Podcasts about Hutchings

Tired, foggy, gaining weight—and not sure if it's just aging or something more?Registered dietitian Lucy Hutchings breaks down why perimenopause symptoms like brain fog, belly fat, and poor sleep are common but absolutely not something you just have to live with. She shares how nutrition, strength training, and simple daily habits can gently support your hormones without extremes. We also explore the impact of caffeine, sugar, and stress on your energy and mood. For anyone feeling stuck or overwhelmed, Lucy offers a realistic path forward.If you're navigating this season of life and want real, practical support, this is a conversation you won't want to miss.Episode Timeline: 0:00 - Episode Overview1:04 - Podcast Intro1:36 - Meet Lucy Hutchings3:22 - Why So Many Women Struggle Through Perimenopause3:53 - The Problem with Poor Advice During Perimenopause4:40 - How Stress Affects Hormones Sleep and Belly Fat7:22 - Your Body Isn't Broken. It's Sending You Messages8:13 - Simple Ways to Shift Out of Stress Mode10:09 - How Much Sleep You Really Need11:06 - Sleep and Belly Fat Connection12:13 - Is Coffee Helping or Hurting Your Hormones14:07 - Whole Foods for Hormone Balance16:12 - How Much Protein Women Really Need18:25 - Best Protein Sources for Hormone Health20:53 - Choosing Between Whey and Beef Protein22:40 - What to Know About Intermittent Fasting in Perimenopause23:20 - How Water Impacts Skin Digestion and Detox23:43 - Finding the Right Fasting Window25:46 - Hydration for Hormones and Energy28:57 - Healthy Fats and Sugar for Hormone Balance32:56 - Cravings Emotions and What Your Body Needs35:36 - Why Strength Training Beats Cardio for Hormones37:28 - Avoiding the Pitfalls of Overtraining38:07 - What Stubborn Weight and Fatigue Are Telling You39:02 - Why Small Steps Make a Big Difference41:07 - How to Learn More from Lucy Hutchings42:50 - Episode Wrap Up42:56 - Podcast Outro43:18 - Final TakeawayAbout Lucy Hutchings: Lucy Hutchings is a registered dietitian with 17 years of experience helping clients reach their health goals through a whole-body, whole-foods approach. She believes that real wellness starts from within, and that the way we eat and live can shape the quality of our lives.She's a wife, mom of three, host of The Healthy Mama Podcast, and founder of Wellness From Within Nutrition. When she's not supporting clients, you'll find her reading, playing piano, or enjoying the outdoors with her family.Connect with Lucy Hutchings:Lucy Hutchings' WebsiteLucy Hutchings' PodcastLucy Hutchings' InstagramLucy Hutchings' FacebookFree resources for your thyroid healthGet your FREE Thyroid and Immune Health Restoration Action Points Checklist at SaveMyThyroidChecklist.com Do You Want Help Saving Your Thyroid? Access hundreds of free articles at www.NaturalEndocrineSolutions.com Visit Dr. Eric's YouTube channel at www.youtube.com/c/NaturalThyroidDoctor/ To work with Dr. Eric, visit https://savemythyroid.com/work-with-dr-eric/

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

Send us a textWelcome to The Helicopter Podcast, brought to you by Vertical HeliCASTS!In this episode of The Helicopter Podcast, host Halsey Schider talks with Kimberly Hutchings, an aviation leader whose work with Volo Mission shapes the next generation of utility pilots through specialized training. They explore how emotional intelligence fuels effective leadership and safety, diving into human factors, stress management, and bridging the office-cockpit divide. Kimberly shares insights on fostering strong company culture, her thoughts on the empowerment of women in aviation via Ladies of Long Line, and the role of mindfulness and community in tackling pilot challenges. Join Halsey and Kimberly for a compelling look at balancing mental health, family, and a dynamic career in aviation!Thank you to our sponsors Vertical Aviation International, Precision Aviation Group and Sellacopter.Listen closely for your chance to win awesome prizes from Heli Life! Throughout 2025, every episode of The Helicopter Podcast will reveal a secret word. Once you catch it, head to contests.verticalhelicasts.com to enter!

