Podcasts about grammy

Robert Pinsky is a Rock Star Poet! He's the 3x United States Poet Laureate. He's won many awards and was a Pulitzer Prize finalist. As Poet Laureate he created the “Favorite Poem Project” where everyday Americans would select and read poems they admired by the greats including Emily Dickinson and Langston Hughes. He's performed with Bruce Springsteen and performed poetry with world class jazz musicians. And he was featured on “The Simpsons”. My featured song is my version of Miles Davis' “All Blues”, sung by the late, great Jon Lucien, from my 1994 debut album Miles Behind. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH ROBERT:www.robertpinskypoet.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This is an Encore Presentation of my March 2021 interview with MY FIRST GUEST, “Cousin Brucie” Morrow, the greatest radio personality of the Rock Era. He has remained on the air steadily from the ‘60s when he was the lead disc jockey on WABC-AM in New York City. He went on to work at WCBS-FM, Sirius/XM and now back to WABC-AM. He introduced The Beatles at Shea Stadium in 1965!My featured song is my reimagined version of Dobie Gray's hit, “The ‘In' Crowd” from the album PGS 7 by my band, Project Grand Slam. Spotify link.---------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This is an ENCORE TRIBUTE PRESENTATION of my February 2024 interview with the great Lou Christie, who passed away last week at 82. Lou was a Hit Machine in the 1960s with his distinctive falsetto voice and songs like “Lightnin' Strikes” (a #1 smash), “The Gypsy Cried”, “Two Faces Have I”, “Rhapsody In The Rain”, and More. He was featured in Dick Clark's Cavalcade Of Stars and on all the major music television shows including Where The Action Is, Hullabaloo and American Bandstand.My featured song is “My Baby”. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Welcome to another episode of God's Gift Through His Word. Your host is always the sweet and encouraging #TDrake. In this episode T.Drake interviews DPB an Independent Artist. ✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨Positive hip-hop trailblazer DPB (David Paul Brooks) — his brand new single, “American Strong,” is out now as of May 23, 2025, and already resonating deeply with fans across the country.“American Strong” is more than a song — it's a powerful anthem of unity, faith, and national pride. With a blend of rhythmic energy and heartfelt lyricism, DPB calls all Americans to stand together, honor our shared heritage, and remember the strength that comes from God and from each other.A former member of the Grammy and Dove-nominated group Disciples of Christ (D.O.C.), DPB has spent over three decades using his platform to uplift communities and speak life through music. This new release follows his impactful single “Peer Pressure,” continuing his legacy of purpose-driven artistry.✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨T.Drake is the Host of God's Gift Through His Word. Her passion for Jesus Christ and her faith are clearly evident. She shares her journey while sharing Indie Artists as well. Her lived experience with #DomesticViolence #HIV #homelessness #Specialneedsparent #disabledmilitaryveteran. These things she has endured have shown her the Word is a gift in her life. She is resilient and grateful to God for allowing her each day to be alive and give praise and honor. The podcast is an extension of her book. Come be inspired uplifted and encouraged on your faith journey.️️️️️️️️️️️️️New article:https://canvasrebel.com/meet-teniecka-drake-2/Audiobook:Listen to The Gift of Finding God's Love by Teniecka Drake on Audible. https://www.audible.com/pd/B0DKG95QJ8?source_code=ASSOR150021921000VPress Release:https://www.pr.com/press-release/934848Contact information:God's Gift Through His Word Interested in being a guest or partnering with us to advertise your products or services? Please email us at ggthw18@gmail.com for details. We are always looking to partner with amazing faith-based and supportive businesses. 

Welcome to another episode of God's Gift Through His Word. Your host is always the sweet and encouraging #TDrake. In this episode T.Drake interviews DPB an Independent Artist. ✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨Positive hip-hop trailblazer DPB (David Paul Brooks) — his brand new single, “American Strong,” is out now as of May 23, 2025, and already resonating deeply with fans across the country.“American Strong” is more than a song — it's a powerful anthem of unity, faith, and national pride. With a blend of rhythmic energy and heartfelt lyricism, DPB calls all Americans to stand together, honor our shared heritage, and remember the strength that comes from God and from each other.A former member of the Grammy and Dove-nominated group Disciples of Christ (D.O.C.), DPB has spent over three decades using his platform to uplift communities and speak life through music. This new release follows his impactful single “Peer Pressure,” continuing his legacy of purpose-driven artistry.✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨T.Drake is the Host of God's Gift Through His Word. Her passion for Jesus Christ and her faith are clearly evident. She shares her journey while sharing Indie Artists as well. Her lived experience with #DomesticViolence #HIV #homelessness #Specialneedsparent #disabledmilitaryveteran. These things she has endured have shown her the Word is a gift in her life. She is resilient and grateful to God for allowing her each day to be alive and give praise and honor. The podcast is an extension of her book. Come be inspired uplifted and encouraged on your faith journey.️️️️️️️️️️️️️New article:⁠https://canvasrebel.com/meet-teniecka-drake-2/⁠Audiobook:Listen to The Gift of Finding God's Love by Teniecka Drake on Audible. ⁠https://www.audible.com/pd/B0DKG95QJ8?source_code=ASSOR150021921000V⁠Press Release:⁠https://www.pr.com/press-release/934848⁠Contact information:God's Gift Through His Word Interested in being a guest or partnering with us to advertise your products or services? Please email us at ⁠ggthw18@gmail.com⁠ for details. We are always looking to partner with amazing faith-based and supportive businesses. 

The RSMS crew kick things off with Grammy-winning R&B duo Brandy and Monica, who reveal their 1998 hit “The Boy Is Mine” inspired by a dramatic episode of The Jerry Springer Show. The legendary song, which topped the Billboard charts for 13 weeks, was intentionally crafted to spark rumors, and the duo are now reuniting both on tour and in the studio. See omnystudio.com/listener for privacy information.

In today’s episode of The Rickey Smiley Morning Show Podcast, we kick things off with Grammy-winning R&B duo Brandy and Monica, who reveal their 1998 hit “The Boy Is Mine” was inspired by a dramatic episode of The Jerry Springer Show. The legendary song, which topped the Billboard charts for 13 weeks, was intentionally crafted to spark rumors, and the duo are now reuniting both on tour and in the studio. Then, Michelle Obama speaks out to quell divorce speculation, attributing their privacy to their age “we’re 60, y’all” and emphasizing that if any serious marital issue existed, she’d address it publicly. Finally, on a tech-forward note, Howard University and Google launch Project Elevate Black Voices, sharing 600+ hours of African-American English dialect data to improve AI speech recognition—which has long struggled with Black speech patterns. Website: https://www.urban1podcasts.com/rickey-smiley-morning-show See omnystudio.com/listener for privacy information.

