Podcasts about The Honourable

Accompanying letterboxd list: https://letterboxd.com/panickyintheuk/list/b-is-for-bi/Timestamps:14:54 - Top 528:08 - Honourable mentions39:53 - Sav Rogers' 'Chasing Amy' TedTalk46:17 - An Odd Turn48:22 - Passages54:22 - HacksMy letterboxd: https://letterboxd.com/panickyintheuk/My bsky: https://bsky.app/profile/panickyintheuk.itch.io 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

In this episode Hamish bemoans Essendon giving up a 5 goal head start the last two weeks, whilst Amos thinks that the Hawks are back on track after a win against the Bulldogs.

In today's message, Paul preaches to us on what it looks like to live Holy and Honourable lives, and to flee from sexual immorality to pursue the things of God. Join us next week as we continue our series in 1 Thessalonians at our services at 9:30 and 11:30am at UWL or at 6:30pm at The Hub.Find out more at redeemerlondon.org

https://pluto.sitetackle.com/16538/subpages/homilies/Homily-20250608-AnnMarieW.mp3

2025-06-05_The Honourable Ayor-Chuot MLC by CurtinFM 100.1 in Perth, Western Australia

What happens when the Prime Minister of India calls on you to create a dish for the nation?In this episode, Luke Coutinho shares the incredible journey of creating the Bharat Dish and lifestyle tips inspired by Hon. PM Narendra Modi Ji. From a surprise phone call to two personal meetings with the PM, this story is one of purpose, roots, and service.Discover:What PM Modi told Luke about “making lifestyle a medicine for Bharat”How a simple dish became a symbol of national wellnessWhy this initiative is being shared with every Indian household, school & collegeAnd much more…

Rob and Joel review the loss to the Lions.They discuss the spirited performance, the promising youth and where it went wrong.PLUS Hot Takes and plenty more!Go DonsGet 10% off WaxIT Car Care products:Find WaxIT HEREJoin PREMIUMSend MAILBAGthesashpod@gmail.com Hosted on Acast. See acast.com/privacy for more information.

The past week saw a surge in energy-related political developments in Canada. Prime Minister Carney issued a unified Mandate Letter to his cabinet on May 21, 2025, emphasizing that Canada “must build an enormous amount of new infrastructure at speeds not seen in generations. This includes the infrastructure to diversify our trading relationships; to become an energy superpower in both clean and conventional energies.” The newly appointed Minister of Energy and Natural Resources, Tim Hodgson, delivered a constructive message during his visit to Calgary, highlighting the importance of building energy infrastructure, including oil and gas. Meanwhile, the Premiers from Western Canada convened a meeting in Yellowknife. They released a joint statement agreeing to plan and develop an economic corridor for “transporting oil and gas, liquefied natural gas, uranium, electricity, and hydroelectricity to Canadian and world markets.” To discuss these developments, we are joined by our guest, The Honourable Gordon Campbell, President of Hawksmuir International Partners Limited. He is the former Premier of British Columbia (2001–2011), Canadian High Commissioner to the UK and Northern Ireland (2011–2016), and Mayor of Vancouver (1986–1993). Here are some of the questions Jackie and Peter posed to The Honourable Gordon Campbell: Based on the Carney government's constructive comments on energy infrastructure and attracting private investment, including the Energy and Natural Resources Minister's trip to Calgary last week, would you anticipate a new approach from the Liberals compared to the previous decade? The Western Premiers issued a joint statement to develop economic corridors, including those for transporting electricity, natural gas, and oil. What types of projects do you expect David Eby's NDP government to support in British Columbia?  Would you expect the Federal government to revise or repeal energy policies, particularly those that might deter capital investment, such as the industrial carbon pricing policy set to increase to $170 per tonne by 2030 or the oil and gas emissions cap? Please review our disclaimer at: https://www.arcenergyinstitute.com/disclaimer/ Check us out on social media: X (Twitter): @arcenergyinstLinkedIn: @ARC Energy Research Institute Subscribe to ARC Energy Ideas PodcastApple PodcastsAmazon MusicSpotify 

Paul Oh, Sunday, 18 May 2025https://www.youtube.com/watch?v=VtRLPQ-U06o

We hope you love this message today! Make sure to share this message with someone you know and follow us on insta @vivayoungadults.

The Honourable Rose Jackson of the NSW Labour Party and Minister of Housing, Water, Homelessness, Youth and Mental Health, joins Pat Blacker (Stand By) and myself for an up to date chat around the current status of funding, support, awareness etc. Rose speaks candidly about her personal life as well as the many positive changes and developments over the past 2 years and what we have to look forward to for the future around MH. Rose opens up about being a mum, wife and the enormous responsibility of handling 5 portfolios within our State Government. She is the first politician to bring a Mens Mental Health forum to State Parliament House. Her passion, determination and drive is infectious and inspiring. It's a massive honour to have Rose Jackson on the show, as the first State politician to join the MMHS. Enjoy the show and let me know your thoughts via The Mens Mental Health Show Facebook page/messenger pages.Photo shows left to right, Rose Jackson, myself, Munster the dog, and Pat Blacker.As always big thanks to Dale Hunt and Mounties GroupCortado's Coffee ShopWalk It OffIlanas Delicious Skin Food. If you'd like to be a part of the show or would to show your support please email me at brad_spillane@yahoo.com.auBradley SpillaneFounder and HostMen's Mental Health Show 0404-077-666

Australia's Eurovision hopeful GoJo is taking to the Basel stage for the competition's second-semi final. Also performing is Israel's Yuval Raphael, who says she is mentally prepared to be be boo-ed in the arena, amid protests over her country's actions in Gaza. - スイスのバーゼルで始まった今年のユーロビジョンソングコンテスト。オーストラリアからは、Go-Joが、準決勝第2ラウンド（オーストラリア東部時間16日 5am)に挑みます。

Australia's Eurovision hopeful GoJo is taking to the Basel stage for the competition's second-semi final. Also performing is Israel's Yuval Raphael, who says she is mentally prepared to be be boo-ed in the arena, amid protests over her country's actions in Gaza.