O que é que a ciência sabe sobre as tuas emoções em tempo de eleições?As campanhas políticas não são apenas jogos de argumentos — são verdadeiros laboratórios emocionais. Medo, raiva, esperança ou entusiasmo: tudo é usado com método para captar a tua atenção, influenciar decisões e moldar comportamentos.Neste episódio, exploro o que a investigação científica revela sobre o papel das emoções na comunicação política. Como é que diferentes emoções afectam o teu voto? Que estratégias usam os partidos para te tocar — sem que te apercebas?Com base em estudos europeus e internacionais, trago-te um olhar crítico, informado e acessível sobre como a política mexe contigo — mesmo quando achas que estás a decidir só com a razão.Ouve agora e descobre como o teu cérebro emocional entra na cabine de voto contigo. Referências bibliográficas: Brader, T. (2006).Campaigning for Hearts and Minds: How Emotional Appeals in Political Ads Work. University of Chicago Press.

Sarah welcomes Dr. Mike Hutchings to discuss his book Supernatural Freedom from the Captivity of Trauma. Dr. Hutchings equips you to identify the root, effects and symptoms of trauma-related issues. Jesus the Healer longs to set you free from trauma today!

Sarah welcomes Dr. Mike Hutchings to discuss his book Supernatural Freedom from the Captivity of Trauma. Dr. Hutchings equips you to identify the root, effects and symptoms of trauma-related issues. Jesus the Healer longs to set you free from trauma today!

Why do most recruitment companies stall at 10 to 20 people, while others scale to 100+ across continents? In this episode, you'll hear directly from someone who's done it. STR Group is a family of specialist recruitment brands focused on STEM sectors. As co-founder, Clive Hutchings has spent over two decades growing the business to more than 120 staff across the UK, Europe, and the US—all while staying profitable, adaptable, and values-driven. In this interview, Clive breaks down what it really takes to build a multi-brand, international recruitment group, the leadership philosophy behind STR's culture, and the gritty truths behind scaling a business beyond yourself. Episode Outline and Highlights [3:05] The early days: how Clive started in recruitment and his story of practicing his pitch in front of a mirror in the office. [11:37] The operational and leadership shifts needed to grow from 10 to 100+ employees [19:19] Why many recruitment founders plateau—and how to avoid it [21:09] Discussion on the best approach to train a new recruiter. [27:33] The value of having a support network around you. [32:50] What is the formula for knowing when to make your next hire? [40:00] Impact of AI: “Sales people being more sustainable, resourcing people less so.” [41:45] Clive reveals their tech stack and how AI impacts their current operations. [45:00] The relevance of cold calling in the age of AI. [52:00] Big differences between hiring in the US and the UK. [1:02:10] Learnings on expanding globally. [1:07:00] Culture and mantra that work. Leadership That Scales One of the biggest takeaways from this conversation is the importance of evolving your role as a founder. Clive credits much of STR's growth to the fact that he didn't try to do everything himself. Instead, he and his co-founder took on complementary leadership roles, allowing each to focus on their strengths while building out a business that could scale beyond them. If you're stuck juggling billing, management, and strategy, this is your sign to rethink your leadership structure. Building a scalable firm means building scalable leadership, and that starts with letting go of being the bottleneck. He also elaborated on the following: 1. Multifaceted Leadership Structure 2. Team Composition and Talent Strategy 3. High Energy and Personal Drive 4. Resilience Through Early-Stage Challenges 5. Realistic Growth Mindset Clive's success as a leader came from building a balanced team, maintaining high personal energy, fostering a resilient and realistic culture, and adapting roles and structures to match the stage of the business. Decision Factors When to Make Your Next Hire With Clive's success in scaling his team globally, I wanted to pick his brains on his thought process when deciding to make a new hire. As a recruitment business owner, this is a critical decision to make, as doing it too slowly can impede your business's growth, while doing it too rapidly can lead to longer-term problems that cost more to fix. Clive shared the following decision factors: Strategic Forecasting & Business Planning - Hiring plans are based on quarterly forecasts developed by each brand's leadership. Critical Mass & Team Size Considerations - A certain headcount is needed to reach operational momentum, but hiring must be sustainable. Smaller teams (e.g.,