Shamina Taylor is an attorney turned wealth expert, business mentor, author, and speaker who helps high-achieving women elevate their lives and businesses. With over 20 years of experience, Shamina has guided hundreds of clients to build successful businesses both online and offline. Her top clients earn up to $100,000 a month and have crossed the million-dollar revenue mark. Shamina's story is one of resilience, reinvention, and unlocking abundance—she built her own business to $1 million in just 10 months and now mentors Grammy-winning celebrities and industry leaders.On this episode we talk about:– Shamina's journey from selling chips as a kid in Canada to becoming a successful attorney and, ultimately, a sought-after wealth coach– The pivotal yoga mat moment that sparked her transformation from high-performing attorney to spiritual entrepreneur– How trauma, emotional blocks, and “ice queen” tendencies can hold back high achievers—especially women—from true wealth and fulfillment– The practical steps and mindset shifts needed to transition from a stable career to entrepreneurship, even when starting from zero– Building an audience and launching her first online course, including the strategies that led to her first sales– The importance of investing in yourself and why every dollar spent on personal growth is a bet on your own success– Understanding core money wounds—unworthiness, abandonment, betrayal—and how they show up in business and income– The power of feminine energy in receiving wealth and why mindset is the key to breaking income ceilingsTop 3 Takeaways1. Mindset is Everything: Your beliefs about money, self-worth, and abundance directly impact your ability to earn and keep wealth. Shifting your mindset can unlock new levels of success.2. Invest in Yourself: Treat every investment in coaching, courses, or mentorship as tuition for your future. Even “bad” investments teach valuable lessons and build self-belief.3. Be, Then Do, Then Have: True wealth comes from embodying your highest, most authentic self first—then taking action, and finally reaping the rewards.Notable Quotes– “Money doesn't change who you are right now. You have to be the wealthy, happiest version of yourself first.”– “If you don't look at your bank account—even when it hurts—you're giving money power over you. You need to have power over money.” –“Every bet that I make on myself is another belief notch in my belt to say that I'm going to figure this out—it's just a matter of time.”Connect with Shamina Taylor:– Instagram: @shaminataylor (DM “Travis” for her free cash flow system blueprint and a 15-minute wealth specialization call)

You may recognize Tony and Grammy winner Renée Elise Goldsberry from her role as Angelica Schuyler in the filmed version of Hamilton. And while the Broadway musical celebrates its tenth anniversary this year, Goldsberry is stepping out with her own debut album, Who I Really Am. It’s a deeply personal collection of songs that showcase her range as a performer, songwriter, and storyteller. Check out the belting blues of  “Staring” for starters.

You may recognize Tony and Grammy winner Renée Elise Goldsberry from her role as Angelica Schuyler in the filmed version of Hamilton. And while the Broadway musical celebrates its tenth anniversary this year, Goldsberry is stepping out with her own debut album, Who I Really Am. It's a deeply personal collection of songs that showcase her range as a performer, songwriter, and storyteller. Check out the belting blues of  “Staring” for starters.

Woman's Hour is live from Worthy Farm. Anita is joined by BBC 6 Music's Jamz Supernova, who talks through the women she's most excited to see perform this year and discuss the meteroic rise of Doechii.The musician, songwriter and actress, Rebecca Lucy Taylor launched her solo career as Self Esteem in 2017, won the 2021 BBC Music Introducing Artist of the Year Award and received a nomination for the Mercury Prize in 2022 with Prioritise Pleasure. She discusses her new album - A Complicated Woman – and what's planned for her performance tonight on the Park Stage. The American singer-songwriter Tift Merritt discusses the forthcoming reissue of her Grammy nominted album Tambourine, returning to music after taking time out to raise her daughter, and she performs live for Woman's Hour, ahead of her appearance on the Acoustic stage.Anita meets three generations of female festival goers who are all camping in the family field.Away from the live music performers there are a host of other activities on offer with more than 100 stages around the 900 acre site. Anita speaks Kaye Dunnings, the Creative Director of Shangri-La, which hosts performances, art and installations and has been reimagined this year to celebrate collective joy and awe. Presenter: Anita Rani Producer: Louise Corley

Eric Silberger is a virtuoso violinist. He's a winner of the Tchaikovsky Competition. He's a soloist, recitalist and chamber musician. He's performed all over the world at the most prestigious venues and festivals, including the London, Mariinsky, San Francisco and St. Petersburg orchestras and with Itzhak Perlman. He's the co-founder of the Hawaii International Music Festival. And he's an avid producer and recording engineer. My featured song is “The Gift”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH ERIC:www.ericsilberger.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

YoutubeFacebookXInstagramBioNORTHERN KENTUCKY – Orchid in the Ivy, the hard-hitting alternative rock triofronted by Brett Scharf, is turning heads with the re-release of their fiery, pop-punkrendition of “Beds Are Burning.” Originally recorded some time ago, the band recentlyremixed and relaunched the track to pave the way for their upcoming five-songEP—proving that rock is far from dead and Scharf's creative fire is still blazing.“We did a new mix,” says Scharf of the Midnight Oil classic. “We kinda did it a whileago, and we basically did a whole remix... people will maybe recognize it a little bit andthen kinda get your feet wet again with it—and then go with the five song EP after that.”The result? A faster, sharper, and more aggressive version of the politically chargedanthem—reborn through Orchid in the Ivy's melodic punk-rock lens. “I always thought ithad a great groove to it,” Scharf explains. “I was messing around with it one day andjust thought, ‘God, if we sped this up, this would be more like almost a punk rock tune.' Idon't think they realized how kind of heavy and punk rock that song could actually be.”For Scharf, who once toured alongside now-household names like Fall Out Boy andMotion City Soundtrack in his early band Spindle, Orchid in the Ivy represents a rebirth.After years of navigating the ups and downs of multiple projects, including RosemaryDevice, Scharf stepped into the role of lead singer “more out of necessity than anythingelse.” That unplanned shift uncovered a sound—and voice—that finally felt right.“I put some vocals down on a couple songs and asked my drummer what he thought.He liked it, and we just kept going forward that way,” says Scharf.Since forming in 2013, Orchid in the Ivy has remained fiercely self-sufficient. The bandrecords everything at Scharf's own studio, allowing them the space to experiment andevolve. “We were trying to really find out our sound,” Scharf says. “I think in the last fiveor six years, we really found our voice.”That voice blends the emotional punch of Brand New's The Devil and God Are RagingInside Me with the melodic grit of Alkaline Trio's Crimson and the urgency of RiseAgainst. The upcoming EP, while not including “Beds Are Burning,” follows hot on itsheels, with singles set to roll out every six to eight weeks.“There's a little more emotion involved in this one,” Scharf notes of the new material.“The stuff I've been writing for this EP—and even the next one—is just a little morepersonal. With everything going on in the world, it just seems like a chaotic time.”Though Scharf's journey has spanned decades and many stages, his passion hasnever faded. “The older I got, the better the writing got,” he says. “There's always beenthat inspiration of finding new music, being creative. That's always been a passion ofmine.”And for fans of raw, heartfelt rock music, the message is clear. “Rock's not dead,”Scharf insists. “I hope we can burst through the scene and break some barriers again.There's still a huge audience out there—and just because major labels aren't signing it,doesn't mean they're not there. That's what rock has always been about: breaking downbarriers.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Revelação da MPB, o artista fala sobre racismo, redes sociais, resistências e desistências “Na primeira vez que fiz mercado com dinheiro que ganhei tocando violão, eu chorei. Porque ouvi a vida inteira que música não dava dinheiro”, disse o cantor e compositor Jota.Pê. No Trip FM, ele compartilha detalhes de sua trajetória artística, das noites tocando para ninguém em bares ao Grammy Latino. Nascido em Osasco (SP), o artista participou do The Voice Brasil em 2017 e, apesar de não ter vencido o programa, conquistou em 2024 três estatuetas do Grammy Latino — entre elas, a de Melhor Canção em Língua Portuguesa por Ouro Marrom. A música nasceu da raiva, mas virou força: “Comecei escrevendo a letra com raiva, mas lembrei que a negritude não é só dor. Também somos celebração, cultura, saber. No fim, a música diz: que a gente suba o tom se for preciso, mas que nossas filhas vejam mais amor do que nós.” No papo com Paulo Lima, Jota.Pê fala com franqueza sobre os desafios de viver de arte no Brasil. “Existe um tipo de sorte que acontece quando o talento encontra uma oportunidade. E essas oportunidades estão sempre na mão das mesmas pessoas. Até a gente virar esse jogo, vai demorar muito”, reflete. O artista também compartilhou episódios marcantes de sua vida, como o racismo e a violência policial que sofreu na adolescência: “Eu tinha uns 13 anos e estava indo comprar pão quando fui parado pela polícia com uma arma apontada para a minha cabeça. Foram 15 minutos tentando convencer que eu só estava indo à padaria. Aquilo moldou muita coisa em mim.” O programa fica disponível no Spotify e no play aqui em cima. [IMAGE=https://revistatrip.uol.com.br/upload/2025/06/685efd21607f1/jotape-musica-artista-cantor-trip-fm-mh.jpg; CREDITS=Dani Ferreira / Divulgação ; LEGEND=Jota.Pê (@jota.peoficial), cantor e compositor; ALT_TEXT=Jota.Pê (@jota.peoficial), cantor e compositor] Você tentou não ser músico. O que fez você desistir de desistir? Jota.Pê. Cara, eu realmente tentei muito não ser músico. Fiz faculdade de design, publicidade, trabalhei em gráfica, produtora de vídeo, na IBM… Mas não era bom em nada disso como sou tocando violão. Chegou um ponto em que pensei: a música vai ter que me dar dinheiro mesmo, porque eu não sou feliz fazendo outra coisa. Tinha que dar certo, não tinha outra opção. Na música “Ouro Marrom”, você transformou a raiva em outra coisa. Como foi esse processo? Foi exatamente isso. Eu comecei escrevendo com raiva — porque ser preto no Brasil traz indignação. Mas me lembrei que a gente não é só dor, somos também celebração, cultura, saber. Fiz questão de manter as duas coisas, mas no final deixar a mensagem: a gente enfrenta e vai ser feliz sim; que a gente suba o tom se for preciso, mas que nossas filhas vejam mais amor que nós. Você acha que só talento basta? Tem uma frase que parece de coach, mas eu acredito muito: existe um tipo de sorte que acontece quando o talento encontra uma oportunidade. Conheço artistas geniais que desistiram porque, se fossem tocar naquele barzinho de graça, no dia seguinte não comiam. Eu tive o privilégio de ter pai e mãe, uma casa pra voltar, alguém que dissesse “vem gravar, paga como puder”. Sem oportunidade, a gente não chega lá.

