teams did in Europe! Also, Patrick and Greg will give their take on the top five quarterbacks in D-III football since 1999, and will present two teams which could contend for conference titles after not making the playoffs last year, thanks to two great questions from our mailbag segment. Patrick and Greg cover it all in the latest edition of the D3football.com Around the Nation podcast.

John Fogerty, eterno líder de Creedence Clearwater Revival, cumple 80 primaveras este 28 de mayo de 2025. En menos de un mes ofrecerá su único concierto en España en el marco del festival Azkena de Vitoria. Dos excusas perfectas para sobrevolar sus 60 años de trayectoria con especial atención a los discos en solitario que ha desperdigado en el último medio siglo.Playlist;JOHN FOGERTY “Lodi” (The Long Road Home; in concert 2005)CREEDENCE CLEARWATER REVIVAL “Green river” (Green river, 1969)THE GOLLIWOGS “Fight fire” (1966)CREEDENCE CLEARWATER REVIVAL “Proud Mary” (Bayou country, 1969)THE BLUE RIDGE RANGERS “Jamabalaya (On the bayou)” (ST, 1973)THE BLUE RIDGE RANGERS “I ain’t never” (ST, 1973)JOHN FOGERTY “Rock and Roll girls” (Centerfield, 1985)JOHN FOGERTY “Goin’ back home” (Eye of the zombie, 1986)JOHN FOGERTY “Change in the weather” (The Blue Ridge Rangers ride again, 2009)JOHN FOGERTY “Hot Rod heart” (Blue moon swamp, 1997)JOHN FOGERTY “Joy of my life” (Blue moon swamp, 1997)JOHN FOGERTY “Deja Vu (all over again)” (Deja Vu all over again, 2004)JOHN FOGERTY “Gunslinger” (Revival, 2007)JOHN FOGERTY and ZAC BROWN BAND “Bad moon rising” (Wrote a song for everyone, 2013)JOHN FOGERTY “Have you ever seen the rain” (The Long Road Home - in concert 2005)Escuchar audio

Learn what makes Marvin Gaye's protest album a timeless masterpiece. Adam and Peter go deeper than deep—layer by layer—using stems to find out. Listen to the full arrangement in a way you've probably never experienced, even if you've heard it a thousand times. Strings, bass, background vocals, Marvin's multi-tracked leads, percussion, vibes—it's all here, isolated and exposed.We also dig into the story behind the album, and how a protest record became a timeless masterpiece.A must-listen for anyone who cares about music—and how it's made.