In the seventy-first episode of the Better Eyesight Podcast, Nathan Oxenfeld and Nina Hutchings read through the seventy-first Better Eyesight magazine that was originally published in May 1925 by Dr. William H. Bates and his team. Exactly one hundred years later, these two natural vision teachers breathe life back into the words of Dr. Bates, and also provide some modern commentary on the topics brought up in each article. Better Eyesight, May 1925 A monthly magazine devoted to the prevention and cure of imperfect sight without glasses Article 1 []: Fundamentals Discussion 1 [] Article 2 []: Mental Pictures by Dr. W. H. Bates, M.D.  Discussion 2 [] Article 3 []: Stories From The Clinic ~ 63: Mental Pictures by Emily C. Lierman Discussion 3 [] Article 4 []: Announcements Discussion 4 [] Article 5 []: May Fairies by George M. Guild Discussion 5 [] Article 6 []: Glasses Retard Progress by E. T. Fisher, M.S.M.D. Discussion 6 [] Article 7 []: Report of the League Meeting by Mable A. Young Article 8 []: League Announcment Discussion 7 []: ---BETTER EYESIGHT LEAGUE ONLY--- Article 9 & Discussion 9 []: Questions And Answers   Contact us at bettereyesightpodcast@gmail.com Nathan's website - www.integraleyesight.com  Nina's website - www.methodebates.fr  Join the Better Eyesight League - www.patreon.com/bettereyesight

Feeding your family when you're navigating eczema, food sensitivities, or flares can feel like you're constantly walking a tightrope—exhausting, thankless, and impossible to get “just right.” But what if healing didn't have to feel so heavy? In today's episode, I'm joined by Lucy Hutchings, RD—registered dietitian, homeschooling mom of three, and host of The Healthy Mama Podcast. Lucy shares how to drop the all-or-nothing mindset, feed your family real food with real joy, and make healing sustainable without losing your sanity. We talk about simplifying meals, raising empowered eaters, and creating a calm, connected table even when dietary restrictions are in play. If you're in that messy middle—trying to nourish your child, hold your family together, and not burn out in the process—this one's for you. Connect with Lucy: Listen to The Healthy Mama Podcast Join her free Skool community, Radiance After 40 Resources from Eczema Kids: Grab your free guide: 7 Eczema-Friendly Meals Your Kids Will Actually Like Visit the Natural Eczema Shop for Healing Skincare & Gut Support  Join the Eczema Elimination Method — includes a private coaching call to build your child's custom healing plan

Tristen Hutchings, the #3 bull rider in the world joins Will Rasmussen on today's Rodeo Roadshow.  

