Podcasts about Hampshire

Caller Paul says he figured Skeeter out :: Georgian theory of property :: Is land a different type of property? :: Skeeter tells us we are dumb libertarians :: Skeeter doesn't even know how to define his own favorite thing, Game Theory :: Can gen X get offended? :: Will AI companies keep AI aligned with humanity so it doesn't destroy us? :: Trump's latest immigration-related plot to take citizenship from people :: Does zoning keep housing prices too high? :: Alligator Alcatraz :: Dueling used to solve problems, bring it back :: 2025-07-06 Hosts: Bonnie, Riley, Rich E Rich

Porc and Fork fest :: Big Beautiful Bill cuts down on benefits :: Increase in military spending and border patrol spending in the BBB :: The Trump wall is happening :: Did covid ruin things to do for kids? :: Should Turd do heroin? :: Prisoners getting hit by cars in Santa Fe :: Should the gov be allowed to kill people :: Blood Meridian theories and lessons :: UFC fight at the White House :: Becoming a cyborg :: AOC yearbook photo proved she lied about her background :: 2025-07-05 Hosts: Bonnie, Lori, Angelo

Caller Paul says he figured Skeeter out :: Georgian theory of property :: Is land a different type of property? :: Skeeter tells us we are dumb libertarians :: Skeeter doesn't even know how to define his own favorite thing, Game Theory :: Can gen X get offended? :: Will AI companies keep AI aligned with humanity so it doesn't destroy us? :: Trump's latest immigration-related plot to take citizenship from people :: Does zoning keep housing prices too high? :: Alligator Alcatraz :: Dueling used to solve problems, bring it back :: 2025-07-06 Hosts: Bonnie, Riley, Rich E Rich

Porc and Fork fest :: Big Beautiful Bill cuts down on benefits :: Increase in military spending and border patrol spending in the BBB :: The Trump wall is happening :: Did covid ruin things to do for kids? :: Should Turd do heroin? :: Prisoners getting hit by cars in Santa Fe :: Should the gov be allowed to kill people :: Blood Meridian theories and lessons :: UFC fight at the White House :: Becoming a cyborg :: AOC yearbook photo proved she lied about her background :: 2025-07-05 Hosts: Bonnie, Lori, Angelo

Alex Forsyth presents political debate from Frogham in Hampshire, with Conservative MP Danny Kruger, the shadow minister for work and pensions; former Green Party leader Caroline Lucas; the historian Sir Anthony Seldon; and Labour MP and health minister Karin Smyth.

Alu calls about book banning and censorship :: immigration and detention :: skeeter gets slippery with the definitions :: Tim in FL calls about "reputable sources" :: Sarah in NM calls about "public financing" :: Jerome calls about immigrants and crime :: JR (David in NM) calls about accessibility features on iphone :: 2025-06-29 Hosts: Stu, Riley

Is Trump suffering from "Libertarian Derangement Syndrome? :: Skeeter - our consensus is narrow what if's don't resemble real market actions :: Victory in the Free State as NH does away with annual vehicle inspections :: Caller doesn't think Skeeter is good at talking through his message, want's to talk to him offline :: Riley is baking bread for his friends and neighbors without government intervention :: Sarah wants to support Chuck Colson's prison fellowship ministry :: We discuss steps you can take to make sure you're not getting taken in charitable giving :: 2025-06-28 Hosts: Chris R., Mr. Penguin, Riley

This is an interview from Porcfest of Angela McArdle, former Chair of the Libertarian Party who got the deal with Trump that ultimately freed Ross Ulbricht from a lifetime sentence in a supermax prison for starting a website and having libertarian beliefs. Bonnie and Angela talk Porcfest, what Angela is up to now and her story of going to Trump and asking for him to pledge to free Ross. Also, Mises Caucus, Can leftists learn economics?, Kids who will actually grow up libertarian, and asking Trump to free the other hostages of the war on Crypto. Thank you for your attention on this matter.

Jody Underwood of EdOpt.org sits down with Bonnie from a campground during Porcfest to talk about everything she knows about schooling in the Free State. She gets into some surprising details about the state's Education Freedom Accounts, homeschooling requirements in NH and how her new organization can help parents. Jody and her husband famously were part of the school board in Croyden, NH that successfully cut the school budget in half by a vote. Then, the town leftists organized against them to undo that vote and called more expensive education a win. It caused a huge conversation to be started on why government schools need to be so expensive when other options get the job done for less. Jody is very knowledgeable about the options parents have and is very passionate about helping.