In this episode I tell you about the edible uses of wild strawberry and creasy greens, and the medicinal use of galax (surprisingly) and wintergreen.Also, I am back on Youtube Please subscribe to my channel: @judsoncarroll5902   Judson Carroll - YouTubeTune of the week: Goin' Down the Road Feelin' BadThis is my version of Goin' Down The Road Feelin' Bad in a closed D position. This really shows the potential of this way of playing tunes in D. It is a classic country blues tune, recorded by countless old time, blues, bluegrass, etc. musicians... and of course, the Grateful Dead played it HUNDREDS of times!! It is one of the most influential songs in music history and I enjoy playing around with it.https://youtu.be/8AVUCDKEUKENew today in my Woodcraft shop:Toasted Holly Cooking Spoonhttps://judsoncarrollwoodcraft.substack.com/p/toasted-holly-cooking-spoonEmail: judson@judsoncarroll.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/southern-appalachian-herbs--4697544/supportRead about The Spring Foraging Cookbook: https://southernappalachianherbs.blogspot.com/2024/01/the-spring-foraging-cookbook.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0CRP63R54Medicinal Weeds and Grasses of the American Southeast, an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2023/05/medicinal-weeds-and-grasses-of-american.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47LHTTHandConfirmation, an Autobiography of Faithhttps://southernappalachianherbs.blogspot.com/2023/05/confirmation-autobiography-of-faith.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47Q1JNKVisit my Substack and sign up for my free newsletter:https://judsoncarroll.substack.com/Read about my new other books:Medicinal Ferns and Fern Allies, an Herbalist's Guide https://southernappalachianherbs.blogspot.com/2022/11/medicinal-ferns-and-fern-allies.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BMSZSJPSThe Omnivore's Guide to Home Cooking for Preppers, Homesteaders, Permaculture People and Everyone Else: https://southernappalachianherbs.blogspot.com/2022/10/the-omnivores-guide-to-home-cooking-for.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BGKX37Q2Medicinal Shrubs and Woody Vines of The American Southeast an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2022/06/medicinal-shrubs-and-woody-vines-of.htmlAvailable for purchase on Amazon https://www.amazon.com/dp/B0B2T4Y5L6andGrowing Your Survival Herb Garden for Preppers, Homesteaders and Everyone Elsehttps://southernappalachianherbs.blogspot.com/2022/04/growing-your-survival-herb-garden-for.htmlhttps://www.amazon.com/dp/B09X4LYV9RThe Encyclopedia of Medicinal Bitter Herbs: https://southernappalachianherbs.blogspot.com/2022/03/the-encyclopedia-of-bitter-medicina.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0B5MYJ35RandChristian Medicine, History and Practice: https://southernappalachianherbs.blogspot.com/2022/01/christian-herbal-medicine-history-and.htmlAvailable for purchase on Amazon: www.amazon.com/dp/B09P7RNCTBHerbal Medicine for Preppers, Homesteaders and Permaculture People: https://southernappalachianherbs.blogspot.com/2021/10/herbal-medicine-for-preppers.htmlAlso available on Amazon: www.amazon.com/dp/B09HMWXL25Podcast:  https://www.spreaker.com/show/southern-appalachian-herbsBlog: https://southernappalachianherbs.blogspot.com/Free Video Lessons: Herbal Medicine 101 - YouTube https://www.youtube.com/playlist?list=PL7QS6b0lQqEclaO9AB-kOkkvlHr4tqAbs

Our forecasts are in flux as a result of uncertainty around the transmission of the trade war shock and the potential for more policy surprises. That said, the data flow this week aligned with our forecast of continued resilience in April activity and May surveys, alongside a rebound in May sentiment readings from depressed levels. Our forecasts are in flux as a result of uncertainty around the transmission of the trade war shock and the potential for more policy surprises. That said, the data flow this week aligned with our forecast of continued resilience in April activity and May surveys, alongside a rebound in May sentiment readings from depressed levels.    Speakers: Bruce Kasman Joseph Lupton   This podcast was recorded on 23 May 2025. This communication is provided for information purposes only. Institutional clients please visit www.jpmm.com/research/disclosures for important disclosures. © 2025 JPMorgan Chase & Co. All rights reserved. This material or any portion hereof may not be reprinted, sold or redistributed without the written consent of J.P. Morgan. It is strictly prohibited to use or share without prior written consent from J.P. Morgan any research material received from J.P. Morgan or an authorized third-party (“J.P. Morgan Data”) in any third-party artificial intelligence (“AI”) systems or models when such J.P. Morgan Data is accessible by a third-party. It is permissible to use J.P. Morgan Data for internal business purposes only in an AI system or model that protects the confidentiality of J.P. Morgan Data so as to prevent any and all access to or use of such J.P. Morgan Data by any third-party.

Ultraman Max is on Tubi and Pluto TV https://tubitv.com/series/300000505/ultraman-max Thank you, everyone, for listening to the show! Spread the word! We have a Facebook group! https://www.facebook.com/groups/ultramanpodcast We are also on Instagram @ultramanpodcast Now on BluSky at ultramanpodcast.bsky.social We couldn't do this podcast without the fine contributors at the Fandom Ultraman Wiki. Thank you for all that you do! https://ultra.fandom.com/wiki/Ultraman_Wiki Your Hosts- Rich Conroy and Pat Rooney Announcer- Gretchen Brooks Producer and audio wizard- Casey Kittel caseykittel.com Opening theme "Once More, While Seething" and all music for this podcast is provided by Terminal Sunburn- www.terminalsunburn.bandcamp.com This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-5cfc6e for 40% off for 4 months, and support The Science Patrol.