Dr. Greg Hutchings is the president and co-founder of Lectrolyst, a startup that uses renewable electricity to convert waste carbon dioxide into various chemicals, offering a cost-effective, flexible solution that reduces emissions and produces green chemicals and feedstocks for bio-processing. Prior to co-founding Lectrolyst, Greg was focused on designing and engineering catalysts for better energy conversion, energy storage, and sustainability (including hydrogen production, carbon oxide transformation, lithium-oxygen batteries, lithium-ion batteries, and biomass upgrading). Greg obtained his B.S. in Chemical Engineering from the University of Florida (2010), his Ph.D. in Chemical Engineering from the University of Delaware (2015), and completed postdoctoral training at Yale University (2018). He also completed a Postdoctoral Innovation Fellowship through Horn Entrepreneurship at the University of Delaware after returning to co-found Lectrolyst. Key Moments [03:51] Turning CO2 into Useful Products [07:40] Unexpected Entrepreneurial Journey [11:50] "Unexpected Path in Electrochemistry" [14:42] Innovative Electro Agriculture Exploration [18:18] Carbon Emissions: Is It Too Late? [21:03] Entrepreneurial Balance & Reset Find Dr. Greg Online https://lectrolyst.com If you're enjoying Entrepreneur's Enigma, please give me a review on the podcast directory of your choice. The show is on all of them and these reviews really help others find the show. iTunes: https://gmwd.us/itunes Podchaser: https://gmwd.us/podchaser TrueFans: https://gmwd.us/truefans Also, if you're getting value from the show and want to buy me a coffee, go to the show notes to get the link to get me a coffee to keep me awake, while I work on bringing you more great episodes to your ears. →  https://gmwd.us/buy-me-a-coffee or support me on TrueFans.fm → https://gmwd.us/truefans. Follow Seth Online: Seth | Digital Marketer (@s3th.me) Seth Goldstein | LinkedIn: LinkedIn.com/in/sethmgoldstein Seth On Mastodon: https://indieweb.social/@phillycodehound Seth's Marketing Junto Newsletter: https://MarketingJunto.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Brian interviews Dwayne Hutchings. Dwayne is Director of Programs at Villages of Hope Africa Society. With 28 years of experience in pastoral work and philanthropy, Dwayne has dedicated his life to bringing hope and transformation to communities in need. VOH Africa's mission is to bring lasting hope to vulnerable children throughout Africa by providing them with holistic—emotional, intellectual, physical, social, and spiritual—loving care so they can embrace adulthood as contributing members of society. Dwayne is also a singer, songwriter, and recording artist, using music as a powerful tool to inspire and uplift others. Dwayne Hutchings talks about AIDS in Africa and Villages of Hope Africa Society.

Ashley Hutchings, the man who helped to write the British folk-rock playbook, hits 80, and instead of slowing The post Ashley Hutchings appeared first on The Strange Brew .

Our researcher of the month, Professor Judy Hutchings OBE, joins Dr Cassie Rhodes to talk about the results of a large trial analysing the efficacy of the KiVa anti-bullying programme in the UK. The trial involved 11,000 children and 118 primary schools and it has shown that a significant improvement in social dynamics in primary schools and a 13% reduction in bullying. This is a fantastic episode for any primary school educators who want to learn more about this effective intervention and how to implement it in your schools.

Brad Hutchings returns to discuss AI. Pete A Turner of the Break It Down Show has been working to use AI in some of his projects. He tried to find the Median debut for all baseball players. He did the work to find Detroit Tiger phenom, Jim Proctor who today is the middle player in all players, based on debut date, in MLB history (per baseball reference). Pete Writes about Jim in an article on X. Brad and Pete discuss Grok's inability to find the median player. Pete tried a few other AIs...they just don't work this way. Brad notes that AIs will give loquacious answers, but the results are more fantasy than fact. Then a funny test happens...what happens when you ask an AI, while offline, to reference an online resource...well...AI does a performance of giving an answer. This is a fun one.

Up the financial revolution that's got young Aussie's backs presents... ATS Breaking News! Right Now Tropical Cyclone Alfred has unrolled the lippy and is humping the daylights out of the Queensland Points. Punters and Pros alike are packing it deluxe and one bloke who got more drained than most is Korbin Hutchings who joins the show to marinate in the vishnu! Get on the Up Swellians!!! Download the ‘Up’ app and sign up in minutes. Use code 'UTFS' for $10 on signup (do it all from the comfort of your phone, no need to go to the bank or any of that bullsh*t). T&C's @ up.com.auSee omnystudio.com/listener for privacy information.