Preached on Sunday the 4th of May, 2025.‭‭1 Peter‬ ‭2‬:‭12‬-‭17‬ ‭“Keep your conduct among the Gentiles honorable, so that when they speak against you as evildoers, they may see your good deeds and glorify God on the day of visitation. Be subject for the Lord's sake to every human institution, whether it be to the emperor as supreme, or to governors as sent by him to punish those who do evil and to praise those who do good. For this is the will of God, that by doing good you should put to silence the ignorance of foolish people. Live as people who are free, not using your freedom as a cover-up for evil, but living as servants of God. Honor everyone. Love the brotherhood. Fear God. Honor the emperor.”Intro Music by Julius H. from Pixabay Outro Music by PianoAmor from Pixabay

This week Josh is joined by Admin 3 from NMCTAF to dissect our 'Honourable Loss' against the old rival.. Do we take this as a positive or negative? But seriously.. HOW FUN IS FINBAR!Follow the socials to get your thoughts read out on the podcast!Instagram: @furthernorthpodFacebook: Further North PodcastEmail: furthernorthpod@gmail.comTikTok: @furthernorthpodLeave a 5 star review on Apple or Spotify, you the real MVP!

In a world so focused on productivity, Coach's Journey founder and host Robbie Swale is interrogating what this word really means.His work on the concept of meaningful productivity explores up questions like: “What do I need to do in order to be at peace with myself?” And: “Do I want to be more productive or simply not feel like I'm failing all the time?”In this episode of The Coach's Journey Podcast, Robbie joins Joey Owen for a conversation that gets to the very heart of Robbie's work as a leadership and careers coach with over 2000 hours' experience, and as an author whose decade-long writing practice has led to valuable contributions to the field, such as The 12-Minute Method and The Coaching Business Flywheel. Robbie and Joey tackle fundamentally important questions about how coaches can make a difference in a world ravaged by conflict and division, how to stay humble in our work, and how to ensure we feel at peace with ourselves.You will hear Robbie and Joey speak about the importance of living and working with a code of honour, about learning to trust the strange and unexpected things that arise in coaching sessions, and how to integrate spiritual practices into your life through the rituals, hobbies, passions and habits you already do.If you would like to be doing more of what really matters to you, feeling better about the work you are doing, and living a rich life regardless of your financial situation, this episode is for you.Robbie and Joey also talk about:- How to cultivate a practice of trust that conversations happen at the right time- Not lying to ourselves about what we “have” to doThe places in our lives where we can practise presence and connection- How to manage your focus, attention and attitude in order to actively work towards the goals that matter most to you- The power of telling a story twice to embed an idea in your memoryThey also explore practical ways to keep yourself in the energy possibility, and Robbie shares the story of how “crashing and burning” while running a coaching event taught him powerful lessons about group dynamics, scapegoating and the importance of contracting.THINGS WE TALKED ABOUT THAT YOU MIGHT BE INTERESTED IN:- Episode 45 of The Coach's Journey Podcast, with Raquel Ark https://www.thecoachsjourney.com/podcast/episode-45-doing-the-right-thing-even-when-its-hard-raquel-ark-interviews-robbie- Rich Litvin https://richlitvin.com/- The 12-Minute Method https://www.robbieswale.com/the12minutemethod- Workshop with Robbie and Claire Pedrick https://www.3dcoaching.com/artful-coach-soulful-business/- Robbie's article about leading with honour (A Man Got to Have a Code) https://www.robbieswale.com/writing/2024/10/11/a-man-got-to-have-a-code-leading-with-honour-iii- The Meaningful Productivity Blueprint https://www.robbieswale.com/meaningful-productivity-blueprint-download-page- Gay Hendricks, Zone of Genius https://www.robbieswale.com/the-12-minute-blog/2022/2/3/the-zone-of-genius-the-most-powerful-thought-experiment-for-personal-transformation- Robert Holden, questions about purpose https://www.robertholden.com/blog/9-questions-help-find-purpose/- A Warren Buffet story about how he helped the pilot of his private jet prioritise more https://passionateaboutoss.com/the-story-of-mike-flint- Seth Godin on setting fees https://seths.blog/2024/11/understanding-pricing/- Parkinson's law https://en.wikipedia.org/wiki/Parkinson%27s_law- Douglas Hoffstatter's law https://en.wikipedia.org/wiki/Hofstadter%27s_law- Ramit Sethi's podcast https://www.iwillteachyoutoberich.com/podcast/- Ffelyn Uchaf https://www.felinwales.org/- Jim Dethmer and Joel Monk on Coaching from Sourcehttps://www.coachesrising.com/podcast/jim-dethmer-coaching-from-source/- Frank Turner, The Way I Tend to Be https://frank-turner.com/tracks/the-way-i-tend-to-be/- Frank Turner, The Gathering https://frank-turner.com/tracks/the-gathering/- Frank Turner, Journey of the Magi https://frank-turner.com/tracks/journey-of-the-magi/- Internal Family Systems (IFS) drama triangle https://www.stroudtherapy.com/news/2024/02/25/dramatriangleifs- David Gemmell https://en.wikipedia.org/wiki/David_Gemmell- The Wheel of Time novel series https://en.wikipedia.org/wiki/The_Wheel_of_Time- The ‘Yes, And' teambuilding exercise https://openpracticelibrary.com/practice/yes-and/https://www.radicalagreement.com/post/yes-and-and-improv-teamwork- David Deida https://deida.info/- Freedom to Learn https://freedomtolearn.org.uk/- An Introduction to The Coach's Journey Flywheel https://www.thecoachsjourney.com/the-coaching-business-flywheel