This week LPN's resident Big Sister Natalie Jean crashes the slumba parta to dish on what dance movies are and are NOT Real Dancer Approved, MJ is feelin' Pope-positive, and Jackie's jealous of Pope Bob's MEAT until she adjusts her crown and remembers WHO SHE IS. A Woman In Total Control (of) Hotdogs. Natalie introduces everyone to a new phrase while talkin' 'bout the controversy surrounding CANNES, which just leads to Jackie giving us a street phrase lesson no one wanted. Nuts out for the alpha male as the eternal question is asked; big testies or lil testies, which do they prefer? Jackie and Henry are trying to grief watch all the 'John Wick's without seeing the dog scene again BECAUSE IT DOES NOT NEED TO EXIST DEREK KOLSTAD, Jamie Lee Curtis got plastic surgery at 25 because some scumbag cinematographer sucks at his job and blamed her face instead of doing some self-reflection, MJ and Jackie suffered through all of 'Manual Not Included'  SO YOU DON'T HAVE TO! And yes, they do in fact talk shit on you, HILARIA. Lotta people are still mad at Sarah Silverman, AND SO MUCH MORE! Then it's time for a list with a title longer than the list itself, 'Plot Driven Bits of Movie Trivia That'll Have Ur Mom Askin' 'Wait, What's Goin' On? I Thought He Was The GOOD GUY!?'', the Blindz, and a seriously savory Jackie's Snackies with MJ's Munchie Minute from 1:08:31.980 til 1:16:29.555!Want even more Page 7? Support us on Patreon! Patreon.com/Page7Podcast  Subscribe to SiriusXM Podcasts+ to listen to new episodes of Page 7 ad-free.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Send us a textOn this episode, drummer Arthur Thompson (Mindi Abair, The Boneshakers, Wayman Tisdale, Dave Koz, solo) introduces Al to Cameo's 1980 album Cameosis. Arthur talks about how he first wound up hearing Cameosis and why that event played an important role in kick-starting his musical career. He also discusses the importance of listening to the various instruments in a band, and how Cameo integrates all of their musical elements so effectively. Arthur talks about his recent singles, his trio of upcoming Arthurized albums and his long-standing nonprofit work that he continues to be engaged with.Here's where you can find Arthur and his music online!@arthurleethompson3 on Instagram@arthurthompsondrums on Facebook@arthurized64 on YouTubehttps://arthurthompsondrums.com/Arthur also mentioned his nonprofit organization, Build a Life, Save a Life. You can learn more at buildalifesavealife.org.Al is on Bluesky at @almelchior. This show has an account on Instagram at @youmealbum. You can support the show on Buzzsprout at https://www.buzzsprout.com/1542814/episodes or at the link at the bottom of these show notes.IMPORTANT UPDATE! You, Me and An Album will soon have additional offerings on Patreon. More information will be coming soon. To sign up, go to patreon.com/youmealbum.1:27 Arthur joins the show2:28 Arthur recalls how he got introduced to Cameo4:48 Arthur learned a lot of what he knows about drumming and percussion from paying attention to Larry Blackmon10:24 Learning “Cameosis” was key to Arthur getting his first band gig12:26 Arthur stresses the importance of listening when playing music13:44 Listening to lyrics is important to Arthur when he's playing15:34 Arthur talks about how Cameo blends the rhythms of the drums, percussion and horns18:38 Cameosis reminds Arthur of a time when he first learned to appreciate music in a more profound way25:41 Arthur likes both the funky and slower tracks on Cameosis30:19 Arthur sees similarities between his lyric writing and the style exemplified in “We're Goin' Out Tonight”32:16 Arthur singles out some other records that are important to him38:22 Arthur talks about the experience of playing music that is emotionally moving43:02 Arthur thinks everyone—especially musicians—should listen to Cameosis44:52 Arthur talks about “We Can Beat Cancer” and his other recent solo work and causes53:36 Arthur lets us know about his upcoming Arthurized album trilogy56:40 Arthur discusses his nonprofit workOutro music is from “Where Are You Now” by Arthur Thompson.Support the show