Most farmers focus on production—but how many focus on profit? In this episode, Jeremy Hutchings explains how mastermind groups and business coaching are changing the game for farmers.Do you know your key business numbers?Do you have a 3–5 year plan for your farm?Are you surrounded by people who push you forward?Jeremy Hutchings has worked with hundreds of farmers to turn good farms into great businesses. In this episode, he explains why mindset, strategy, and networks separate top-performing farmers from those just getting by.Find out more at the link below:https://www.farmownersacademy.com/Head Shepherd is brought to you by neXtgen Agri International Limited. We help livestock farmers get the most out of the genetics they farm with. Get in touch with us if you would like to hear more about how we can help you do what you do best: info@nextgenagri.com.Thanks to our sponsors at MSD Animal Health and Allflex, and Heiniger Australia and New Zealand. Please consider them when making product choices, as they are instrumental in enabling us to bring you this podcast each week.Check out Heiniger's product range HERECheck out the MSD range HERECheck out Allflex products HERE

Brad Hutchings and I continue our discussion of AI and it's practical applications in the business world. Be sure to get to BradHutchings.com to learn more about what Brad is up to...Pete A Turner and the Break It Down Show are proud to present Brad Hutchings and AI.    

Alayna Hutchings continues to spread her unique brand of cheer, and debuts a new song along the way. Backed by many supporters, the young rodeo queen has a truckload of toys and gifts for kids in Children’s hospitals. Click on […] The post Alanya Hutchings Off to Spread the Christmas Cheer first appeared on Voices of Montana.

AI continues to surround our lives. Heck, the image for this episode was created using GROK-It took several tries...but we got something useful. Brad Hutchings returns discussing AI, its uses, its limitations and how it, for now, is just an illusion. For more on Brad head to demomachine.net What makes AI fascinating is it's the thing at the moment. The presence of the tool is expected in business. "How are you leveraging AI?" Brad helps us understand the reality of scaling, and using AI as a level. Pete A Turner offers incredible conversations on the Break It Down Show from War,espionage, to celebrities, story and condors. It's all here on the Break It Down Show.

Adam Cox is joined by Charlotte Hutchings & Jazmine Waring from Busy Bees. They discuss the fact the need for more nusery workers to meet the new demands set from the UK Government, alongside Jazmine's experience of completing her first few qualifications as a trainee nursery worker.

21-letnia Nicole Hutchings spontanicznie wychodzi na halloweenową zabawę. Jej bliscy nie wiedzą, że to ostatni raz, kiedy ją widzą. To co, jak się okaże, ją spotkało, jest naprawdę przerażające.

21 year old Nicole Hutchings went out on Halloween night to party with her friends. The next morning when Nicole was still not home, her parents thought she had stayed with a friend. That all changed as the day turned to night and no one had heard from Nicole.  If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: http://bit.ly/KillerInstinctPod Follow Savannah on IG: @savannahbrymer Follow Savannah on Twitter: @savannahbrymer Learn more about your ad choices. Visit podcastchoices.com/adchoices