Title: Top 5 Comfort Board Games

This week Admin 3 from North Melbourne Closer To A. Flag is here to break down our loss against Adelaide. Is this honourable loss ok? did we back up anything from the week before? We figure it all out in this episode.Follow the socials to get your thoughts read out on the podcast!Twitter/X: @furthernorthpodInstagram: @furthernorthpodFacebook: Further North PodcastEmail: furthernorthpod@gmail.comTikTok: @furthernorthpodLeave a 5 star review on Apple or Spotify, you the real MVP!

In this episode of Aethercast we discuss some of the best regiments of renown available to Kharadron Overlords and the pros and cons of using them. 00:00:00 - Intro 00:08:45 - Elthwin's Thorns, Sylvaneth 00:16:06 - Saviours of Cinderfall (Callis & Toll), Cities of Sigmar Humans 00:28:55 - Norgrimm's Rune Throng, Cities of Sigmar Duardin 00:38:45 - The Blacktalons, Stromcast Eternals 00:53:15 - Valnir's Stormwing, Stromcast Dragons 01:07:00 - The Horizon Seekers, more Stormcast 01:19:05 - Enforcers of the Tithe, Ossiarch Bonereapers 01:38:05 - Honourable mentions (Bundo Whalebiter, Fyreslarers, Gotrek, and Nurgle's Gift) 01:49:50 - Do you need any?   Support the show! https://ko-fi.com/aethercast Also available as a podcast; arkanaut.podbean.com   Get 10% discount at pro Painted Studios with the code "AETHERCAST10" https://www.propaintedstudios.co.uk/discount/AETHERCAST10?rs_ref=wAmCck6U   Checkout the KO Facebook Group; facebook.com/groups/kharadron.overlords   Join the conversation on the KO Discord Group; https://discord.gg/84JCasfE5Y

Marriage is honourable in all. This great truth compels us to true Christian behavior in life's most sacred relationship.

This week on The CEO Series, Professor Moore sits down with The Honourable François-Philippe Champagne, Canada’s Minister of Innovation, Science, and Industry. Tune in as they discuss Canada’s evolving relationship with the U.S., strategies to safeguard Canada’s infrastructure amidst potential tariffs, and on the importance of listening as a politician, in order to strengthen public trust in government.

On this episode of The Callover, we are joined the Honourable Justice Elizabeth Wilson and Dr Jane Phillips to discuss the value of expert psychiatric evidence in legal proceedings. Justice Wilson graduated with a Bachelor of Laws (with Honours) at the Queensland University of Technology in 1995, was admitted to the Bar the following year and, in 2011, was appointed as senior counsel. While at the bar, her Honour practiced in criminal, administrative and constitutional matters. Before being appointed as a Judge of the Supreme Court in 2018 and the President of the Mental Health Court in 2022, Justice Wilson had served as a sessional member of the Anti-Discrimination Tribunal and the Queensland Civil and Administrative Tribunal and acted as counsel in a number of Commission of Inquiries including the Youth Detention Review in 2016. Dr Jane Phillips is a consultant forensic psychiatrist who specialises in medico-legal psychiatric assessments and reports. Dr Phillips completed her internship and basic psychiatry training at the Alfred Hospital in Melbourne before completing advanced training in forensic psychiatry at the Victorian Institute of Forensic Mental Health. In additional to her work as a forensic psychiatrist, she has worked as a consultant psychiatrist in prisons and Victoria's High Security Forensic Hospital. Dr Phillips has been providing expert evidence to the Mental Health Court since 2011, and has otherwise prepared reports for Legal Aid Queensland, the Director of Public Prosecutions, the Parole Board and the Mental Health Review Tribunal.See omnystudio.com/listener for privacy information.

Double Thumbs Up, Kids Win Dinners, The Naked Hour and Jack's Love Songs.. don't miss this!See omnystudio.com/listener for privacy information.

In this episode, I reflect on my first time in the Game Master's seat running Yochai Gal's Cairn 2nd Edition. Here's a link to Yochai running Rise of the Blood Olms https://youtu.be/HcY1Ytwznyk?si=SFQZf4p4fueTLyCO Games and adventures mentioned: Apocalypse World by D. Vincent Baker & Meguey Baker One Shot World, Cairn, & Rise of the Blood Olms by Yochai Gal https://yochaigal.itch.io Into the Odd, & Electric Bastionland by Chris McDowall Knave by Ben Milton Mausritter by Isaac Williams Osseous by FreeThrall Barrow of the Elf King by Nate Treme Feast by Chriss Bissette https://loottheroom.itch.io/feast Honourable mentions: Colin Green of Spikepit (podcast & YouTube), Barney Dicker of Loco Ludus (podcast), Yochai Gal & Brad Kerr of Between Two Cairns (podcast) "Warning" by Lieren of Updates From the Middle of Nowhere You can leave me an audio message via ⁠https://www.speakpipe.com/KeepOffTheBorderlands Email me at ⁠spencer.freethrall@gmail.com ⁠Follow me on BlueSky @freethrall.bsky.social or look me up on Discord by searching for freethrall You can find me in a bunch of other places here ⁠https://freethrall.carrd.co⁠ You can also hear me in actual plays on Grizzly Peaks Radio This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit freethrall.substack.com