It's season 5! Holy cow! Wait… Why isn't it a holy pig? Or a holy goat? I should probably look up the etymology before continuing to use any phrase these days… Regardless, we're back after the shortest hiatus ever to bring you another season of malarkey.As we're back, we decided to spelunk the 1997 smash hit Everybody (Backstreet's Back). For 28 years, I've wondered where they came back from… A trip to Spain? Cancun? A hiatus? The confused child in me has always wanted to know, so you know what?! We did some deep diving to find you the TRUTH.Obviously, that's not all… We also spelunk Backstreet's 1995 not so hit single We've Got it Goin' On. That, plus bike messengers, folk in regular communication with Jesus, and the new Star Wars short film…And if you enjoy what we are doing here at the Pit and would like to support us further, please check us out our patreon, where we have exclusive extended episodes! They drop a day early with an extra thirty minutes or more for every episode! Today, Rob reviews two movies for us! Thunderbolts and Sinners… A double feature!We also have some merch for sale up on our Etsy, as well as a limited run of embroidered beanies out now! Only a few left… Shoot us a DM on IG if you're interested.EtsyPatreonLinktreeInstagram:@ruining_your.childhood@feral_williams@aralessbmn@madshroommc@strangeloopanimation

The invitation of Jesus: Part 5, Come and GoIn this 5-week series, we'll explore the life-changing invitations of Jesus—like “Come and see,” “Come and follow,” and “Come and find rest.” These timeless calls, more than just words, opened the door to a new way of living, loving, and experiencing God. As we reflect on His invitations, we'll uncover what they mean for our lives today—in our homes, our work, our worries, and our walk with God. Join us as we discover the heart of Jesus and find our place in His story.Teaching Text: Acts 17:16-21.Preached by Ben Sigman

This one's got it all: life lessons, boner pills, vintage baseball philosophy, and a surprising amount of reflection (with just enough filth to balance things out). The Kid and crew dive into the tribalism of niche baseball games (blooperball beef, anyone?), the pitfalls of post-breakup gossip, and how real friendships survive the bullshit. The crew breaks down their personal timelines decade-by-decade, from awkward childhoods and jizz-filled puberty to adulthood where Viagra and whiskey start becoming your two best friends. We get tips on dodging relationship landmines, dissect the sneaky ways guys self-sabotage to get out of relationships, and land a few gut punches about growing older, doing what you love, and avoiding unnecessary mouths—human or otherwise. Oh, and Red Eye 1.0 still sucks.

American singer and songwriter Jacob Tolliver was raised on classic rock and roll blasting from his grandmother's radio. After a spontaneous rendition of “Whole Lotta Shakin' Goin' On” on a dusty hardware store upright piano went viral, a star was born. At 19, Tolliver was hired as the understudy—and soon the principal—to play Jerry Lee Lewis in the Las Vegas production of the Tony-winning musical Million Dollar Quartet, giving him three years of eight-shows-a-week schooling in rock and roll showmanship. In this episode, Tolliver shares his inspirational story and how his friendship with Jerry Lee Lewis and other rock ‘n' roll notables has shaped his life and career.

The gang revisits Hat Trick's long-standing mission to bang a fireman on a ladder—too bad he's now just a horny electrician. But hey, zapping his balls could spice things up. From fantasy firetrucks over the Grand Canyon to getting railed behind vending machines in Myrtle Beach, the crew trades war stories on their most “memorable” bang locations (spoiler: mini-golf courses and stadium BJs make the cut). We get deep into Hooters-era regrets, line cook energy, pierced dicks, and how Hat Trick and Suki bonded over banging the same greasy kitchen guy. Also on tap: an ex's brother throwing a bathroom tantrum, social media scorekeeping, and a profanity-laced takedown of the Human dildo. Listen in. Go Deep.