FTL2025-06-29 by Free Talk Live

Is Trump suffering from "Libertarian Derangement Syndrome? :: Skeeter - our consensus is narrow what if's don't resemble real market actions :: Victory in the Free State as NH does away with annual vehicle inspections :: Caller doesn't think Skeeter is good at talking through his message, want's to talk to him offline :: Riley is baking bread for his friends and neighbors without government intervention :: Sarah wants to support Chuck Colson's prison fellowship ministry :: We discuss steps you can take to make sure you're not getting taken in charitable giving :: 2025-06-28 Hosts: Chris R., Mr. Penguin, Riley

On episode 137 of Anarcho Agenda, I talk about Fork Fest, the Porcupine Freedom Festival pre-party, and I interview a couple friends. Subscribe via this link, or where ever pods are cast. Take back your privacy by visiting my sponsor Think Penguin. This podcast is covered by the BipCot NoGov license. This allows use and re-use by anyone except governments and government agents. Learn more at https://bipcot.org Support me on Patreon: Send Bitcoin: 1MnoYoPirXQHfhknDxbDHhLsF9u7kUggKy Send Bitcoin Cash: qpp62s8uupdqkrfew7vgp805pnsh5jk2ncnfkndwrd Send Dash: XpApo1jcPzTJyLLB6G8GJ7DoW9CGjcV5xT Send Ether: 0xFb1a23163bea743BB79B93849D864ad070597855 Send Lightcoin ltc1q6ygsamrkwl0at93datyqfh47z4crg4jkg4fx30

This show was supposed to air Saturday, June 21, 2025 while the crew was at Porcfest. There were technical difficulties that Bonnie is still working out with Ian over slow prison email. The cause hasn't been figured out yet, but the following weekend will be a normal live show and that will air as normal. No ads for anyone this show because it's the least we could do for getting it out late! Thanks for listening. Porcfest is the annual libertarian camping festival held at Roger's Campground in New Hampshire. Thousands of libertarians from all over descend on the campground to live in peace for a week away from government tyranny. Cryptocurrency and precious metals are spent on vendor's wares, public speeches are given and listened to and private meeting up and bonding is done between liberty lovers. This episode displays what we love so much about the goal of bringing as many like-minded individuals together. Does this appeal to you? Come visit New Hampshire! Check out the FSP calendar! TJ THE SPY BACK :: FBI CANT KISSY KANOODLE WITH DEFENDANTS :: TJ ‘s TIME IN THE NSA :: UNDERLYING MATH OF BITCOIN :: BEING FRIENDS WITH NORMIES OR NOT :: OPEN CARRYING GUNS :: GUN SAFTEY :: ZEPHAN ON BITCOIN 2025 CONFERENCE :: LIGHTNING NETWORK HAS GOTTEN BETTER :: DAY TO DAY LIFE AS LIBERTARIANS IN NH :: ROSS ULBRICHT WAS TARGETED FOR HIS LIBERTARIAN VIEWS AND SPREADING BITCOIN :: TARAS FROM AUTONOMY :: GRAND THEFT WORLD :: HELPING PEOPLE BUILD SKILLS :: IS AUTONOMY A CULT? :: WHY IS TARAS MOVING TO NH? :: SPREAD BITCOIN, SPREAD PEACE :: INDONESIAN HYPER INFLATION AND GRTTING THEM BTC :: TRUMP WORSE THAN GEORGE BUSH :: WILL TRUMP RELEASE THE BITCOIN HOSTAGES? :: KAMALA WAS GOING TO PRICE FIX GROCERY STORES RHAT WOULD HAVE BEEN WORSE THAN TRUMP TARRIFFS :: ISRAEL IS A PROCY WAR FOR US :: ISTAEL SITUATION NOT AMERICA FIRST :: LIVING OFF JUST CRYPTO AND BEING A CRYPTO NOMAD :: ARTIST SAYS EFTS WERE USELESS :: TSA: AN EXERCISE IN COMPLIANCE :: 2025-06-21 Hosts: BONNIE, TJ THE SPY, ZEPHAN, TARAS, RILEY, ULYSSEES

As part of NEPM's 10th season of our Valley Voices Story Slam, we asked for people's “Valley Folklore” - tales about the unique place that we all live.Helene Busby went to Hampshire College, surely one of the most “unique” parts of our “unique” Valley! For this week's Summer Short, Helene brings us a funny remembrance of Hampshire and its quirky students in her story “Talking Trees”.

On Friday 27 June the new Petersfield Police station was opened by Police and Crime Commissioner Donna Jones, Acting Chief Constable Sam de Reya, Damian HInds MP and Councillor Chris Paige, Petersfield’s Mayor. The Town Crier proclaimed the opening. The public front counter will be open every Tuesday, Wednesday and Saturday and as 30 officers will be based there, people can also use the yellow phone and speak to someone in the building. Mike Waddington reports from the opening ceremony and talks to Donna Jones, Hampshire's Police and Crime Commissioner.See omnystudio.com/listener for privacy information.