In this episode, the Honourable Scott Brison, BMO Vice-Chair and a former Member of Parliament, joins me to discuss Canada's political backdrop. Scott outlines the current state of the government amid President Trump's tariff threats, his experiences with some of Canada's key political figures ahead of what could be a spring election, and what's needed to improve persistently weak productivity. Following the interview with Mr. Brison, I provide a quick take on my expectations for next week's Bank of Canada policy announcement, and my favourite trade ideas. As always, all feedback is welcome.   Episode Timecodes: 00:00 - Introduction 01:02 - Interview with the Honourable Scott Brison 42:39 - Preview of next week's Bank of Canada's policy decision

église AB Lausanne ; KJV 2 Kings (4 Kings) 5 Now Naaman, captain of the host of the king of Syria, was a great man with his master, and honourable, because by him the LORD had given deliverance unto Syria: he was also a mighty man in valour, but he was a leper. And the Syrians had gone out by companies, and had brought away captive out of the land of Israel a little maid; and she waited on Naaman's wife. And she said unto her mistress, Would God my lord were with the prophet that is in Samaria! for he would recover him of his leprosy. And one went in, and told his lord, saying, Thus and thus said the maid that is of the land of Israel. And the king of Syria said, Go to, go, and I will send a letter unto the king of Israel. And he departed, and took with him ten talents of silver, and six thousand pieces of gold, and ten changes of raiment. And he brought the letter to the king of Israel, saying, Now when this letter is come unto thee, behold, I have therewith sent Naaman my servant to thee, that thou mayest recover him of his leprosy. And it came to pass, when the king of Israel had read the letter, that he rent his clothes, and said, Am I God, to kill and to make alive, that this man doth send unto me to recover a man of his leprosy? wherefore consider, I pray you, and see how he seeketh a quarrel against me. And it was so, when Elisha the man of God had heard that the king of Israel had rent his clothes, that he sent to the king, saying, Wherefore hast thou rent thy clothes? let him come now to me, and he shall know that there is a prophet in Israel. So Naaman came with his horses and with his chariot, and stood at the door of the house of Elisha. And Elisha sent a messenger unto him, saying, Go and wash in the Jordan seven times, and thy flesh shall come again to thee, and thou shalt be clean. ...

Here's an episode in which I talk a little about failing to discuss RPG-related activity, I share some Movie Monday feedback regarding Terry Gilliam's The Adventures of Baron Munchausen and my experience watching the 1962 Czechoslovakian film The Fabulous Baron Munchausen directed by Karel Zeman. Featuring calls from M. W. Lewis of The Worlds of MW Lewis (podcast), and Joe Richter of Hindsightless (podcast). Honourable mentions: Andy Goodman of Grizzly Peaks Radio, Scott Dorward of The Good Friends of Jackson Elias, Riley of Diegetic Advancement, Robin Williams, and David Lynch. The movie for January 2025 is Sam Wanamaker's Sinbad & the Eye of the Tiger from 1977. See below for details on contacting the show. The episode airs on January 27th, submissions by the 25th, please. Leave me an audio message via ⁠https://www.speakpipe.com/KeepOffTheBorderlands You can email me at ⁠spencer.freethrall@gmail.com⁠ You can find me on BlueSky @freethrall.bsky.social and a bunch of other places here ⁠https://freethrall.carrd.co You can also find me on Discord by searching for freethrall This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit freethrall.substack.com

Is a criminal trial a search for truth? How do we navigate between the trial process and our lived experience in that elusive search for the truth? Former Supreme Court Justice Louise Arbour tackles these questions in her 2024 Horace E. Read lecture.

We're at the halfway mark of the NHL season so it's time to crown our half season Hart Trophy winner! 00:00 Honourable mention02:45 5th place 04:10 4th place05:55 3rd place07:30 2nd place09:30 1st placeSubscribe to The Jesse Blake Sports Report YouTube Channel: https://www.youtube.com/@JesseBlakeTV?sub_confirmation=1Follow Jesse on Twitter at @JesseBlakeFollow Jesse on Instagram @Jesse.BlakeVisit https://sdpn.ca for more.Join us on Discord: https://discord.com/invite/MtTmw9rrz7For general inquiries email: info@sdpn.caReach out to https://www.sdpn.ca/sales to connect with our sales team and discuss the opportunity to integrate your brand within our content!Join SDP VIP:YouTube: https://www.youtube.com/channel/UC0a0z05HiddEn7k6OGnDprg/joinApple Podcasts: https://apple.co/thestevedanglepodcastSpotify: https://podcasters.spotify.com/pod/show/sdpvip/subscribeAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week on The CJN Daily, we brought you an interview with human rights advocate Judy Feld Carr about her decades of work to rescue Syrian Jews. But her husband, Donald Carr, didn't know the full extent of it—it was only weeks before he died, in November 2024, that she felt safe enough to disclose to him the full extent of her clandestine Syrian missions over the past fifty years. Donald Carr, 96, a prominent lawyer and community leader, was also one of The CJN's most ardent supporters, acting as a longtime board member. That's why, on this first Honourable Menschen episode of 2025, obituary columnist Heather Ringel joins host Ellin Bessner to share anecdotes about the life of Carr—and four other prominent Canadian leaders we recently lost. You'll hear about Dr. Ronald Weiss, 68, of Ottawa, who was nicknamed “the Wayne Gretzky of vasectomies”, having performed a record-breaking 58,789 of them; Michael (Muki) Baum, 64, a Toronto artist who fundraised hundreds of thousands of dollars on behalf of treatment centres for people like him with multiple disabilities; celebrity chef Marty Galin, 74, who created the world's largest salad; and radio host Ethel Taylor, 99, who started her on-air career at the age of 92. What we talked about: Read Heather Ringel's tributes to our Honourable Menschen and Women in The CJN: Muki Baum, Dr. Ron Weiss, Donald Carr. Learn more about Marty Galin's life, on Steeles Memorial Chapel. Ethel Taylor's story is on The Bay 88.7 FM website. Credits Host and writer: Ellin Bessner (@ebessner) Production team: Zachary Kauffman (producer), Michael Fraiman (executive producer) Music: Dov Beck-Levine Support our show Subscribe to The CJN newsletter Donate to The CJN (+ get a charitable tax receipt) Subscribe to The CJN Daily (Not sure how? Click here)