Something's in the air—New York is losing its mind, Ryan's on one, and Joyhdae's got questions for the heavens.In this episode, things go left immediately as Ryan revels in the Knicks' playoff wins while Joyhdae braces for the chaos of a New York championship parade. We celebrate Virgo dominance—from the Pope to the Met Gala to the captain of the Knicks—while unpacking why Virgo season feels eternal this year.The episode also dives into celebrity chaos, conspiracy theories, and cultural commentary that'll leave you gasping and laughing at the same time. From digital scams wrapped in racism to wild Met Gala looks, it's a full spectrum of Black excellence, internet foolishness, and “did-they-really-say-that?” moments.There's also a viral raccoon, stolen lettuce jokes, and Ryan realizing he may be too strong for his own good.Don't forget to like, comment, and subscribe.#VirgoSeasonPodcast ----We want to hear from you:Was the Met Gala the best yet? Did your hometown survive the playoffs? And is America ready for a 100 vs 100 showdown? Sound off in the comments!  LIKE, SUBSCRIBE & JOIN THE VIRGO SEASON COMMUNITY!Subscribe for more pop culture insights, celebrity news, and hilarious takes!Hit the bell to never miss an episode!Share this episode with a friend who loves juicy trending topics. CONNECT WITH US:Instagram: @VirgoSeasonShowFacebook: Virgo Season PodcastWebsite: VirgoSeasonShow.com STREAM US EVERYWHERE:Available on Spotify, Apple Podcasts, YouTube, and more!----CHAPTERS00:00 Intro00:05 Ryan's On Another Level03:07 Observation About Virgos04:26 Virgo Excellence:  The Pope's a Virgo06:08 Early Joke06:53 Joyhdae's Delusion Continues...09:23 Show Open09:55 Vibe Check: Ryan12:27 Vibe Check: Joyhdae13:33 Vibe Check: Ryan (continued...)14:03 AITA18:39 What's Goin' On...?!: Tokyo Toni Speaks On Blue Ivy20:53 What's Goin' On...?!: Diddy Trial Jury Selection24:27 What's Goin' On...?!: The Crowd Funded 'N' Word35:10 PSA37:20 What's Gon' On...?!: 100 Brits vs 100 Americans46:14 What's Goin' On...?!: MET Gala 202501:01:05 Dad vs Auntie Jokes01:06:11 Find Us On All The Things!01:07:35 One More For The Road...01:08:06 Outro

Send us a textYo. I did it again. Turns out I'm not reliable when it comes to release dates (sponsored by Sunday naps). Besides that, things are amazing. In this episode I rattle off a bunch of nonsense and get lost a few times. Basically on brand. There's a lot of discussion about Xzibit and his new freestyle, along with a Nascar boner. Check it out and let me know what you think. Stay tuned for details about the casino overnight. Talk to you soon. 

Sundress season is near, and the crew is horny enough to notice every juicy peach walking past the ballpark. In this extra-steamy episode, Kid, Hat Trick, and El Pres get deep into tales of patio sex, face-sitting legends, and kids interrupting BDSM mishaps. We learn more about “The Delivery Man” and his one-position rule, Hat Trick's legendary belt incident, and a callback to her longtime oral MVP: Golden Tongue. The gang debates ejaculate volume like it's a science experiment and celebrates the great squirt awakening of the 2020s. Oh, and Kanye's still weird. From booty calls during family time to flashbacks of hot tub hookups and lesbian sex-ed crash courses, this episode is soaked in overshare and NSFW nostalgia.