Der 40jährige Klarinettist, Saxofonist und Flötist ist ein spirituell Suchender. Ob in hypnotischen Afrobeats oder der meditativen Reduktion: Shabakas Musik hat immer auch eine politische Botschaft. Black Pride, Ausbeutung des Globalen Südens, Klimaveränderung: Shabaka Hutchings verarbeitet in seiner Musik grosse Themen. Der Londoner mit karibischen Wurzeln spricht ein junges, tanzaffines Clubpublikum an. Denn immer ist der Rhythmus treibende Kraft seiner Bands. Bei «Sons of Kemet» sind es gleich zwei Schlagzeuger, die Hutchings anfeuern. Auch in «Shabaka and The Ancestors» zusammen mit südafrikanischen Musiker:innen steht der Groove im Zentrum. Und in «The Comet ist Coming» lässt sich der Londoner von elektronischen Dancebeats vorantreiben. Fiebrige Musik unter Hochdruck – bis jetzt: Im aktuellen Soloalbum schlägt Shabaka überraschend introspektive Töne an. Dafür gibt er das Saxofon ganz auf, spielt nur noch indigene Flöten. Luftig, weich: ein Paradigmenwechsel. Tapiwa Svosve ist 16, als er in einem Londoner Jazzclub jobbt. Dort hört er Shabaka Hutchings immer wieder live. Über diese musikalischen Schlüsselerlebnisse, Shabakas Sinnsuche und den Reiz der Flöte diskutiert der Zürcher Saxofonist mit Annina Salis. Die gespielten Titel: Interpret:in: Titel (Album / Label) - Sons of Kemet: Beware (Burn - 10th Anniversary Remaster / Naim Jazz 2013) - ZED-U: Breaking the News (Night Time on the Middle Passage / Babel 2009) - The Comet is Coming: Journey Through the Asteroid Belt (Channel the Spirits / The Flea Label 2016) - Sons of Kemet: My Queen is Anna Julia Cooper (Your Queen is a Reptile / Impulse! 2018) - Shabaka and the Ancestors: The Observer (Wisdom of Elders / Brownswood Recordings 2016) - Shabka: The Wounded Need to Be Replenished - Body to Inhabit (Perceive its Beauty, Acknowledge its Grace / Impulse! 2024)

In this Barrel-Aged Classic, horror author Julie Hutchings joins Inebri-Art at the Mayflower Brewery to talk about vampires, self-contained storytelling, and Dan Kern. Intro music is "String Anticipation" by Cory Gray. 

In the sixty-third episode of the Better Eyesight Podcast, Esther Joy van der Werf and Nina Hutchings read through the sixty-third Better Eyesight magazine that was originally published in September 1924 by Dr. William H. Bates. Exactly one hundred years later, these two natural vision teachers breathe life back into the words of Dr. Bates, and also provide some modern commentary on the topics brought up in each article. Better Eyesight, September 1924 A monthly magazine devoted to the prevention and cure of imperfect sight without glasses Article 1 [2:25]: Permanent Improvement Discussion 1 [5:10]   Article 2 [14:00]: Quick Cures by Dr. W. H. Bates, M.D.   Discussion 2 [24:00]   Article 3 [49:20]: Stories From The Clinic ~ 55. A Hospital Patient by Emily C. Lierman Discussion 3 [57:10]   Article 4 [1:07:00]: A Personal Experience by Henrietta C. Clinton Discussion 4 [1:14:44] Article 5 [1:29:50]: The Fairy School by George Guild Discussion 5 [1:35:35] Article 6 [1:41:41]: The Better Eyesight League August Meeting Discussion 6 [1:46:26]: Article 7 [2:00:45]: Chief Four Eyes by Emily A. Meder Discussion 7 [2:03:10] ---BETTER EYESIGHT LEAGUE ONLY--- Article 8 & Discussion 8 [2:14:15]: Questions And Answers   Contact us at bettereyesightpodcast@gmail.com Esther's website - www.visionsofjoy.org Nina's website - www.methodebates.fr

SOLAR FUSION is a choreographic dance showcase, premiering August 17th at the Isabel Bader Theatre in Toronto. This showcase was created by artists Taylor Collis & Tyler Hutchings, with the premise of providing a formal platform for choreographers to share their work.  We talk about the impetus behind their upcoming showcase, why Taylor is feeling ready to share her newest piece, the continuation of Tyler's previous piece, their efforts to outreach, and what keeps them going. Tickets for SOLAR FUSION Follow the showcase on Instagram: @solarfusionshowcase Contact: solarfusionshow@gmail.com Connect with Taylor on Instagram: @taylorcollis Connect with Tyler on Instagram: @taylorhutchings References to check out: "HYPERDRAMA" album by Justice Brandon Croisetiere's "VALIDATE ME" performed by Vlad's Dance Company "Amusing Ourselves To Death" by Neil Postman “Outlive: The Science and Art of Longevity” by Peter Attia and Bill Gifford

He didn't set out to run an independent business. He wanted to build a community where other passionate readers could chat about their favourite books and authors. Along the way, Josh Hutchings began his own book store called Collective Pulp. You'll find it online and at local markets. At its heart, it's still all about the best book you ever read, and finding the next best book you ever read. Josh Hutchings joined us over the line to chat about his passion for collecting and selling books.