We are joined from Hampshire, England by Ben Glasscock AKA - The Notorious BLG (to some of his friends at least). Ben is an online & in-person Strength Coach at ‘Athlete Movement' & a rising star in the world of Strongman. He recently came 5th at Britains Strongest Man & over the next few weeks will be competing at Giants Live shows in the iconic & historic Royal Albert Hall in London & at Englands Strongest Man in York. We discuss Ben's background in Rugby & Powerlifting & how he made the transition over to Strongman. We also discuss the power of consistency, adherence, community & enjoyment in training & how self belief & psychology plays such a huge part in performing at the highest level.

A serial winner with Hampshire over his long career, left-arm seamer Chris Wood has plenty of tales to tell.From an embarrassing Zoom call on the golf course to announcing to his boss that he was dating his daughter and why he gets annoyed if his eggs aren't cooked correctly at breakfast, there's a lot to unpack in this episode. There is a serious side to Woody as well as he details his gambling addiction and explains to others that, even though they may not want to, being open and honest with others will always benefit them in the long run.Brought to you by the PCA and The Cricketer. Hosted on Acast. See acast.com/privacy for more information.

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

FTL2025-06-15 by Free Talk Live

6/19/25: Transgender SCOTUS decision with attys Bill & Buz. Talking Red Sox with sportscaster Scott Cohn. Daily Hampshire Gazette Managing Editor Chad Cain the news fit to print. Rabbi David Seidenberg: Israel/Iran, Gaza, & Juneteenth. Ruth Griggs w/ cellist Jeremy Harman: New Directions Cello Fest at Bombyx.

‘Without sensitivity there is no intelligence, and therefore no love. And where there is no love, there is no beauty.' This episode on Sensitivity has three sections. The first extract (2:38) is from Krishnamurti's second talk at Rajghat in 1967, and is titled: Most of Us Are Insensitive. The second extract (22:47) is from the second talk at Brockwood Park in 1969, and is titled: Extraordinary Sensitivity. The final extract in this episode (34:00) is from Krishnamurti's eighth talk in Saanen 1963, and is titled: The Highly Sensitive Brain. Each episode of the Krishnamurti podcast is based on a significant theme of his talks. Extracts have been carefully selected to represent Krishnamurti's different approaches to these universal and timeless topics. This episode's theme is Sensitivity. Upcoming themes are The Scientific and Religious Mind, Organisations, and The Heart. This is a podcast from Krishnamurti Foundation Trust, based at Brockwood Park in Hampshire, UK. Brockwood is also home to Brockwood Park School, a unique international boarding school offering a personalised holistic education. It is deeply inspired by Krishnamurti's teaching, which encourages academic excellence, self-understanding, creativity and integrity.  Please visit brockwood.org.uk for more information. You can also find our regular Krishnamurti quotes and videos on Instagram, TikTok and Facebook at Krishnamurti Foundation Trust. If you enjoy the podcast, please leave a review or rating on your podcast app.

Officially a riot in LA now that there's looting :: Apple and Addidas stores hit :: Protests spreading to other cities :: Rodney King riot comparisons :: Same playbook as the "Summer of Love" :: Growing up/ being young during SJW culture then Covid then BLM and now this :: DARE Program :: Trump to possibly invoke Insurrection Act :: Deportations are ramping up :: We're having a great Forkfest :: Why do libertarians move to New Hampshire? :: Are libertarians non-violent? :: The No Kings protests coming on Trump's birthday :: Israel bombed Iran :: Did the US get involved at all? :: WW3 closer than ever :: Trump's military parade birthday bash :: 2025-06-14 Hosts: Bonnie, Angelo, Mr.Penguin, Riley, Uber Jorge

Atty Maya McCann, co-leader of Fairness for Farmworkers Coalition: the subminimum wage. Hampshire Prof Emeritus of Peace & World Securities Studies, Michael Klare: the Israel-Iran War. Ehmptn Mayor Nicole LaChapelle: “No Kings” protest & antisemitism in the schools. Peace Development Fund's Lora Wondolowski & Jessa McCormack w/ Seeing Rainbow's Nuri.