From multi Grammy-award winning artist and songwriter Victoria Monét comes a lyrical picture book that's perfect for children with separation anxiety, while also offering some healing for hard working parents.I'll always be your moonYou'll always be my starJust keep me in your heart andI'll be everywhere you areEverywhere You Are is a lyrical and heartwarming picture book to comfort children experiencing separation anxiety while offering solace to hardworking parents. This melodic tale follows a gentle moon as it comforts a young star when they part ways at dawn. Paired with the whimsical and imaginative art of Alea Marley, Everywhere You Are beautifully illustrates that even when loved ones are not physically present, their love remains ever-present in our hearts. Inspired by Victoria's own experiences as a working parent, this book is a touching reminder of the enduring bond between parent and child.Everywhere You Are reminds us that even when someone isn't right next to us, their love still carries on in our hearts.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

În fiecare vară, Timișoara devine un centru al jazzului contemporan, un loc în care sunetele inovatoare, artiștii de renume și publicul pasionat creează împreună o experiență muzicală unică. JAZZx, ajuns la a 13-a ediție, continuă să inoveze oferind un program divers care celebrează bogăția stilistică și talentul artiștilor români și internaționali. Discutam despre acest eveniment cu Andreea Iager Tako (Centrul Cultural Plai) si Krisztina Kalapati (responsabil comunicare JAZZx Festival TM). După ce primele nume anunțate – Jacob Banks, The Philharmonik, New Fossils și Zaharenco –  festivalul își continuă dezvăluirea lineup-ului cu artiști excepționali, care vor transforma cele trei zile de festival într-un eveniment memorabil. Béla Fleck, Edmar Castañeda & Antonio Sánchez Trio One Sheet Câștigător a 18 premii Grammy (42 de nominalizari / Grammy 2025 pentru “Best Arrangement, Instrumental or A Capella”), Béla Fleck a redefinit banjo-ul, transformându-l dintr-un instrument tradițional într-un vector al inovației muzicale. De la bluegrass la jazz și colaborări cu artiști legendari precum Chick Corea, Fleck surprinde mereu prin explorările sale sonore. La JAZZx 2025, alături de Edmar Castaneda – un virtuoz al harpei din Columbia, cunoscut pentru colaborările cu Hiromi, Paquito D'Rivera și Gregoire Maret – și Antonio Sanchez – toboșar de 5 ori premiat cu Grammy, celebru pentru colaborările cu Pat Metheny și coloana sonoră a filmului Birdman – vine să creeze un dialog muzical captivant, plin de ritmuri surprinzătoare, armonii sofisticate și o energie aparte.    Meshell Ndegeocello Este o artistă de excepție, recunoscută pentru talentul său de a îmbina diverse influențe muzicale diverse, de la funk și soul la jazz, hip hop, reggae și rock. De-a lungul unei cariere de peste 30 de ani, a redefinit așteptările. Câștigătoarea premiulul Grammy din acest an la categoria “Best Alternative Jazz Album” și având în palmares alte 2 premii și 13 nominalizari, Meshell a colaborat de-a lungul carierei cu artiști de renume precum Rolling Stones, Madonna, Alanis Morissette și mulți alții. Pentru ea, fiecare spectacol este o oportunitate de conexiune, considerând muzica un liant între oameni – un principiu care se regăsește perfect în spiritul JAZZx: We Jazz Together.   Adi Oasis Originară din Caraibe și stabilită în Brooklyn, Adi Oasis este o artistă și producătoare de soul-funk-R&B, recunoscută pentru vocea sa inconfundabilă. Cel mai recent album al său, „Lotus Glow”, este cea mai personală și curajoasă creație a ei de până acum, îmbinând teme politice și sociale cu o estetică sonoră captivantă. Din 2018, de când și-a început cariera solo, a cucerit publicul și critica de specialitate, fiind apreciată de Vogue, Elle, Rolling Stone și Wonderland. A avut un impact puternic pe scena live, impresionând cu prestații energice și colaborări cu artiști precum Lenny Kravitz, Masego, Anderson .Paak, Thundercat și Yasiin Bey. A urcat pe scenele unor festivaluri prestigioase, inclusiv Newport Jazz Fest, Montreux Jazz Festival, Love Supreme, Afropunk și Cross the Tracks, iar acum aduce acest mix efervescent de stiluri la JAZZx 2025, promițând un show electrizant.   IOANAx Soultrain Un proiect custom dezvoltat de Subcarpați pentru JAZZx, după SUBJazz (Subcarpați x JazzyBit), subliniind caracterul unic al festivalului. Aduce un suflu nou folclorului românesc, îmbrăcându-l în libertatea jazz-ului. Vocea Ioanei Milculescu devine puntea dintre tradiție și modernitate, transformând fiecare piesă într-o călătorie sonoră intensă și autentică.  Alături de Max K., Mușat, Marcelle Poaty-Souami, Daniel Rădulescu, Radu Pieloiu, Mircea Ardeleanu Jr. și muzicienii din universul Subcarpați, melodiile Ioanei sunt reorchestrate și reinterpretate, dând folclorului o nouă viață. Acest proiect redescoperă̆ rădăcinile muzicale printr-un limbaj contemporan, creând o experiență̆ captivantă, plină de nuanțe și emoție.   Amphitrio Este un proiect de jazz contemporan iniţiat în 2020, având în componenţă pe pianistul și compozitorul Andrei Petrache, basistul Mike Alex și percuţionistul Philip Goron, instrumentiști cu o fundaţie solidă în muzica clasică și alternativă. Povestea din spatele acestui trio vorbește despre prietenie, despre plăcerea de a cânta și de a improviza.  Repertoriul Amphitrio conţine piese originale scrise de Andrei Petrache într-o zonă a jazz-ului modern, cu influenţe din jazz-ul nordic contemporan și culori balcanic-orientale, dar și amprente din heavy rock și muzică electronică.   JAZZx se va desfăşura la Timişoara, în Piața Libertății, în perioada 4 - 6 iulie 2025, iar accesul este gratuit.