UK Government's Bold Climate Goals: Renewable Energy and Policy ReviewIn this episode of Wicked Problems, host Richard Delavan discusses British energy policy and climate strategy with notable guests Adam Bell, Director of Policy at Stonehaven UK, and Trevor Hutchings, CEO of the Renewable Energy Association (REA). They explore the UK government's ambitious plans for ramping up renewable energy, infrastructure investments, and the strategic choices surrounding emerging technology and planning reforms. Bell and Hutchings offer insights into the new roles of the Crown Estate, planning process acceleration, potential investments in offshore wind, hydrogen, and small nuclear projects, as well as the importance of robust cross-departmental government collaboration and innovative industry leadership. Additionally, Hutchings emphasizes the significance of consumer engagement, skills development, and the broader economic implications of the renewable energy transition.00:43 Intro01:57 Adam Bell, director of policy at Stonehaven UK16:17 Trevor Hutchings, REA on the race for Clean Power 2030 Hosted on Acast. See acast.com/privacy for more information.

Born and raised in Arkansas, Evan grew up playing drums at his dads church in Fort Smith. He was the kid that would sit behind the drummer during church and soak in every detail and nuance. Once church let out, he'd jump up on the kit and play, until the next church service started a few hours later. Evan got his first drum set at the age of 8 and began serenading his whole family and neighborhood with punk rock beats and the sounds of the radio. After touring the country with his band The Exception, Evan decided it was time to move to Nashville, TN and attend Middle Tennessee State under the direction of Lalo Davila and Tom Giampietro. It was in college where Evan honed his craft and wanted to become a studio musician. Years later and having played on multiple #1 songs on the radio, Evan is now an in demand studio drummer. You can hear his drumming with , Kenny Chesney, Reba McEntire, Luke Bryan, Jimmie Allen, Ronnie Dunn, Keith Urban, Steven Tyler, Toby Keith, Matt Stell, Maddie and Tae, Tim McGraw, Lauren Alaina, Erin McCarley, Rascal Flatts and many other artists.      Some Things That Came Up: -2:00 Started at 2 years old in church in Hot Springs,Arkansas  -3:45 first teacher was Sam Smith along with non stop playing and practicing  -5:00 school band and football. Football won  -6:30 Touring with Evan's  first band, The EXCEPTION  -7:15 Moved to to Nashville with the band in 2006 -10:15 The life changing teacher, Tom Giampietro. -11:00 Really worked on reading music. Lalo and Julie Davila at MTSU  -13:15 Touring with Griffin House and Katie Herzwig and started working in some studio environments  -13:50 Will Sales was a mentor and also Evans first master recording session that featured two drummers -18:45 “Dream Wild” movie  -22:30 Odd jobs and touring was a means to get in the studio long term  -24:30 Recording with Steven Tyler was a highlight so far  -27:30 Steven Tyler, Keith Urban and a track from the Barbie soundtrack all at Evan's house  -29:30 The legend of Jim Cooley  -30:15 Fast number charts! Coming from a musical family  -33:00 Gretsch, Zildjian, Evans  -38:00 The award for worst recorded snare drum sound goes to… -40:00 Nashville's THREE drum shops -45:15 The science behind LOOPS  -48:15 Efficiency and workflow  50:30 Writing  and producing  -54:30 Scheduling challenges -58:40 Changing heads once a month or so. Tana's  log locks  -1:00:00 www.musicbed.com -1:05:30 Garnering an emotional response with our instruments  -1:05:40 Samples and loop packages at www.evanhutchings.com -1:07:20Jeff Porcaro, Jim Keltner, Matt Chamberlain, Stanton Moore, Christian rock drummers, John Bonham, Dave Grohl  1:11:00 The soundtrack to “That Thing You Do” inspired Evans first kit  1:12:00 Roni Kaspi is great!  1:16:30 Grateful for parental support  1:17:30 Evan  parked cars and he doesn't  drive a stick!  -1:20:45 “The Fave 5”   Follow:  www.evanhutchings.com IG: @evanhutchings Also: FB, airgigs, soundbetter.com   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!     Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com www.itsyourshow.co  