COFFEE MOANING the PODCAST ON APPLE PODCASTS: https://podcasts.apple.com/gb/podcast/coffee-moaning/id1689250679 ON SPOTIFY: https://open.spotify.com/show/3p6z4A1RbhidO0pnOGGZl2?si=IqwD7REzTwWdwsbn2gzWCg&nd=1 HOW TO STAY MARRIED (SO FAR) the PODCAST ON SPOTIFY: https://open.spotify.com/show/57MT4cv2c3i06ryQlIpUXc?si=1b5ed24f40c54eba ON APPLE PODCASTS: https://podcasts.apple.com/gb/podcast/how-to-stay-married-so-far/id1294257563

It is the time of the year for the grand finale of 2024' Sidequest, Game of the Year. Dylan, Kirklin and Taylor share their top game lists for the year that was 2024.Dylan's new Hitman video - https://www.youtube.com/watch?v=88GEe8vYyrg&t=4sQuests0:00:00 intro0:03:40 Opening ceremony0:14:00 Honourable mentions0:20:10 Top 10/Kirklin's non-2024 GOTY's0:48:00 Taylor's GOTY list0:54:35 Top 5LinksDylan on Twitter @DylanMussDylan on Backloggd backloggd.com/u/Rapatika/Taylor on Twitter @TaylorTheFieldKirklin on Twitter @kirklinpatzerTravis on Twitter @TravisBSnellhttps://www.patreon.com/GeekVersehttps://www.youtube.com/c/GeekVersePodcasthttps://discord.gg/mFSSAJJTBecome a supporter of this podcast: https://www.spreaker.com/podcast/geekverse-podcast--4201268/support.

It is the time of the year for the grand finale of 2024' Sidequest, Game of the Year. Dylan, Kirklin and Taylor share their top game lists for the year that was 2024.Dylan's new Hitman video - https://www.youtube.com/watch?v=88GEe8vYyrg&t=4sQuests0:00:00 intro0:03:40 Opening ceremony0:14:00 Honourable mentions0:20:10 Top 10/Kirklin's non-2024 GOTY's0:48:00 Taylor's GOTY list0:54:35 Top 5LinksDylan on Twitter @DylanMussDylan on Backloggd backloggd.com/u/Rapatika/Taylor on Twitter @TaylorTheFieldKirklin on Twitter @kirklinpatzerTravis on Twitter @TravisBSnellhttps://www.patreon.com/GeekVersehttps://www.youtube.com/c/GeekVersePodcasthttps://discord.gg/mFSSAJJT

In this very special episode we're joined by PlayStation Access's Rosie Caddick, The Gamer's Meg Pelliccio and Eurogamer's Victoria Kennedy to chat about their favourite 3 games of 2024. If you don't have a list of games you must play/finish by the end of this episode I'll be stunned. 00:00:00 - Intro 00:05:30 - Meg Pelluccio's top games of 2024 00:41:23 - Rosie Caddick's top games of 2024 01:22:49 - Victoria Kennedy's top games of 2024 01:55:53 - Honourable mentions 02:24:19 - What we're looking forward to in 2025 02:35:43 - Outro   ▼ Swapping Joysticks ▼ ● All previous episodes available at http://swappingjoysticks.com ▼ Meg's links ▼ ● Follow on Bluesky - https://bsky.app/profile/megpelliccio.bsky.social ● Follow on Twitter - https://twitter.com/megpelliccio ▼ Rosie's links ▼ ● Follow on Bluesky - https://bsky.app/profile/rosiecaddick.bsky.social ● Follow on Twitter - https://twitter.com/Rosie_Caddick ▼ Victoria's links ▼ ● Follow on Bluesky - https://bsky.app/profile/lilchopshopgal.bsky.social ● Follow on Twitter - https://twitter.com/LilChopShopGal ▼ Ben's links ▼ ● Follow on Twitch - http://twitch.tv/biggusbennus ● Follow on Bluesky - https://bsky.app/profile/biggusbennus.bsky.social ● Follow on Instagram - http://instagram.com/biggusbennus ● Join the Discord - http://discord.gg/biggusbennus ▼ Ed's links ▼ ● Follow on Twitch - http://twitch.tv/ed_nights ● Follow on Bluesky - https://bsky.app/profile/ednights.bsky.social 