Details of Nephew Jalen Hurts second wedding (still no pics); Audra McDonald stuns at the Tonys; The Grammys change the rules; Adriana Smith, used as a human incubator, has finally been allowed to die; Andrew Cuomo is out; Realities and legalities of Portia's divorce settlement; R. Kelly ODs in prison; Diddy's employees were texting about a(n) (alleged) criminal conspiracy;  Barack Obama is minding his Black business;  PLUS: Former Cook County State's Attorney Kim Foxx returns to explain these “dropped” charges against Diddy. Thanks to our sponsor: This year, skip breaking a sweat AND breaking the bank. Get this new customer offer and your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/ratchet. Learn more about your ad choices. Visit podcastchoices.com/adchoices

One of our listeners managed to secure a seat at the Grammys, and while she didn't "fan-girl" what she did do, might be the biggest regret of her life!See omnystudio.com/listener for privacy information.

Grammy winning icon, Sheila E. joins Sherri and Kym. Buy Sheila's albums here: https://sheilae.com/ Support Kym's Production Project "Walk in the Light" https://walkinthelightmovie.com See Kym in Houston, TX at The Punchline https://www.punchlinehtx.com/shows See Sherri in Philadelphia, PA https://www.riverscasino.com/philadel... Kym's product store: http://whitleyproducts.store/index.html TFM merch: http://byjack.com/twofunnymamas @KymWhitley⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@SherriEShepherd⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@SherriShowTV⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@TwoFunnyMamas⁠⁠⁠⁠⁠⁠⁠⁠⁠ Chris Denman   ⁠⁠⁠⁠⁠⁠⁠⁠⁠@instadenman⁠⁠⁠⁠⁠⁠⁠⁠⁠   See Sherri doing standup: ⁠⁠⁠⁠⁠⁠⁠⁠⁠SherriShowTV.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ TFM Merch (New designs dropping soon!) ⁠⁠⁠⁠⁠⁠⁠⁠⁠ByJack.com/TwoFunnyMamas⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠@TwoFunnyMamas⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@SherriEShepherd⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@KymWhitley⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@instadenman⁠⁠⁠⁠⁠⁠⁠⁠⁠ Help Sherri and Kym get to 100k Subscribers on YouTube! ⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube.com/TwoFunnyMamas⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you haven't yet, please rate us five stars on Spotify, and Apple Podcasts Produced by Chris Denman / ⁠⁠⁠⁠⁠⁠⁠⁠⁠Mid Coast Media ⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Krishna Das gives insights on continual grace and transforming our self-limiting inner narratives through spiritual practice.This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/insighthour and get on your way to being your best selfThis week on Pilgrim Heart, Krishna Das thoughtfully discusses:What it means for the guru to have a key to our mindsTeachings from Siddhi Ma: knowing that everything is grace, but acting like it isn'tPutting effort into loving everyone, serving everyone, and remembering GodThe story of Maharaj-ji in England with a military devotee Our subjective reality as the product of our karmic cycleReconciling our faith with spiritual practice and seeing God in many formsKrishna Das' take on Buddhism and dealing with the afflictions of the mindUsing chanting and mantra to release shame and stay rooted in the present momentLetting go of the stories we tell ourselves and reclaiming the power to change our livesAbout Krishna Das:Layering traditional Hindu kirtan with instantly accessible melodies and modern instrumentation, Grammy nominee Krishna Das has been called yoga's “rock star.” With a remarkably soulful voice that touches the deepest chord in even the most casual listener, Krishna Das – known to friends, family, and fans as simply KD – has taken the call-and-response chanting out of yoga centers and into concert halls, becoming a worldwide icon and the best-selling chant artist of all time. His album ‘Live Ananda' (released January 2012) was nominated for a Grammy in the Best New Age album category.KD spent the late '60s traveling across the country as a student of Ram Dass, and in August 1970, he finally made the journey to India, which led him to Ram Dass' own beloved guru, Neem Karoli Baba, known to most as Maharaj-ji. Krishna Das now travels the world sharing his kirtan practice and wonderful stories of his life, of Maharaji-ji, of his life on the Path and discusses bringing chanting into our lives through retreats and workshops. To date, KD has released 15 well-received albums, most recently Trust in the Heart released in October 2017.MORE INFORMATION and OFFERINGS VISIT: https://krishnadas.com/ KRISHNA DAS ON SOCIAL: FACEBOOK: facebook.com/KrishnaDasMusic INSTAGRAM: instagram.com/krishnadasmusic YOUTUBE: / krishnadasmusic X: @krishnadas #KrishnaDas"We have to make our effort to open to that grace, calm the mind, repeat the name, think of others. Like Maharaj-ji said, ‘serve everyone, love everyone, remember God'. There's not one of those three things that I can do completely, and so, my effort is required to open to the space where that's reality." – Krishna DasSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ever feel like you're never enough?

Music for Breakfast: Grammy 2025 Highlights and Hot Takes!In this episode of Music for Breakfast, hosts Octavia March and Rell Roulette break down the most memorable moments from the 2025 Grammy Awards. They discuss Kendrick Lamar's big wins, Beyonce's historic night, Chris Brown's controversial absence, and the impact of DEI initiatives on the event. The hosts also touch on some of the more petty moments, like JLo and Shakira's Super Bowl spat, and Janelle Monáe's performance in the Michael Jackson tribute. They wrap up with shout-outs to standout performances and urge listeners to share their thoughts in the comments.00:00 Introduction and Apologies00:15 Chris Brown and the Michael Jackson Tribute00:45 Kendrick Lamar's Grammy Sweep01:07 Music for Breakfast Hosts Introduction02:55 Grammy Highlights and Petty Moments08:17 Diversity and Inclusion at the Grammys11:57 Beyoncé's Big Win21:19 AI and the Beatles25:57 Final Thoughts and Wrap-Up #musicivbreakfast  #hiphop #youtube #fyp #trendingCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS

#beyonce #grammys #kendricklamarGrammy Predictions | Music IV BreakfastIn this episode of 'Music IV Breakfast,' hosts Octavia March, Jay Manning, Kia (aka KC), and Relle Roulette predict the winners of the 2025 Grammy Awards. The episode features lively discussions and debates on various categories, including Album of the Year, Best R&B Album, Best Rap Performance, and more. The hosts focus particularly on categories with significant Black artists and emphasize the cultural impact of the awards. From Chris Brown to Kendrick Lamar, the conversation touches on the merits and popularity of the nominated artists and songs. Tune in for an engaging and entertaining Grammy prediction session!00:00 Guessing the Grammy Winners00:47 Introducing the Hosts01:16 Discussing the Importance of the Grammys02:42 Record of the Year Predictions05:22 Album of the Year Predictions06:57 Songwriter of the Year Predictions08:21 Best New Artist Predictions10:00 Best Pop Solo Performance Predictions10:50 Best R&B Performance Predictions12:06 Best Traditional R&B Performance Predictions12:48 Best R&B Song Predictions13:27 Best R&B Album Nominees15:30 Best Rap Performance Nominees17:23 Best Melodic Rap Performance Nominees20:17 Best Rap Album Nominees22:06 Best Rap Song Nominees23:10 Best Music Video Nominees24:49 Closing Remarks and Outro#grammys #beyonce #kendricklamar #musicivbreakfast  #hiphop #youtube #fyp #trendingCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS

In this episode of Music for Breakfast, hosts Octavia March, Jay Manning, Kia KC, Walker and Ra Roulette dive deep into the buzz surrounding Beyoncé's upcoming Cowboy Carter tour. Join the lively discussion as they break down the pros and cons of splurging on concert tickets, explore Beyoncé's recent Grammy wins, her surprising shift to country music, and the fan experience at her shows. The hosts also reflect on their favorite concert memories and share their thoughts on what makes a great venue. Perfect for new and small YouTubers, hip-hop lovers, and music fans looking for a fresh perspective on the music industry, this episode is packed with humor, debate, and strong opinions. Don't forget to hit like and subscribe for more music news, commentary, and engaging content! We are Music IV Breakfast! #music #beyonce #cowboycarter #tour #hiphop #youtube #fyp #trendingCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS

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Paul Strickland is a Professional Storyteller and theater artist. His repertoire consists of over seven hours of stories including reupholstered folk tales, fairy tales for adults and future adults, tall tales and historical stories that never happened. He was featured at the 2023 National Storytelling Festival. He made his Off Broadway debut in “13 Dead Dreams Of Eugene”. And he's got a new Edutainment Newsletter that's just starting up.My featured song is called “You Can't Tell The Truth” from my album Summer Of Love 2020. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH PAUL:www.ainttrue.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode, Clayton chats with drummer Patrick Phelan IV, the current touring drummer for the Shucked First National Tour. Patrick shares how a random hangout in NYC led to his first Broadway subbing opportunity and how he's since built a career full of friendship, groove, and grit.We dive into his musical upbringing in Wisconsin, where he studied classical percussion at the University of Wisconsin–Eau Claire, and how his early decision to leave veterinary studies for a life behind the drum kit changed everything. Patrick talks about balancing eight shows a week, playing pickleball and golf to stay sane on the road, and bleeding all over his snare in Dallas — literally.Patrick also opens up about:* His deep love for Yacht Rock and why he dreams of touring with Michael McDonald or Christopher Cross* Learning to play entire shows from Vimeo videos (with no charts!) — like his recent tour with Clay Aiken & Ruben Studdard* Why subbing on Shucked led to a national tour* Playing music for music's sake—not just for the showWhether you're a drummer, a theater musician, or someone trying to figure out how to break into the Broadway world, this episode is packed with real advice, honest stories, and some good laughs.Featured Topics:* Getting into musical theater through friendship and trust, not just auditions* Classical chops meeting country-pop grooves on Shucked* Why networking isn't just schmoozing—it's about real human connection* Staying musically inspired while playing the same show night after night* The role of joy, artistic outlets, and “pretending you're at your own rock concert” when playing in isolationAbout Patrick Phelan:Outside of Broadway, Patrick has toured internationally with Americana band Them Coulee Boys, recording the album Die Happy, which charted on the American Radio Album charts. He played for the Grammy-nominated Jazz Ensemble 1 at the University of Wisconsin–Eau Claire and performed at PASIC with the UWEC percussion quartet. Patrick also teaches private lessons in drum set, concert percussion, and piano.Connect with Patrick:Instagram: @patrickphelan4Email: patrickphelan4@gmail.comCheck out the Broadway Bound and Beyond book and merch!Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he has contributed his talents to notable productions such as Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and Hadestown (tour), among many others. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Composer Steve Reich is one of the most influential musicians of modern times. In the 1960s he helped rewrite the rules of composition, using analogue tape machines to experiment with rhythm, repetition and syncopation. As the godfather of musical minimalism, his influence on Philip Glass, David Bowie, Jonny Greenwood of Radiohead, and many other composers, has been enormous. Countless dance music producers also owe a debt to pieces including It's Gonna Rain, Drumming, Different Trains and Music for 18 Musicians. His music has been performed in concert halls all around the world, and his many awards include three Grammys, a Pulitzer Prize, the Polar Prize for Music and the Premium Imperiale. Steve Reich tells John Wilson how, at the age of 14, three very different recordings awoke his interest in music: Stravinsky's The Rite of Spring, Bach's 5th Brandenburg Concerto, and a piece of bebop jazz featuring saxophonist Charlie Parker, trumpeter Miles Davis and drummer Kenny Clarke. Inspired to start a jazz quintet of his own, Reich began to study percussion before enrolling in a music history course at Cornell University. It was here he discovered the music of Pérotin, the 12th century French composer associated with the Notre Dame school of polyphony in Paris. His beautiful sustained harmonies had a profound influence on Reich's own compositions, including Four Organs (1970) and Music for 18 Musicians (1976).Steve Reich also explains the significance of two books on his music; Studies in African Music by A.M.Jones and Music in Bali by Colin McPhee, both of which led to a greater understanding of music from parts of the world where music is passed down aurally rather than through notation.Producer: Edwina Pitman Additional recording: Laura Pellicer

Join me for a heartfelt and powerful conversation with the one and only Rhonda Ross, Emmy-nominated actor, Grammy-nominated songwriter, motivational singer, and a radiant force in the world of art and transformation. You may know her as the daughter of legends Diana Ross and Berry Gordy, but Rhonda's story is uniquely her own. In this deeply personal episode of Black Women Amplified, she opens up about what it's been like to navigate fame, identity, and healing on her own terms. We talk about:What it was really like growing up in the public eyeHer struggles with identity, depression, and not feeling “enough”The emotional and spiritual work it took to find balance and healingHer journey through the music industry—and back to herselfHow she now uses her voice to uplift, inspire, and teach othersThis conversation is filled with real talk, deep wisdom, and radical truth-telling. Rhonda reminds us that behind every headline is a human story and that you are not alone in your struggles, and you are powerful beyond measure.So grab your favorite drink, get cozy, and tune in. You'll laugh, cry, and leave with your soul nourished.Support the Show:Visit BlackWomenAmplified.com to explore the blog, grab your Black Women Amplified logo tee and cap, and sign up for the newsletter.Listen | Share | EnjoyWith love and light,Monica WisdomFounder & Host, Black Women AmplifiedBusiness and Life CoachSupport the show: (cashapp) $BWAMO444#BlackWomenAmplified #RhondaRoss #HealingJourney #BlackWomenInMusic #EmotionalHealing #FameAndIdentity #MotivationalMusic #WomenWhoInspire #MonicaWisdom #DianaRossDaughter #BlackVoicesMatter #MentalHealthAwareness #ArtistJourney #SelfLove #AuthenticLiving #BlackExcellence #WomenInEntertainment #PodcastForBlackWomen #InnerHealing #LiveYourTruth #BlackWomenLead

What if AI isn't replacing creativity, but expanding it in ways we've never seen before? Rick Rubin joins Ryan to discuss the mysterious nature of using AI throughout the creative process. They talk about what vibe coding is, why structure can unlock freedom, and revisiting ancient philosophy to uncover new insights.Rick Rubin is a renowned American record producer and the co-founder of Def Jam Recordings, founder of American Recordings, and former co-president of Columbia Records. He has produced albums for a wide range of acclaimed artists, including the Beastie Boys, Run-DMC, Public Enemy, Red Hot Chili Peppers, Metallica, Audioslave, Rage Against the Machine, and Johnny Cash. He has won nine Grammys and has been nominated for 12 more. He has been called “the most important producer of the last 20 years” by MTV and was named on Time‘s list of the “100 Most Influential People in the World”.