In this episode 249 of the podcast I bring you my thoughts on the substantive delays in the employment tribunal process which are hindering access to justice for employees and increasing costs and stress for employers and employees. In this episode I cover: My own and my colleagues first hand experience of the delays in the employment tribunal. A summary of the latest employment tribunal statistics published detailing the number of cases that have been submitted and the number of cases that are currently in the system. Some real life cases where judgements have been issued and published recently. My thoughts on why the system is ‘broken' and why it is only going to get worse. How I would change the system to reduce delays and volume of cases. If you are making a claim, considering a claim or are involved in defending a claim, we can assist you, and take away some of the stress from the process. Please do not hesitate to get in touch for a free no obligation discussion about your case.   Don't forget to subscribe to the podcast to stay informed on the latest in UK employment law. If you have questions or need tailored advice, feel free to get in touch – we are here to help.   Cases referred to: Hill v St Pauls C of E Primary and Others Baker v Jaguar Land Rover Limited Parker v Chief Constable of Hampshire and Isle of Wight Constabulary Craven v Forrest Fresh Foods Limited   Latest statistics from the Tribunal system   https://www.gov.uk/government/statistics/tribunals-statistics-quarterly-january-to-march-2025  Training for your Team Would you like to arrange training for your team to reduce the risk of both unhappy employees and claims being made against you? Please get in touch for a no obligation discussion, we can offer training anywhere in the UK in person or delivered remotely via MS Teams. Please drop me an email alison@realemploymentlawadvice.co.uk   Fixed Price Advice from Real Experts As part of our HR Harbour annual subscription service for employers we provide guidance and training for employers, supervisors and managers. If you would like to know more about the HR Harbour Service and how you can get unlimited support from as little as £234 per month please contact me for a no obligation discussion – alison@realemploymentlawadvice.co.uk or you can find full details here: HR Harbour Don't forget you can contact us by telephone 01983 897003, 01722 653001, 020 3470 0007, 0191 375 9694 or 023 8098 2006 We have a variety of free documents and letters which are available to download here: DIY Documents We are also on YouTube! You can find a range of topics and also listen to this podcast on YouTube here: YOUTUBE   Zoes Law Raising awareness of melanoma and skin cancer. You can find more information here: https://www.facebook.com/zoepanayilaw

In this episode, Laura and Chay are joined by the talented James Smith, an accomplished garden designer at Landscape Services. James is a former RHS medalist and was a finalist for the prestigious Young Designer of the Year award. With years of experience designing stunning gardens and landscapes across Hampshire and Dorset, James brings a wealth of knowledge and creativity to the conversation.James shares his journey into the world of landscape design—what first inspired him, how he developed his craft, and what drives his ambitions today. Prior to the interview, Laura and Chay sent James the designs of their own allotment plots, and during the episode, he offers honest and thoughtful feedback—highlighting what he loves, suggesting areas for improvement, and giving practical tips to consider.The chat also touches on James's own growing season, how his new greenhouse has transformed his gardening experience, and what exciting plans he has on the horizon.Whether you're a budding gardener or a design enthusiast, this episode is full of inspiration and insight into the creative world of garden design.You can follow James journey on instagram HEREIf you have any questions you would like to ask us or would like to collaborate with us, then please contact us on: allotmentdiariespodcast@gmail.com. You can also follow our social media accounts: Instagram, Facebook, Twitter or YouTube. Allotment Diaries Podcast is a podcast that examines what has worked well and what hasn't worked so well when it comes to having an allotment plot. It seeks to give an honest insight into what owning an allotment plot is actually about.

Officially a riot in LA now that there's looting :: Apple and Addidas stores hit :: Protests spreading to other cities :: Rodney King riot comparisons :: Same playbook as the "Summer of Love" :: Growing up/ being young during SJW culture then Covid then BLM and now this :: DARE Program :: Trump to possibly invoke Insurrection Act :: Deportations are ramping up :: We're having a great Forkfest :: Why do libertarians move to New Hampshire? :: Are libertarians non-violent? :: The No Kings protests coming on Trump's birthday :: Israel bombed Iran :: Did the US get involved at all? :: WW3 closer than ever :: Trump's military parade birthday bash :: 2025-06-14 Hosts: Bonnie, Angelo, Mr.Penguin, Riley, Uber Jorge

Krueger’s family, of Campbellsport FFA, has a rich history in agriculture. Her family’s operation is rooted in the swine industry. She began her operation with a registered Hampshire gilt to produce county fair and feeder pigs for local buyers. Now, she has introduced a new species to her family’s operation: cattle. Her first purchase of a Simmental Heifer was the beginnings of her passion for the beef industry.See omnystudio.com/listener for privacy information.

Bromance Breakup - Trump/Musk spat brings out the Statists :: Stu posits that the whole Trump/Musk breakup is a repeat of a professional wrestling scrip :: Skeeter thinks we all need to embrace centralization :: Sarah talks about mental illness, we discuss psychology vs psychiatry and healthcare by prescription :: Palantir Technologies maybe at the center of government plans to build the one data base on Americans to rule us all :: Tim in FL talks in depth about Palantir and dangers it poses :: Dave Ridley says people are getting INS'd in Colorado :: 2025-06-07 Hosts: Chris R., Mr. Penguin, Stu