Episode 63 will include our Chick Chat: a recap of what we've been up to in our daily lives including several LS club events; our Swinger News segment; Life in the Lifestyle: a discussion on ways to prioritize your primary partner in the lifestyle; and then we wrap things up with Goin' Deep: where you'll hear an MFM story from Kenzie that was a LONG time in the making! Connect with us: Instagram/X: FWAT_Podcast Email: friendswithatwist@yahoo.com Website: friendswithatwist.com Check out our Partners: Shivers/Luv'ure Gummies: https://shivers.store - Coupon Code FWAT for 10% off Shameless Care: STI Testing/ED Meds/Arousal Cream for Women: https://shamelesscare.com/fwat/?lead-source=FWAT https://shamelesscare.com/cream/ to order 'Shamelessly Aroused' prescription vulva cream - Coupon Code FWAT for a discount off your order Game of Lifestyle Cards: https://www.gameoflifestyle.com - Coupon Code FWAT10 for 10% off Quiver LS Site: https://www.quiver.us/?QCode=FWAT - QCode FWAT for a free all access 30-day trial DK Apparel - Wear Your Lifestyle: https://www.dklsapparel.com/?aff=5  - LS focused clothing & more!

Kid, Hat Trick, and El Pres are back in studio, mashing AI anxiety with dick jokes and parental nightmares. This episode kicks off with an existential debate about whether being nice to Alexa might save your ass in the AI uprising—and derails spectacularly into tales of teenage pantsings, puberty-fueled drama, and genital-related suspensions. Hat Trick's twins are front and center in a battle of hormonal chaos, awkward crushes, and strong female energy. The crew dives into poly relationships, cuck culture, Wonder Woman's kinky creator, and a midget wrestler with a monster dong. Add in a live critique of Get Bent with Vincent Skinwell and some smutty commentary, and you've got one hell of a ride. Spoiler alert: butt calls are now a thing. You're welcome.

Episode 2273 - Magnum grabs the mic and immediately flips the script—declaring it a pussy-powered takeover while The Kid is demoted to the “two-hole.” Studio guest Betty brings the heat (and five-inch heels), Eckler tries to keep his dick jokes straight, and the convo ricochets from ass-checks to pole dancing, masturbation fantasies, and an all-out political meltdown. It's like a live-action bar fight between Cosmo and Hustler with a splash of C-SPAN thrown in for good measure.

This week Cho is unexpectedly absent so Trae turns to the more-than-capable-and-very-hilarious Caleb Synan to talk All Things Fancy in his stead. Caleb is a fellow Small Town Southern Boy, so much of the talk centers around things like "thinking Outback Steakhouse is fancy" and "mixing vodka with Code Red". You know...trailer stuff. But we talk about travel and boats and stuff like that too, so it's fine. Enjoy, Airheads. TRAECROWDER.COM FOR DATES COREYRYANFORRESTER.COM FOR DATES  CALEBSYNAN.COM FOR DATES  STAYFANCYMERCH.COM FOR SWAG  WELOVECOREY.COM FOR BONUS PODS! Mando's Starter Pack is perfect for new customers. It comes with a Solid Stick Deodorant, Cream Tube Deodorant, two free products of your choice (like Mini Body Wash and Deodorant Wipes), and free shipping. As a special offer for listeners, new customers get $5 off a Starter Pack with our exclusive code. That equates to over 40% off your Starter Pack Use code POA at ShopMando.com Join this channel to get access to perks: https://www.youtube.com/channel/UCE_luEVRgClC6dPceGVEZeg/join

Una ensalada con muchos sabores de rock’n’roll, todos procedentes de la cosecha de discos de 1995. Una buena añada.Playlist;(sintonía) THE SATAN’S PILGRIMS “Spoke” (Soul pilgrim)THE NEANDERTHALS “Arula Mata Gali” (The last menace to the human race)SOUTHERN CULTURE ON THE SKIDS “Voodoo cadillac” (Dirt track date)FLAT DUO JETS “Goin’ to a town” (Introducing the…)BEN VAUGHN “Rock is dead” (Rambler’65)OBLIVIANS “Sunday you need love” (Soul food)THE GORIES “You little nothing”THE KAISERS “Watcha say” (Beat it up)THE SWINGIN' NECKBREAKERS “Wait” (Shake break!)THE FLESHTONES “Let’s go” (Laboratory of sound)ROCKET FROM THE CRYPT “On a rope” (Scream Dracula Scream)SUPERSUCKERS “The thing about that” (The sacrilicious sounds of...)THE LAZY COWGIRLS “Frustration, tragedy and lies” (Ragged soul)RANCID “Journey to the end of the East Bay” (...And out come the wolves)MR T. EXPERIENCE “Ba ba ba ba ba” (Love is dead)RIVERDALES “Back to you” (ST)THE MUFFS “End it all” (Blonder and blonder)LOS IMPOSIBLES “Epílogo” (En el país del niño mosca)Escuchar audio