Join Lynn Hoffman on this Music Saved Me episode with award winning, Grammy nominated singer, songwriter Sandy Knox. She has had songs recorded by Dolly Parton, Reba McEntire, Neil Diamond, Donna Summer and she is releasing "Weighting-My Life if it were a musical" which is a new groundbreaking audio book that also includes 21 original songs. You'll love Sandy's authenticity and she clearly knows the healing power of music in our lives. A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore next. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Ani DiFranco. ABOUT ANI DIFRANCOSinger, songwriter, musician, producer, poet, author, spoken-word artist, activist and entrepreneur Ani DiFranco has released more than 20 independent studio albums on her own label, Righteous Babe Records. Though often classified as “alternative folk,” DiFranco's musical influences span a range of genres. After relentless touring, she reached a wide commercial audience in the late 1990s and early 2000s with albums such as Little Plastic Castle, Up Up Up Up Up Up, Revelling/Reckoning, Evolve, Educated Guess, and the gold-certified live album Living in Clip. The Grammy winner and nine-time nominee achieved her sole Top 40 hit as a songwriter when Alana Davis covered the DiFranco classic “32 Flavors” in 1997. The prolific and critically-acclaimed performer developed her own uniquely percussive guitar style and has collaborated with a range of artists, including Bon Iver's Justin Vernon, Bruce Cockburn, Pete Seeger, Utah Phillips, Maceo Parker, and Prince. In addition to releasing her own music, her label has issued recordings by Sara Lee, Andrew Bird, Nona Hendryx, and others. Ani was one of the first musicians to receive the Woman of Courage Award from the National Organization for Women, and was honored with both the Woody Guthrie Award and the Southern Center For Human Rights' Human Rights Award. Her memoir, No Walls and the Recurring Dream, was released in 2019 by Viking Books. At the time we spoke with her, the New Orleans-based DiFranco's 2021 album, Revolutionary Love, was just about to be released. 

About Everywhere You Are From multi Grammy-award winning artist and songwriter Victoria Monét comes a lyrical picture book that's perfect for children with separation anxiety, while also offering some healing for hard working parents.I'll always be your moonYou'll always be my starJust keep me in your heart andI'll be everywhere you areIn this melodic picture book from chart-topping musical sensation Victoria Monét, a gentle moon comforts a young star as night ends and they separate. Paired with the whimsical and imaginative art of Alea Marley, Everywhere You Are reminds us that even when someone isn't right next to us, their love still carries on in our hearts.Victoria Monét BioMulti-hyphenate superstar and 3x Grammy-award winner, including 2024 Best New Artist, Best R&B Album and the first Black woman to win Best Engineered Album Non-Classical , Victoria Monét has been stealthily— and steadily— trailblazing her own gilded path in music for over a decade.. Monét has been enjoying a hard-earned breakthrough year with her long-awaited album debut, JAGUAR II and most recently, the extended JAGUAR II : Deluxe. With JAGUAR II, Monét delivered a handful of singles from the album including “Smoke” ft. Grammy winner Lucky Daye, “Party Girls” ft. Buju Banton, and culture defining hit single “On My Mama” – which now has over 158 million streams in the US and over 229 million streams worldwide, along with its iconic video garnering over 71 million views and viral content topping 804 million views. "On My Mama" earned #1 spots on R&B / Hip-Hop radio & US Rhythmic chart and charted in the Top 4Everywhere You Are Book: https://www.penguinrandomhouse.com/books/737920/everywhere-you-are-by-victoria-monet-illustrated-by-alea-marley/Victoria & Hazel at the Grammys. Photo by © Dalvin Adams.Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

Everyone feels nervous sometimes — whether you're a Grammy-winning performer or a kid who hasn't started Kindergarten yet!This month, Little Kids, Big Hearts is focused on feeling nervous — what it is to feel nervous and some strategies to cope with the feeling! Today, we're thrilled to release an original Little Kids, Big Hearts song by the amazing educator/composer Benjamin Weiner called NERVOUS. It's inspired by the words that our amazing kid guests shared on our episode "Wobbly to Wow With Judge Reinhold" and by Doechii's powerful song "Anxiety." NERVOUS by Benjamin WeinerI'm feeling nervous, but I know what to do. I'm feeling nervous, but I know what to do. I take a deep breath, and shake my hands out, too. I'm feeling nervous, but I know what to do. My palms are sweaty getting ready for a dance show. My heart starts beating when I'm meeting someone I don't know. Going to a new place. You can see the feeling on my face. I'm feeling nervous, but I know what to do. I'm feeling nervous, but I know what to do. I take a deep breath, and shake my hands out, too. I'm feeling nervous, but I know what to do. When my tummy's feeling funny and my hands shake, My voice is breaking when I think I'm making a mistake. I know my family can calm me down. And it's better just to say it out loud. I'm feeling nervous, but I know what to do. I'm feeling nervous, but I know what to do. I take a deep breath, and shake my hands out, too. I'm feeling nervous, but I know what to do. So, take a deep breath [breath],Shake your hands out: shake, shake, shake, shake. And take a deep breath [breath],And shake your hands out: shake, shake, and singI'm feeling nervous, but I know what to do. I'm feeling nervous, but I know what to do. I take a deep breath, and shake my hands out, too. I'm feeling nervous, but I know what to do. Hmm...Learn more and listen along with us!

Sara Gazarek is a 2x Grammy Winning Jazz Vocalist. She has recorded five albums and done world tours. She has collaborated with luminaries like Kurt Elling, Fred Hersch, Larry Goldings and Billy Childs. She is a founder of Saje, the all-female vocal group. And she is the Jazz Voice Professor at the Eastman School of the University of Rochester.My featured song is my reimagined version of Joni Mitchell's reimagined version of a song by Charles Mingus called “The Dry Cleaner From Des Moines”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SARA:www.saragazarek.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Jason Fraley interviews jazz icon Dianne Reeves, who performs live at Wolf Trap in Vienna, Virginia this Friday June 27th. She discusses her journey to win five Grammys, including for the soundtrack of George Clooney's 2005 film “Good Night and Good Luck.” (Theme Music: Scott Buckley's "Clarion")