Elon vs Trump, is it all fake? :: Trump deploys the military to Los Angeles over ICE raids :: The feds think they're the top dogs against the states :: What does the supremacy clause apply to? :: Should pedestrians get a speed limit :: Frank Footloose Staples running for governor :: Palantir worse than Riley and Bonnie thought :: Why did Elon have a black eye? :: NeuroLink :: The Transhumanism and Efficiency movements :: Are there really any Epstein videos? :: Pushing the feds out of your state :: Should NH tax Section 8 landlords? :: Endless wars :: FrankNStaples.org :: https://www.youtube.com/@AbsoluteDefiance :: 2025-06-08 Hosts: Bonnie, Riley, Footloose Frank

On episode 136 of Anarcho Agenda, Trump and Musk break up, who's getting the business and the kids? Also, I discuss possible solutions for liberty in our lives. Subscribe via this link, or where ever pods are cast. Take back your digital privacy by visiting my sponser Think Penguin. This podcast is covered by the BipCot NoGov license. This allows use and re-use by anyone except governments and government agents. Learn more at https://bipcot.org Support me on Patreon: Send Bitcoin: 1MnoYoPirXQHfhknDxbDHhLsF9u7kUggKy Send Bitcoin Cash: qpp62s8uupdqkrfew7vgp805pnsh5jk2ncnfkndwrd Dash: XpApo1jcPzTJyLLB6G8GJ7DoW9CGjcV5xT Ether: 0xFb1a23163bea743BB79B93849D864ad070597855 Lightcoin ltc1q6ygsamrkwl0at93datyqfh47z4crg4jkg4fx30

Come with us to explore the magic of Martin Down, a glorious stretch of largely unspoilt chalk downland on the borders of Hampshire, Wiltshire and Dorset. It's Plodcast host Fergus's favourite place to escape to – and he's joined by Plod regular, naturalist Kevin Parr. Join the pair for a gentle afternoon's adventure – some incredible birdsong and one extremely unusual sound captured on the recording. And now you can get in touch with the Plodcast team via: The BBC Countryfile Magazine Plodcast group on Facebook & BBC Countryfile Magazine's Instagram page. UK Plodcast listeners can take advantage of a special subscription to BBC Countryfile Magazine where you can receive you first 3 issues for just £6. Head to www.ourmediashop.com/plodcast25 The BBC Countryfile Magazine Plodcast is the Publishers Podcast Awards Special Interest Podcast of the Year 2024 and the PPA Podcast of the Year 2022. If you've enjoyed the plodcast, don't forget to leave likes and positive reviews. Contact the Plodcast team and send your sound recordings of the countryside to: theplodcast@countryfile.com. If your letter, email or message is read out on the show, you could WIN a Plodcast Postbag prize of a wildlife- or countryside-themed book chosen by the team. The Plodcast is produced by Jack Bateman and Lewis Dobbs. The theme tune was written and performed by Blair Dunlop Learn more about your ad choices. Visit podcastchoices.com/adchoices

Elon vs Trump, is it all fake? :: Trump deploys the military to Los Angeles over ICE raids :: The feds think they're the top dogs against the states :: What does the supremacy clause apply to? :: Should pedestrians get a speed limit :: Frank Footloose Staples running for governor :: Palantir worse than Riley and Bonnie thought :: Why did Elon have a black eye? :: NeuroLink :: The Transhumanism and Efficiency movements :: Are there really any Epstein videos? :: Pushing the feds out of your state :: Should NH tax Section 8 landlords? :: Endless wars :: FrankNStaples.org :: https://www.youtube.com/@AbsoluteDefiance :: 2025-06-08 Hosts: Bonnie, Riley, Footloose Frank

Bromance Breakup - Trump/Musk spat brings out the Statists :: Stu posits that the whole Trump/Musk breakup is a repeat of a professional wrestling script :: Skeeter thinks we all need to embrace centralization :: Sarah talks about mental illness, we discuss psychology vs psychiatry and healthcare by prescription :: Palantir Technologies maybe at the center of government plans to build the one data base on Americans to rule us all :: Tim in FL talks in depth about Palantir and dangers it poses :: Dave Ridley says people are getting INS'd in Colorado :: 2025-06-07 Hosts: Chris R., Mr. Penguin, Stu

Overlooking the vast escarpment of Watership Down, you pause for thought. The sound of gently swaying beech trees is welcome relief from the hustle-and-bustle of daily life. BBC Countryfile Magazine's Sound Escapes are a weekly audio postcard from the countryside to help you relax and transport you somewhere beautiful, wherever you happen to be. Recorded by Lewis Dobbs, introduced by Hannah Tribe. Email the Plodcast team – and send your sound recordings of the countryside – to: theplodcast@countryfile.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

I quote “Hampshire & Isle of Wight Constabulary can neither confirm nor deny that it holds information with regards to this specific investigation. Any confirmation or denial that information were or were not held may jeopardise future investigative measures or any associated legal case. Although we recognise a general benefit in confirmation or denial in the importance of transparency, overall we do not consider it appropriate to confirm or deny that information is or is not held, if to do so may impact on an investigation. Unquote.The cases featured are:- Feral People Who Roamed The Barren FellsNot My Werewolf StoryWerewolf Seen in Erddigg The Hairy Hand of Mosley Hillhttps://www.facebook.com/DebHatswell/https://www.youtube.com/@deborahhatswellbbrinvhttps://www.tiktok.com/@deborahhatswell?_t=ZN-8wZb7xdYibm&_r=1Become a supporter of this podcast: https://www.spreaker.com/podcast/deborah-hatswell-bbr-investigations-cryptids-paranormal-unexplained-events--2840337/support.