The Herle Burly was created by Air Quotes Media with support from our presenting sponsor TELUS, as well as CN Rail, and Fidelity.Greetings, you curiouser and curiouser Herle Burly-ites! His bio in part reads: "First elected in 2000 and re-elected seven times since" ... now, as of this week, he's Canada's new Minister of Finance, the Honourable Dominic LeBlanc. And with limited time we're getting right to it, to talk about all things contained in his post-Monday portfolio: Finance, Intergovernmental Affairs, the Canadian Border, Trump's Tariff's. Plus, where the Liberal Party of Canada finds itself in this moment of crisis.Thank you for joining us on #TheHerleBurly podcast. Please take a moment to give us a rating and review on iTunes, Spotify, Stitcher, Google Podcasts or your favourite podcast app.Thank you for joining us on #TheHerleBurly podcast. Please take a moment to give us a rating and review on iTunes, Spotify, Stitcher, Google Podcasts or your favourite podcast app.Watch episodes of The Herle Burly via Air Quotes Media on YouTube.

I interview Elly Griffiths about her new book “The Frozen People” and I give my top 12 books of 2024.ALSO:Elly recommends 3 books for us:Beautiful People by Amanda JenningsNotes on a Drowning by Anna Sharpe.Stone Blind by Natalie HaynesPHILIPPA's TOP READS OF 2024The Betrayal of Thomas True by A. J. WestWitchcraft for Wayward Girls by Grady HendrixRubbernecker by Belinda Bauer. Discovery of Witches by Deborah Harkness.The Home Child by Liz Berry.The Mercy Chair by M. W. Craven.The Spell Shop by Sarah Beth Durst. Brotherless Night by V. V. GaneshananthanNightbloom by Peace Adzo Medie 10. A Bookshop of one's own by Jane Cholmeley,11.After the Storm by G. D Wright12.The Instrumentalist by Harriet Constable.Honourable mention: The Guncle by Steven Rowley. Facebook Group: https://www.facebook.com/groups/533022350711635/Bluesky: https://bsky.app/profile/quickbookreviews.bsky.socialInstagram: https://www.instagram.com/quick_book_reviewsThreads: @quick_book_reviewsTikTok: https://www.tiktok.com/@quickbookreviewsTwitter: https://x.com/quickbookrevie3 Hosted on Acast. See acast.com/privacy for more information.

Finally the episode you've all been waiting for, Album Mode's top 10 albums of 2024! Adriel and Démar list their best albums of the year and hand out some honourable metions to cap off 2024. There's some surprises in both lists so strap in for our year-ender.TIMECODES:1:25 - 5 Top 10 albums of this year5:18 - Album from this year that people will remember6:40 - Lucky Daye10:40 - We don't trust you  11:45 - Listening to the album in full is a different experience12:02 - Born in the wild14:14 - Previous #9 Fat Dog - Woof15:03 - Rema – Heis18:06 - Charli XCX18:47 - BRAT influencing politics  19:30 - Flo Milli22:42 - Doechii alligator bites never heal  24:20 - Sometimes, she resembles other people25:56 - Zach Bryan29:07 - Might Delete Later31:19 - Can't listen to Lucky Daye because he's not paying child support   32:18 - J Cole hater33:00 - GNX 36:33 - Never been this West Coast37:30 - Leon Thomas Mutt39:18 - BRAT / Victory lap by Demar42:59 - Charli XCX is the queen of pop this year43:56 - The last dinner party47:55 - Yeat  51:46 - Blue Lips54:10 - If Kendrick did the things Schoolboy Q did musically55:15 - Yeat 209358:16 - I Thought we valued creativity in music58:42 - Different is good1:01:02 - Honourable mentions Follow us:YOUTUBE:https://www.youtube.com/@AlbumModeTikTok:Album Mode: https://www.tiktok.com/@albummodepod Adriel: https://www.tiktok.com/@adrielsmileydotcom Démar: https://www.tiktok.com/@godkingdemi Instagram:Album Mode: https://www.instagram.com/albummodepod/ Adriel: https://www.instagram.com/adrielsmileydotcom/ Démar: https://www.instagram.com/demarjgrant/ Twitter:Album Mode: https://twitter.com/AlbumModepod Adriel: https://twitter.com/AdrielSmiley_ Démar: https://twitter.com/DemarJGrantDémar's Top 10:Yeat – 2093Last Dinner Party – Prelude to Ecstasy Yeat – Lyfestyle Charli XCX – Brat Kendrick Lamar – GNX Lucky Daye – Algorithm Zach Bryan – Great American Bar Scene Flo Mili Fine Ho, Stay Fat Dog – WoofMetro & Future – We Don't Trust YouAdriel's Top 10:Schoolboy Q - Blue LipsLast Dinner Party - Prelude to Ecstasy Leon Thomas - Mutt Kendrick Lamar - GNX J Cole - Might Delete Later Doechii - Alligator Bites Never Heal Charli XCX - Brat Metro & Future - We Don't Trust You Tems - Born in the Wild Lucky Daye – Algorithm

We continue our Toronto series with discussions on two very important issues that affect us – politics and golf. As with every visit to another city, we love to talk about the local political scene. Here to talk to us about Canadian politics is Member of Parliament and Minister of Small Business Rechie Valdez. She...