In this data-drenched episode, Kent, Producer Sean and Russ Hall bring the heat with updates, promos, and a life-altering reminder that you can impact anyone within 3 feet…unless you're holding a GNSS rover—in which case, give them a little more room. Enter Ted Knaak, the President of TopoDOT and certified geospatial Jedi. Ted takes us on a journey from Jersey Shore roots to launching Riegl USA in the 90s, and then mic-dropping the geospatial world with TopoDOT in 2011—because clearly, satellites weren't ambitious enough. We talk TopoShare (data governance's cooler cousin), reality capture, point clouds, paradigm shifts, ROI (Return On Innovation?), and how TopoDOT is turning surveying into a high-resolution lifestyle. It's basically Shark Tank meets Star Trek for surveyors. Song of the Week? Bruce Springsteen's “I'm Goin' Down,” which ironically pairs well with LiDAR elevation points. BONUS: If you like brain-twisters, there's even a boundary survey quiz, a GEODNET miner count update, and enough acronyms to crash your COGO. So buckle up, grab your Emlid kit, and prepare to be inspired, educated, and just confused enough to start googling “blockchain RTK.” TopoDOT didn't just draw a line—it rendered the entire surface.

Some serious mess!The Hake Report, Wednesday, April 30, 2025 ADTIMESTAMPS* (0:00:00) Start* (0:04:00) Trump vs anti-Trump* (0:06:27) Hey, guys! Hake Printify tee* (0:09:23) WILLIAM III, CA: Trump 100 Days… Elon Musk* (0:18:30) RONNIE, OH: Trump* (0:26:06) RONNIE: Inferior, superior?* (0:35:01) RONNIE: Like the autistic brother* (0:37:54) RONNIE: If whites left?* (0:44:02) MARK, L.A.: Look at Haiti, South Africa* (0:46:50) MARK: Trump, Judges, Susan Rice,* (0:58:44) Supers 1: barbells, graduate* (1:05:27) Supers 2: Hard workers? Xian song tip, others, graduate* (1:10:39) ALEX, CA: In a blink of an eye* (1:12:54) MAZE, Dayton, OH: No more envy* (1:25:19) Joel Friday TV* (1:25:57) Die-in HRC* (1:31:07) Tamla Horsford drama* (1:35:48) SHAWN, FL: different race families, division* (1:41:31) SHAWN: The dollar, other currencies* (1:44:06) KEN, IL: They wouldn't survive!* (1:47:10) Supers 3* (1:48:20) KAREN, NY: I like men* (1:52:37) Mary Rice Hopkins - "Chicken Lips"LINKSBLOG https://www.thehakereport.com/blog/2025/4/30/the-hake-report-wed-4-30-25PODCAST / Substack HAKE NEWS from JLP https://www.thehakereport.com/jlp-news/2025/4/30/jlp-wed-4-30-25Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/showVIDEO YouTube - Rumble* - Facebook - X - BitChute (Live?) - Odysee* PODCAST Substack - Apple - Spotify - Castbox - Podcast Addict*SUPER CHAT on platforms* above or BuyMeACoffee, etc.SHOP - Printify (new!) - Spring (old!) - Cameo | All My LinksJLP Network:JLP - Church - TFS - Nick - Joel - Punchie Get full access to HAKE at thehakereport.substack.com/subscribe