Conspiracies new and old :: Candace Owens says black people are being manipulated by dark cabal :: Texas searches for woman who had an abortion :: Cops spying on us :: Germany says Israel has gone beyond self-defense :: How long will Ian's judges take to come to a decision? :: What is self defense? :: Delusional man calls in and asks us how he can know what is real :: Starter homes much more unaffordable :: Gov funds both sides of every war :: Financial aide to other countries is theft of the taxpayers :: Truth is the first casualty of war :: People used xenon gas to scale Mt Everest in three days :: 2025-06-01 Hosts: Bonnie, Rich E Rich, Riley

#UDPartner Underdog Promo Code: PLAYME Signup Link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://play.underdogfantasy.com/p-play-me-or-fade-me⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast Card: Cason Wallace Over 6.5 (-114) Washington +13.5 vs. New York (-110) Ottawa/Saskatchewan 1H Under 24.5 (-120) Coco Gauff -4.5 (-165) Surrey ML vs. Hampshire (-139) Atlanta ML vs. Arizona (-142) San Diego First 5 Over 1.5 (-120) Baltimore +1.5 at Seattle (-143) Pittsburgh +1.5 vs. Houston (-125) San Francisco +1.5 vs. San Diego (-205) St. Louis +1.5 vs. Kansas City (-198) Action YTD Results - Active: NHL/4 Nations: 91-74, (55.1%), up 14.5846 units NBA Sides/Totals: 65-51, (56.0%), up 8.921 units WNBA: 10-3 (76.9%), up 6.6648 units Horse Racing: 3-1 (75%), up 3.1733 units Multi-Sport Parlays: 4-3 (57.1%), up 2.4072 units MLB: 127-114 (52.7%), down 7.1904 units NBA Prop Bets: 26-20, (56.5%), up 2.6462 units UFL: 1-0 (100%), up 0.9091 units NASCAR: 0-1 (0%), down 1 unit Cricket 0-1 (0%), down 1 unit NLL: 0-1 (0%), down 1 unit PGA Golf: 19-24 (44.2%), down 0.2875 units Discord Link:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/ZkzcH3mwHS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact Me: X: @MrActionJunkie1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Trump is spying on us :: Cutting gov waste is a good thing :: All gov spending is gov waste :: The school system has diminished the quality of Americans :: You don't need to "know how to cook", just follow directions :: Feminizing men is a weapon of the silent war :: Porcupine freedom festival and Jay will be speaking there :: Palantir, the company Trump is hiring to spy on you :: Leahy law should apply to current day Israel :: Israel has clearly made human rights violations :: The deep state has been duping us into paying taxes we don't really know :: Stop funding your enemies :: FreedomLawSchool.org :: Americans are so brainwashed :: "United States" means DC :: Ross Ulbricht will be at Porcfest :: A trick to skip ads on YouTube :: History on the middle east :: Moon landing fake? :: Hamas fake flag :: Legal fictions and gaming the system in government marriage :: 2025-05-31 Hosts: Bonnie, Jay Noone, Riley

On episode 135 of Anarcho Agenda, did Epstine really kill himself? Plus a New Hampshire update. Subscribe via this link, or where ever pods are cast. Take back your digital privacy by visiting my sponser Think Penguin. This podcast is covered by the BipCot NoGov license. This allows use and re-use by anyone except governments and government agents. Learn more at https://bipcot.org Support me on Patreon: Send Bitcoin: 1MnoYoPirXQHfhknDxbDHhLsF9u7kUggKy Send Bitcoin Cash: qpp62s8uupdqkrfew7vgp805pnsh5jk2ncnfkndwrd Dash: XpApo1jcPzTJyLLB6G8GJ7DoW9CGjcV5xT Ether: 0xFb1a23163bea743BB79B93849D864ad070597855 Lightcoin ltc1q6ygsamrkwl0at93datyqfh47z4crg4jkg4fx30