This week we're pitching Neo Westerns! Honourable mentions: I wanted a secretary, not a horse! Milkshake in the Mojave

In this episode, I respond to some feedback about feedback, some reaction to my confession in the last episode, and a little more Oz talk. Featuring calls from Jason Connerley of Nerd's RPG Variety Cast (podcast & blog), and M.W. Lewis from The World's of MW Lewis (podcast). Honourable mentions: Yochai Gal of Between Two Cairns (podcast), Michael of Mirke the Meek (podcast), Mrs. Frisby and the Rats of NIMH by Robert C. O'Brien, The Secret of NIMH dir. Don Bluth (1982), Starship Troopers by Robert A. Heinlein (1959), Starship Troopers dir. Paul Verhoeven (1997), The Crow by James O'Barr, The Crow dir. Alex Proyas (1994), The O books by L. Frank Baum, The Wizard of Oz dir. Victor Fleming (1939). It's also an opportunity to remind you of the coming Movie Monday episode. This month's movie is John Carpenter's Big Trouble in Little China from 1986. See below for details on contacting the show. The episode airs on October 28th, submissions by the 26th, please. You can leave a 90-second audio message via ⁠https://www.speakpipe.com/KeepOffTheBorderlands You can email ⁠spencer.freethrall@gmail.com⁠ You'll find me in a bunch of other places here ⁠https://freethrall.carrd.co⁠ You can also contact me on Discord by searching for FreeThrall This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit freethrall.substack.com

In this episode we continue our look at John le Carré’s 1977 novel, The Honourable Schoolboy. Find Part 1 here and Part 2 here. Writer Paul French returns to the show for our epic finale looking at The Honourable Schoolboy. We talk more about the politics of Southeast Asia in the 1970’s, Jeff throws out […]

The Honourable Jérémy Lissouba is a Member of Parliament in the Republic of the Congo and a prominent voice in the African Food Systems Parliamentary Network, a coalition of lawmakers committed to tackling food insecurity across the continent.  In this episode, Hon. Lissouba explains the social and agriculture initiatives he has collaborated on, the Malabo Declaration on Accelerated Agricultural Growth, and how many African nations are working together to tackle hunger on the continent. He touches on the intersecting challenges of nutrition and climate change and how parliamentarians are developing agricultural policies to address these issues. Hon. Lissouba also shares the insights he's gained from his own farming experiences and how he aims to help his neighbours and community.   Connect: Future Fork podcast website Paul Newnham on Instagram Paul Newnham on X Paul Newnham on LinkedIn Disruptive Consulting Solutions website SDG2 Advocacy Hub website SDG2 Advocacy Hub on X SDG2 Advocacy Hub on Facebook SDG2 Advocacy Hub on LinkedIn   This show is produced in collaboration with Wavelength Creative. Visit wavelengthcreative.com for more information.

Tending the thousand flowers. Show notes Martin Duwell Australian Poetry Review Jacket interview: Martin Duwell in conversation with Jeffrey Poacher Martin's review of David Brooks' New and Selected William Logan Dipped in Vitriol edited by Nicholas Parsons No Turn Unstoned edited by Diana Rigg Patrick White James Jiang Vincent Buckley A. D. (Alec) Hope James … Continue reading "Ep 285. Martin Duwell: An honourable activity"

In this ClimateGenn episode I am speaking with Extinction Rebellion cofounder, Gail Bradbrook, about the role of activism today and the inner world of those taking action that can and does result in severe imprisonment, and in some countries, even death. ORDER COPOUT BY NICK BREEZE: https://genn.cc/copout-nick-breeze/ GAILS LINKS: https://www.praler.net/ https://buymeacoffee.com/gailbradbrook/the-leadership-able-bring-just-transition Gail identifies her own position on taking risks and how, in her words, to "live an honourable life in these times.” Climate activists in the UK today risk prison sentences that we might expect to be handed out to people convicted of violent crimes, presenting a danger to society. But by silencing dissenting voices, the risk to society is that collective failings can be easily be swept under the carpet. During COP21 in Paris, Naomi Klein pointed out that the pressure of activists between the failed COP in Copenhagen 2009 and COP21 Paris 2015, created the momentum for countries to come together and sign the Paris Agreement. Since then the world has changed dramatically with climate impacts pushing the thresholds of safety for communities all around the world. The failure of countries to honour their Paris commitments is contributing to the severe climatic consequences we are seeing now. In a recent email I received, the case was put that activist calls for revolution are misplaced because we do not have time to restructure our society before large impacts overwhelm our ability to adapt. However, many activist calls - like Gail here - are for expanded democracy, such as the creation of civil assemblies, where citizens are given expert insights, allowing them to better inform policy. In this sense, the role of activism is to maintain momentum towards better policies that increase adaptation and resilience in as fair and equitable way as possible. Next ClimateGenn Episode With carbon emissions stubbornly high, we are seeing the rising trend of destruction. In the next ClimateGenn episode I speak with Climatologist, Professor Hayley Fowler from the University of Newcastle and Chief Meteorologist at the UK Met Office, Paul Davies. We discuss their work bridging the gap between meteorology and climatology to enhance severe storm warning systems in order to save lives. Whether in Europe, North Africa, the US, Philippines, the Himalayas, or beyond, severe life threatening storms are increasing in strength and frequency, in all cases posing an existential threat. Paul and Hayley discuss the intricacies of how these storms form and how they have found new ways to decipher critical signals within the expanse of noisy data. This episode will be available to subscribers very shortly and be public in a weeks time. Thank you to all subscribers and to everyone who has gotten in touch with feedback and episode suggestions. It is greatly appreciated. Remember you can support this channel by subscribing on Patreon or Youtube, as well as by ordering my book ‘COPOUT - How governments have failed the people on climate' which is available worldwide in paperback and audio. COPOUT is based on my UN COP reporting from Paris 2015 to Dubai 2023. I take the reader behind the scenes to witness first-hand how the failure of successive global climate summits has led us to this era of dangerous consequences. Thanks again for listening.