Musicians like Emmylou Harris, Rosanne Cash, Guy Clark and others changed the scope of country music forever. Hosts Jim DeRogatis and Greg Kot talk with author Geoffrey Himes about the artists of the movement he calls “in-law country.” They also hear from some listeners.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Emmylou Harris, "Born to Run," Cimarron, Warner Bros. Nashville, 1981The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Rosanne Cash, "Seven Year Ache," Seven Year Ache, Columbia, 1981Rosanne Cash, "My Baby Thinks He's A Train," Seven Year Ache, Columbia, 1981The Flying Burrito Brothers, "Six Days on the Road," Last of the Red Hot Burritos, A&M, 1972Emmylou Harris, "Luxury Liner," Luxury Liner, Warner Bros. Nashville, 1976The Byrds, "You Ain't Goin' Nowhere," Sweetheart of the Rodeo, Columbia, 1968The Byrds, "Time Between," Younger Than Yesterday, Columbia, 1967Emmylou Harris, "If I Could Only Win Your Love," Pieces of the Sky, Reprise, 1975Rodney Crowell, "I Couldn't Leave You If I Tried," Diamonds & Dirt, Columbia, 1988Emmylou Harris, "Two More Bottles of Wine," Quarter Moon in a Ten Cent Town, Warner Bros. Nashville, 1978Emmylou Harris, "Pancho and Lefty," Luxury Liner, Warner Bros. Nashville, 1976Emmylou Harris, "Till I Gain Control Again," Elite Hotel, Reprise, 1975Ricky Skaggs, "Heartbroke," Highways & Heartaches, Epic, 1982Guy Clark, "L.A. Freeway," Old No. 1, RCA, 1975Liquid Mike, "Drinking and Driving," Paul Bunyan's Slingshot, Temporal, 2024TAE & The Neighborly, "We Can Be," Self Help, smooth bean, 2024David Grisman and Jerry Garcia, "Whiskey In the Jar," Shady Grove, Acoustic Disc, 1996Graham Nash, "Chicago / We Can Change the World," Songs for Beginners, Atlantic, 1971Bnny, "Good Stuff," One Million Love Songs, Fire Talk, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Oops! All Preshow. We All Like Freebeeeeeeeees. Say Hi To Matthew. Boats full of Seamen. Bording Pass for the D. Nothing beats a grandkids letter. It chokes on anything thicker. The money saving tips Vegas doesn't want you to know! Go, Sperm Racer, Go! Tetris Packer. Missing chat to go have fun. Overly Fonda. Goin' to the D! Egg Sauce. Panoramic Shane and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Oops! All Preshow. We All Like Freebeeeeeeeees. Say Hi To Matthew. Boats full of Seamen. Bording Pass for the D. Nothing beats a grandkids letter. It chokes on anything thicker. The money saving tips Vegas doesn't want you to know! Go, Sperm Racer, Go! Tetris Packer. Missing chat to go have fun. Overly Fonda. Goin' to the D! Egg Sauce. Panoramic Shane and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Gio and Jerry filled in for a sick Boomer, discussing their health issues, including Jerry's penis camera scope story (with many 'penis' drops from Eddie). Gio predicted another bad year for the Giants and Jets in the upcoming NFL draft, stating Justin Fields "stinks" and neither team will draft Shedeur Sanders. C-Lo gave his first update, likely with hiccups. Dave Sims called Aaron Judge's homer as the Yankees swept the Royals and will play the Rays in their spring training home. The Mets lost their series in Minnesota. The hour ended with news of an umpire hit by a line drive in the Mets game, highlighting the need for umpire batting helmets.

These first 10 games show the ship's a goin' down. Hear award-winning columnist Dejan Kovacevic's Daily Shots of Steelers, Penguins and Pirates -- three separate podcasts -- every weekday morning on the DK Pittsburgh Sports podcasting network, available on all platforms: https://linktr.ee/dkpghsports Learn more about your ad choices. Visit megaphone.fm/adchoices