To commemorate D-Day and the 80th anniversary of VE Day, we met with historian Julian Humphrys at Lepe Beach in Hampshire. Lepe was one of the launchpads of Operation Overlord, the daring plan to open a western front and liberate Europe from the Nazis. BBC Countryfile Magazine editor Paul McGuinness is your host. Julian works for the Battlefields Trust, a charity dedicated to the protection, research and interpretation of Britain's battlefields.Find out more at https://www.battlefieldstrust.com/ And now you can get in touch with the Plodcast team via: The BBC Countryfile Magazine Plodcast group on Facebook & BBC Countryfile Magazine's Instagram page. UK Plodcast listeners can take advantage of a special subscription to BBC Countryfile Magazine where you can receive you first 3 issues for just £6. Head to www.ourmediashop.com/plodcast25 The BBC Countryfile Magazine Plodcast is the Publishers Podcast Awards Special Interest Podcast of the Year 2024 and the PPA Podcast of the Year 2022. If you've enjoyed the plodcast, don't forget to leave likes and positive reviews. Contact the Plodcast team and send your sound recordings of the countryside to: theplodcast@countryfile.com. If your letter, email or message is read out on the show, you could WIN a Plodcast Postbag prize of a wildlife- or countryside-themed book chosen by the team. The Plodcast is produced by Jack Bateman and Lewis Dobbs. The theme tune was written and performed by Blair Dunlop Learn more about your ad choices. Visit podcastchoices.com/adchoices

Conspiracies new and old :: Candace Owens says black people are being manipulated by dark cabal :: Texas searches for woman who had an abortion :: Cops spying on us :: Germany says Israel has gone beyond self-defense :: How long will Ian's judges take to come to a decision? :: What is self defense? :: Delusional man calls in and asks us how he can know what is real :: Starter homes much more unaffordable :: Gov funds both sides of every war :: Financial aide to other countries is theft of the taxpayers :: Truth is the first casualty of war :: People used xenon gas to scale Mt Everest in three days :: 2025-06-01 Hosts: Bonnie, Rich E Rich, Riley

Trump is spying on us :: Cutting gov waste is a good thing :: All gov spending is gov waste :: The school system has diminished the quality of Americans :: You don't need to "know how to cook", just follow directions :: Feminizing men is a weapon of the silent war :: Porcupine freedom festival and Jay will be speaking there :: Palantir, the company Trump is hiring to spy on you :: Leahy law should apply to current day Israel :: Israel has clearly made human rights violations :: The deep state has been duping us into paying taxes we don't really know :: Stop funding your enemies :: FreedomLawSchool.org :: Americans are so brainwashed :: "United States" means DC :: Ross Ulbricht will be at Porcfest :: A trick to skip ads on YouTube :: History on the middle east :: Moon landing fake? :: Hamas fake flag :: Legal fictions and gaming the system in government marriage :: 2025-05-31 Hosts: Bonnie, Jay Noone, Riley

In episode 108 we head to a mansion in Hampshire built in the early 17th century. I will tell you all about this building which was the home of aristocracy, and kings and queens for almost 400 years, but now stands silent, empty and abandoned whilst currently up to sale. This grand house is infamous as it is believed to be haunted by at least 14 separate specters. Let me tell you introduce you to all of them, as you join me in asking, just how haunted is Bramshill House? Support How Haunted? by subscribing and leaving a review. In July Rob will be taking on the "most difficult" walk in the North York Moors to raise money for Cancer Research UK. If you'd wish to sponsor us you can do so at justgiving.com/page/walk4john2025 Find out more about the pod at https://www.how-haunted.com and you can email Rob at Rob@how-haunted.com You can become a Patreon for as little as £1 a month. You can choose from three tiers and get yourself early access to episodes, and exclusive monthly episodes where Rob will conduct ghost hunts and you'll hear the audio from the night. You can even get yourself some exclusive How Haunted? merch. To sign up, and take advantage of a free seven day trial, visit https://patreon.com/HowHauntedPod Perhaps you'd rather buy me a coffee to make a one off donation to support the pod, you can do that at https://www.buymeacoffee.com/HowHauntedPod Music in this episode includes: Darren Curtis – Lurking Evil: https://youtu.be/3i0aVnpeppw " HORROR PIANO MUSIC " composed and produced by "Vivek Abhishek" Music link :https://youtu.be/xbjuAGgk5lU || SUBSCRIBE us on YOUTUBE: https://youtu.be/DQQmmCl8crQ || Follow on Facebook: https://bit.ly/33RWRtP || Follow on Instagram: https://bit.ly/2ImU2JV

Back in the early 1980's, Peter Alan Fell was several things: Falklands and Northern Ireland war hero, Army Boxing champion - so how then did he, in July 1984, come to be stood in the dock of Winchester Crown Court charged with the brutal murders of Hampshire women 42 year old Ann Lee, and 66 year old Margaret Johnson?Brilliant detective work - or not? Find out in the second and concluding part of a two part story.The episode contains details and descriptions of crimes and events, including descriptions of injury detail, that some listeners may find disturbing or distressing, so discretion is advised whilst listening in. Music used in this episode: "The Descent" by Kevin Macleod. All music used is sourced from https://filmmusic.io/ and used under an Attribution Licence (https://creativecommons.org/licenses/by/4.0/) Molly Half Head - BarnyConcrete Club - Jackie Don't MindThe True Crime Enthusiast's Fundraiser For Macmillan Cancer SupportReferencesFollow/Contact/Support The True Crime Enthusiast PodcastFacebookFacebook Discussion GroupTwitterInstagramYoutubeWebsiteTTCE MerchandisePatreon Page The episode is dedicated to Ann and Margaret and their families - in Memory. Peter also. Hosted on Acast. See acast.com/privacy for more information.