In this episode we continue our look at John le Carré’s 1977 novel, The Honourable Schoolboy. Find Part 1 here. Writer Paul French returns to the show to share his extensive knowledge of China and Hong Kong. We talk about the political background surrounding China and the UK when THS was written, the Ko brothers, […]

This month's movie was Walter Murch's Return to Oz from 1985. This episode features contributions from: (in order of appearance) James Knight, Helen the Elf & Tyranna the Dwarf Joe Richter of Hindsightless (podcast) Jason Connerley of Nerd's RPG Variety Cast (podcast & blog) Goblin's Henchman (podcast & blog) & the Umber Bulk #Mirke the Meek (podcast) Colin Green of Spikepit (podcast & YouTube) M. W. Lewis of The Worlds of M. W. Lewis (podcast) Get In the Heart of the Land of the Wizard of Oz here: https://www.drivethrurpg.com/en/product/379474/in-the-heart-of-oz Honourable mentions: Frank L. Baum's Oz books, The Wizard of Oz (1939) dir Victor Fleming, Oz: A Fantasy Role-Playing Setting by Andrew Kolb "Warning" by Lieren of Updates From the Middle of Nowhere Leave me an audio message via ⁠https://www.speakpipe.com/KeepOffTheBorderlands You can email me at ⁠spencer.freethrall@gmail.com⁠ You can find me in a bunch of other places here ⁠https://freethrall.carrd.co⁠ You can also find me on Discord by searching for freethrall This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit freethrall.substack.com

What if leaders from opposite sides of the political aisle could come together to chart a path for a better economic future? In this illuminating episode, we sit down with the Honorable Anne McClellan and the Honorable Lisa Raitt, co-chairs of the Coalition for a Better Future, to explore their inspiring bipartisan efforts aimed at rejuvenating Canada's economy. You'll hear about the coalition's origins, its mission rooted in the global call to "build back better," and how these two formidable leaders use their diverse backgrounds to push for sustainable and inclusive economic growth. We then pivot to discuss the vital role of evidence-based decision-making and the power of cross-partisan collaboration. Anne and Lisa open up about their journey from political adversaries to partners in progress, offering insights into the benefits of starting from a common factual base to reduce polarization. They share candid personal anecdotes and practical advice on lowering emotional temperatures during contentious conversations, making this a must-listen for anyone interested in effective, empathetic leadership focused on making real progress rather than focusing on refusing to compromise. Finally, the conversation turns to the voices that often go unheard in discussions about economic growth: those from rural and small-town Canada. Anne and Lisa share heartfelt stories that highlight the need for inclusive leadership and the importance of listening to diverse perspectives. From dairy farmers to oil and gas executives, the coalition aims to ensure that economic growth is a shared benefit for everyone. This episode is a compelling reminder that economic progress isn't just about numbers; it's about people, unity, and a collective vision for a better future. Tune in to be inspired by their vision and learn how you can contribute to a more prosperous Canada. What You'll Learn: • The formation and mission of the Coalition for a Better Future. • The importance of evidence-based decision-making and cross-partisan collaboration. • The critical role of empathy in today's hyper-polarized environment. • Practical advice on lowering emotional temperatures in discussions and promoting constructive dialogue. • The critical need to include voices from all walks of life, especially those from rural and small-town communities, in the conversation about economic growth. Podcast Timestamps: (00:00) - The Origin Story of the Coalition for a Better Future (14:31) - Working Together for Constructive Dialogue (31:38) – What Does Economic Growth Mean to You? Creating A Conversation for All Canadians (37:07) – The Role of Empathy and Authentic Leadership (43:47) - Navigating Disagreements With Humility (52:38) - Uniting Canada for Economic Growth More of Anne and Lisa: The Honourable Lisa Raitt is vice-chair of global investment banking at CIBC and formerly the Deputy Leader of the Official Opposition. Having served in the House of Commons for eleven years, she held three portfolios as a Conservative cabinet minister: Natural Resources, Labour and Transport. The Honourable Anne McLellan is a former senior advisor at Bennett Jones in Edmonton and former Deputy Prime Minister. Having served as a Liberal MP from 1993 -2006, she held multiple ministerial portfolios, including Public Safety and Emergency Preparedness, Justice, and Natural Resources.   Coalition for a Better Future: https://www.canadacoalition.ca/ Key Topics Discussed: Positive Leadership, Coalition for a Better Future, Economic Growth for All, Canada, Sustainable Economic Growth, Inclusive Conversations, Evidence-based, Cross-partisan, Collaboration, Empathy, Bridging Divides, Authentic Leadership, Overcoming Polarization, Deliberative Democracy, Community Engagement, Authenticity, Transparency, Promoting Unity, Community Involvement, Influencing Policy More of Do Good to Lead Well: Website: https://craigdowden.com/ LinkedIn: https://www.linkedin.com/in/craigdowden/

For this special edition of One on One, Sebastian is joined in-studio by former Prime Minister of the United Kingdom Liz Truss to discuss her new book "Ten Years to Save the West," and what is at stake in the fight against the entrenched liberal establishment.Support the show: https://www.sebgorka.com/See omnystudio.com/listener for privacy information.