With the release of her latest single, the soulful and sensualromance “You Know What It's Like,” Brenda Russell not only continues to pave the way for her highly anticipated upcoming album Songpainter – her first collection in 20 years – but also makes a triumphant return to the refined classic blend of adult contemporary R&B and urban jazz that launched and defined the trailblazing four and a half decade career of the multi-Grammy nominated singer/songwriter, Tony nominated and Grammy winning Broadway composer for The Color Purple.  “You Know What It's Like” is a co-write by the singer and the legendary Roberta Flack. When people assess Brenda's overall career, her success as an artist and with The Color Purple often overshadows the gemsshe wrote that were hits for other artists. Beyond Oleta Adams' “Get Here,” Brenda's gems have been recorded by Luther Vandross (“If Only for One Night”), Donna Summer (“Dinner with Gershwin”), Babyface, The Manhattan Transfer, Patti Austin, Dionne Warwick, Mary J. Blige, Tina Turner, Stevie Wonder, Chaka Khan and Ramsey Lewis. Her tunes have also been sampled by everyone from Janet Jackson and 2Pace to Chance the Rapper and Ariana Grande. In addition, Brenda's co-composition with Brazilian artist Ivan Lins “She Walks This Earth” was recorded by international superstar Sting for the all-star tribute album Love Affair: The Music Of Ivan Lins. Sting's inspired performance of the uniquely beautiful song earned him a Grammy Award in 2001 for Best Pop Male Vocal Performance. Brenda was recently elected into the Female Songwriters Hall of Fame.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Send us a textWe live in a society that's quick to label inequality as "the way things are" rather than confronting the systemic barriers that keep certain communities locked in cycles of disadvantage. The recent UK High Court ruling that 20% VAT on private school fees is lawful isn't just about taxation – it's about working-class families making extraordinary sacrifices because they've been failed by an educational system that desperately needs complete overhaul, not just additional financial barriers.This episode dives into how discrimination manifests across different spheres – from education to professional sports to everyday workplace interactions. When I was commanded to "smile" during a meeting, it wasn't an innocent request. It was a loaded directive rooted in racial and gender expectations that police Black women's expressions and demeanor. Similarly, when tennis star Aryna Sabalenka downplayed Coco Gauff's major wins, or when the Grammys suddenly split the Best Country Album category after Beyoncé's success, we're witnessing the same underlying problem: reluctance to celebrate Black excellence on its own terms.Perhaps most personally revealing is our exploration of friendship in midlife – what I call the "friendship renaissance." After years of giving too much to those who offered little in return, I've learned the value of having just two genuine friends rather than numerous superficial connections. True friendship requires a collective understanding of honesty, loyalty and love that many simply don't share. As we age, we become more intentional about who deserves access to our lives, recognizing that it's better to embrace solitude than accept relationships built on imbalance. What friendships are you nurturing or releasing as you evolve? How are you defining what connection means on your own terms?Sponsorships - Email me: hello@toyatalks.com Cc: toyawashington10@gmail.comTikTok: toya_washington Twitter: @toya_w (#ToyaTalksPodcast) Snapchat: @toyawashington Instagram: @toya_washington & @toya_talks www.toyatalks.comhttps://toyatalks.com/Music (Intro and Outro) Written and created by Nomadic Star

Have you ever set a goal, only to feel stuck, drained, or deeply afraid to follow through—even when you really want it? In this solo episode, I'm opening up about the silent ways unhealed trauma can block our ability to finish what we start, trust our own greatness, or even dream out loud.We'll explore how trauma reshapes the brain, tricks us into procrastination or perfectionism, and keeps us in cycles of burnout. But it's not just about identifying the blocks—it's about healing them.I'll walk you through how to recognize trauma patterns in your goal-setting process, share actionable healing strategies, and give you real-life examples that might mirror your own journey. If you've been feeling like you're doing everything right but still can't move forward—this episode is for you.✨ Get ready to:Understand the brain-trauma-goal connectionLearn how survival mode disguises itself as self-sabotagePractice tools to feel safe enough to shine againRebuild the belief that you can win, even after everythingThis one is personal, raw, and full of hope. Because healing isn't just about getting better—it's about finally becoming who you were always meant to be. NEW MUSIC! Pen Cry – A transformative anthem for healing featuring GRAMMY®-nominated poet Ty Scott King. Listen now: https://distrokid.com/hyperfollow/paemurray/pen-cry-feat-ty-scott-king Want to write your own book or tell your story powerfully?Explore AuthorHER, my new platform to help women heal through authorship and create books that inspire the world: https://www.paemurray.com/authorher Read my personal healing story in Survive Then Live – a raw and hope-filled memoir of surviving the Pulse Nightclub tragedy and choosing purpose over pain. Order here: https://www.amazon.com/Survive-Then-Live-Patience-Carter/dp/0578454580  Share this episode with a sister who's feeling stuck. Let's Stay Connected Follow Healing Her Halo — for healing inspiration, writing support, and AuthorHER updates: Instagram – https://www.instagram.com/healingherhalo Follow my music journey as Pae Murray: Instagram – https://www.instagram.com/paemurraymusic YouTube – https://www.youtube.com/@paemurray Listen & Follow the Healing Her Halo Podcast on Buzzsprout and all your favorite streaming platforms: https://www.buzzsprout.com/1491109Let's heal, rise, and write our truth—together. #HealingHerHalo #TraumaHealing #GoalSetting #FaithOverFearSend us a text

Join Lynn Hoffman on this Music Saved Me episode with award winning, Grammy nominated singer, songwriter Sandy Knox. She has had songs recorded by Dolly Parton, Reba McEntire, Neil Diamond, Donna Summer and she is releasing "Weighting-My Life if it were a musical" which is a new groundbreaking audio book that also includes 21 original songs. You'll love Sandy's authenticity and she clearly knows the healing power of music in our lives. A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore next. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSee omnystudio.com/listener for privacy information.

Grammy-winning singer-songwriter and breast cancer survivor Melissa Etheridge joins Sarah for a deeply personal conversation about the power of resilience and reinvention. Melissa talks about how a women's soccer team helped her get discovered, why she had to re-record her very first album, and how her cancer battle transformed her approach to life and advocacy. Beyond the diagnosis, she shares her ongoing passion for empowering women — including her vocal support of women’s sports, from championing equal pay to performing at key moments in the rise of women's soccer. This episode is a tribute to living boldly, loving deeply, and refusing to be defined by a diagnosis. Leave us a voicemail at 872-204-5070 or send us a note at goodgame@wondermedianetwork.com Follow Sarah on social! Bluesky: @sarahspain.com Instagram: @Spain2323 Follow producer Misha Jones! Bluesky: @mishthejrnalist.bsky.social Instagram: @mishthejrnalist Follow producer Alex Azzi! Bluesky: @byalexazzi.bsky.social See omnystudio.com/listener for privacy information.

Neil Scott, RC2C host, shares a conversation with a former NFL offensive tackle, who played for the New York Giants and the Tampa Bay Buccaneers. He also had two stints in recovery. The second one finally took hold. His stories and insightful are inspiring! The podcast concludes with some thoughts from the multiple Grammy award-winning Adele. And here is the profile that was done on Neil Scott in a recent edition of the Alcoholism and Recovery eBulletin: https://addictionrecoveryebulletin.org/neil-scott-person-of-the-week/    

Chris Brubeck is a Grammy-nominated composer who will be coming to Sacramento for a concert "To Hope"  