Roger Ver, early adopter of Bitcoin, update on case :: Did Roger Ver's speech cause him to be targeted by the gov? :: Judge bans facial expressions in court :: Polish onion moments, a lesson in history :: Waking up to the systemic issue of police violence :: FreeIanNow.org :: Taxation is extortion :: If you don't like the US you cannot just leave :: Are kings ordained by God? :: How cults get started :: A fungus that could become the next covid :: Global warming is a scare tactic :: Reptilians on God TV :: Sarah answers prayers and is psychic :: Amazonian tribe smeared as porn addicts :: 2025-05-25 Hosts: Bonnie, Rich E Rich, Riley

Roger Ver, early adopter of Bitcoin, update on case :: Did Roger Ver's speech cause him to be targeted by the gov? :: Judge bans facial expressions in court :: Polish onion moments, a lesson in history :: Waking up to the systemic issue of police violence :: FreeIanNow.org :: Taxation is extortion :: If you don't like the US you cannot just leave :: Are kings ordained by God? :: How cults get started :: A fungus that could become the next covid :: Global warming is a scare tactic :: Reptilians on God TV :: Sarah answers prayers and is psychic :: Amazonian tribe smeared as porn addicts :: 2025-05-25 Hosts: Bonnie, Rich E Rich, Riley

Individual incentives :: Fertility decline :: Americans seeking UK citizenship :: Skeeter can't stand his father :: Patrick Wood - Technocracy news :: Caller has doubt about opt-out :: Sarah calls about "the will of God" :: Russian crypto arrest :: The WHO can't be saved :: Activist Post :: Paying with crypto :: Weird Mormon murders :: Paying with crypto :: J.R. calls about Mormonism and crypto :: Mountain meadows massacre :: 2025-05-24 Hosts: Stu, Riley

Individual incentives :: Fertility decline :: Americans seeking UK citizenship :: Skeeter can't stand his father :: Patrick Wood - Technocracy news :: Caller has doubt about opt-out :: Sarah calls about "the will of God" :: Russian crypto arrest :: The WHO can't be saved :: Activist Post :: Paying with crypto :: Weird Mormon murders :: Paying with crypto :: J.R. calls about Mormonism and crypto :: Mountain meadows massacre :: 2025-05-24 Hosts: Stu, Riley

On a cold spring day in May 1982, two friends, Ann Lee and Margaret Johnson, set off for what would be their final dogwalk together around a familiar area of common land to them in the town of Aldershot, in Hampshire.Their final walk, because during it, Ann and Margaret met a crazed killer.Yet, within hours of the murder, had their killer called police and given his name and address? And when this wasn't acted upon, had he then called again just over a year later, to confess to the killings?I'll tell you, in the first of a two part story.The episode contains details and descriptions of crimes and events, including descriptions of injury detail, that some listeners may find disturbing or distressing, so discretion is advised whilst listening in. Music used in this episode: "The Descent" by Kevin Macleod. All music used is sourced from https://filmmusic.io/ and used under an Attribution Licence (https://creativecommons.org/licenses/by/4.0/) The Stone Roses - Driving SouthBob Seger - Bo DiddleyThe True Crime Enthusiast's Fundraiser For Macmillan Cancer SupportReferences - produced upon request and in full upon tale's end.Follow/Contact/Support The True Crime Enthusiast PodcastFacebookFacebook Discussion GroupTwitterInstagramYoutubeWebsiteTTCE MerchandisePatreon Page The episode is dedicated to Ann and Margaret and their families. In Memory. Hosted on Acast. See acast.com/privacy for more information.

Should trans identifying people be allowed to play on the sports teams of their choice? :: Eminent Domain issues in New Jersey :: Which state was the worst during covid lockdowns? :: Trump thinks of suspending habeas corpus :: Objective vs subjective beauty :: The American consumer is still worse off from tariffs :: FreeIanNow.org :: Trump is just more open about the bribing :: Cops who steal are evil :: Asset Forfeiture is stealing :: Gove creates the black markets and violence then profits off of it :: Big pharma wants you to be sicker :: David ended up in handcuffs in Walmart :: 2024-05-18 Hosts: Bonnie, Rich E Rich