Aaron Camaro from the Decibel Geek Podcast joins the program to discuss Bonnaroo being canceled. Grammy's announcing a new category. Brian Wilson passing. New Stones album. Streaming the Black Sabbath tribute concert. Bakko has a Konspiracy and more. ⁠⁠Pantheon Podcasts⁠⁠⁠⁠⁠⁠ Reach out to us! Rate, review, and subscribe at Apple Podcasts: ⁠⁠⁠⁠⁠⁠Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts⁠⁠⁠⁠⁠⁠ Join our fanpage on Facebook: ⁠⁠⁠⁠⁠⁠(2) Cobras ON Fire: Private Group | Facebook⁠⁠⁠⁠⁠⁠ Click like and follow on Facebook: ⁠⁠⁠⁠⁠⁠(2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook⁠⁠⁠⁠⁠⁠ Follow us on ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ Follow us on Threads: ⁠⁠⁠⁠⁠⁠@cobrasandfirepodcast • Threads, Say more⁠⁠⁠⁠⁠⁠ Subscribe to our YouTube channel: ⁠⁠⁠⁠⁠⁠Cobras & Fire Rock Podcast - YouTube⁠⁠⁠⁠⁠⁠ Follow us on Bluesky: ⁠⁠⁠⁠⁠⁠Cobras & Fire Podcast (@cobrasfirepodcast.bsky.social) — Bluesky⁠⁠⁠⁠⁠⁠ Email us: Buy a shirt!:⁠⁠⁠⁠⁠⁠"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts⁠⁠⁠⁠⁠⁠ Stitcher: ⁠⁠⁠⁠⁠⁠Cobras & Fire: Comedy / Rock Talk Show on Stitcher⁠⁠⁠⁠⁠⁠ Spreaker: ⁠⁠⁠⁠⁠⁠Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn⁠⁠⁠⁠⁠⁠ Find it all here: ⁠⁠⁠⁠⁠⁠Cobras and Fire Podcast - Comedy Rock Talk Show⁠⁠⁠⁠⁠⁠ Music: The Hives - Paint A Picture Pink Cream 69 - Walls Come Down Michael Sweet - Radio Ron Keel - Three Chord Drinking Song Bakko - Long Way Down Ace Frehley - Outer Space Learn more about your ad choices. Visit megaphone.fm/adchoices

ABOUT PAJAMMIN'HarperCollins Children's Books announced the publication of PAJAMMIN' by musician Ziggy Marley and acclaimed illustrator Letícia Moreno. Inspired by Bob Marley's iconic song "Jamming," this story about a family's fun-filled pajama party will inspire young readers and their caregivers to make bedtime a ritual worth celebrating.Carrying on his father's legacy of fostering joy and connection, Marley transforms iconic lines from "Jamming" into a bouncy, bedtime read-aloud. The result is a rollicking roadmap for screen-free family time, complete with Moreno's exuberant illustrations inspired by Marley's own multicultural family."This book is about togetherness and happiness," said Marley. "Children and adults will be able to tell 'cause the love that we put into it is vibrating from the pages. I am so happy to share this with everyone.""Ziggy brings the same joy and warmth to his books that he brings to his music, and working with him on this project has been a delight. Inspired by his own family's rituals and his father's iconic and beloved lyrics, he has created a celebration of creative play and family togetherness that's perfectly captured in Letícia Moreno's buoyant art," said Lynne Polvino, Senior Editor at Clarion Books.Marley is the eldest son of reggae icons Bob Marley and Rita Marley, and is a celebrated, eight-time Grammy Award-winning artist. He continues his father's mission of fighting for equality and social justice through his music; humanitarian work with his nonprofit, the U.R.G.E. Foundation; and long history of creating art for children and families. His album Family Time was #1 on the Reggae Charts, #2 on the Kids' Charts, and won a Grammy for Best Children's Album, as well as an Emmy for Outstanding Original Song for the video from "I Love You Too." Marley performed the Arthur theme song, "Believe in Yourself," which played at the top of every episode over its 25-year run, and he has appeared on children's television shows like Sesame Street, Fraggle Rock, and Chopped Junior. Furthering his dedication to children's literacy, PAJAMMIN' will join Marley's previous picture books, including Little John Crow, I Love You Too, My Dog Romeo, and Music Is in Everything, on shelves this summer.ABOUT ZIGGY MARLEYZiggy Marley is an eight-time Grammy winner, Emmy winner, musician, producer, humanitarian, and author with a long history of projects for kids and families, including the picture books I Love You Too, My Dog Romeo, and Music Is in Everything. He is the eldest son of reggae icons Bob Marley and Rita Marley. When he's not making music or writing books, Ziggy likes to play chess and soccer and enjoys cooking and gardening. He lives in Los Angeles with his wife, Orly, and their children.Pajammin' available on Amazon:https://a.co/d/jhED1t4Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

As President Trump left the White House Tuesday, he said both Israel and Iran have violated an apparent ceasefire deal. Israel claims they intercepted two Iranian missiles. The Israeli army said it will respond with force. Meanwhile, Tehran has denied breaching the ceasefire. A heat wave is blanketing parts of the Midwest and Northeast, with 195 million Americans dealing with excessive temperatures Tuesday. A CBS News investigation uncovered that since 2013, dialysis centers have been cited by federal regulators for more than 115,000 deficiencies, including poor training and unsanitary conditions. A doctor is on trial in connection to the alleged shooting of a kidney specialist, raising more questions about the dialysis industry. CBS News' Erin Moriarty reports. Three-time Grammy winner Victoria Monét joins CBS Mornings to discuss her new children's picture book, "Everywhere You Are," which helps children cope with separation anxiety. R&B icons Brandy and Monica join "CBS Mornings" to announce their first-ever co-headlining tour, building on the legacy of their hit "The Boy Is Mine," which topped charts for 13 weeks more than 25 years ago. During the last two summers, intense heat in parts of the country has caused beer, seltzer and soda cans to explode on Southwest Airlines flights. In an effort to address the bursting can issue, the airline bought 60 new refrigerated provisioning trucks for Phoenix and Las Vegas, their two hottest hubs. CBS News' Kris Van Cleave reports. Gayle King explores the historic revival of the Waldorf Astoria hotel, from its art deco elegance to a new fine dining experience led by chef Michael Anthony. Plus, Paris Hilton reflects on her childhood in the iconic building once dubbed her family's "crown jewel." To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

As Monty Python used to say: “And now for something completely different.” Mohamed Bouabdallah is a French Diplomat. He is the Cultural Counselor of France in the United States. His job is to promote the arts and education between France and the U.S. And he also is responsible for recommending recipients of the prestigious “Arts and Lettres” awards. A totally different and fascinating interview!My featured song is “March Of The Diplomats” from the album Trippin' by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

GGACP celebrates the birthday (b. June 22) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher by presenting this ENCORE of an interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Peter “inspires” Austin Powers, Linda Ronstadt teams with Nelson Riddle and Peter and Gordon play the '64 World's Fair. PLUS: Spike Milligan! Del Shannon! Jackie Gleason acts out! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts!  Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

We're finally digging into “Voodoo” - D'Angelo's Grammy-winning album that changed the sound of R&B, soul, and hip-hop forever. And the album a young Adam Maness had on repeat, seriously influencing his playing as well as countless musicians since.With Questlove's “Dilla-drag” drumming, Pino Palladino's funky bass lines, Roy Hargrove's jazzy horn arrangements, and Charlie Hunter's chicken-picking guitar, Voodoo is packed with the kind of cross-genre musicality that makes jazz musicians lose their minds.Twenty-five years later, Voodoo still grooves harder, hits deeper, and sounds more human than many albums of its generation.In this episode, you'll hear:What makes D'Angelo's groove so unique (and hard to imitate)Isolated tracks, rare demos, and interviews with the artistsHow “Spanish Joint” came together in a single takeWhether “Feel Like Makin' Love” tops the Roberta Flack originalAnd whether “Voodoo” is even an R&B album at allABOUT OPEN STUDIO------------------------------------------------------------------------------------------------------------------------------------------------------------As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you're a total beginner, or an advanced pro-level improvisor.