Jess Hutchings is on Ready Steady Learn to talk about her research into the contribution of community pharmacists in supporting to achieve Pacific heart health equity in Aotearoa. Whakarongo mai nei!

Matt is joined this week by returning guest Myke Hutchings and new guest David Milmine to discuss working as a duo as Santa and elf Phineus!

Why do agencies drop the ball on their own marketing?In Agencyland, we understand the importance of impactful campaigns, yet we frequently neglect our own – particularly when things start getting busy. 46% of agencies don't practice what they preach, according to Chime Agency's latest benchmark report. This may not come as a surprise if you're an owner or ops leader trying to oversee or take on the additional responsibility of marketing.To grow your revenue and develop loyal clients, your agency needs consistent marketing. This can speak to both new and existing clients. Claire Hutchings, founder of Chime Agency, shares how agencies of all sizes can achieve consistently high quality marketing.In this episode, we're give our operations audience the practical strategies they can apply immediately at their own agencies to get things in shape fast.What you'll learn:What sets top performing agencies apartPractical tips for optimizing your marketing effortsWhy you need a strong Unique Selling Proposition (USP)Why you should develop a ‘Hero Moment' of your ownFollow Claire on LinkedIn: https://www.linkedin.com/in/claire-hutchings/Follow Harv on LinkedIn: https://www.linkedin.com/in/harvnagra/Check out Chime's Agency Benchmark report here - https://www.chime.agency/benchmark-reportStay up to date with regular ops insights. Subscribe to The Handbook: The Operations Newsletter.

Sarah welcomes Dr. Mike Hutchings to discuss his book Supernatural Freedom from the Captivity of Trauma. Dr. Hutchings equips you to identify the root, effects and symptoms of trauma-related issues. Jesus the Healer longs to set you free from trauma today!

Sarah welcomes Dr. Mike Hutchings to discuss his book Supernatural Freedom from the Captivity of Trauma. Dr. Hutchings equips you to identify the root, effects and symptoms of trauma-related issues. Jesus the Healer longs to set you free from trauma today!

Sandy talks to Brinkley Hutchings (Fairhope, AL) about her activist past and her decision to build a school focused on cultivating the next generation of environmental stewards.

Dr. Gregory C. Hutchings, Jr. specializes in antiracism in education, educational leadership, strategic planning, strategic thinking, professional learning, school board and superintendent relations, and executive coaching. Dr. Hutchings' research focuses on the African American superintendent and their challenges faced by advocating for antiracism in school systems across America.

Though he's known for his fiery, raging performances with groups like Sons of Kemet, The Comet Is Coming, and Shabaka and The Ancestors, Shabaka Hutchings eases into a contemplative zone with his debut solo album, Perceive Its Beauty, Acknowledge Its Grace.  Released on Impulse! Records and recorded at the legendary Van Gelder Studio in New Jersey—where John Coltrane cut A Love Supreme and many other jazz classics were committed to tape—the album finds Hutchings setting down his sax in favor of a variety of flutes and pondering questions about what it means to be, what it means to do, and how one gives themselves over to energizing forces. Joined by guests including Saul Williams, Euclid, Esperanza Spalding, Floating Points, Laraaji, poet Anum Iyapo, Carlos Nino, and fellow flute devotee André 3000, Hutchings drifts into a gentle, new age-inspired zone, blending spiritual jazz expression with ambient sensibilities.  “What does it mean to have music of spiritual substance?“What does it mean to be spiritual? What is spirit?” This week on Transmissions, Shabaka Hutchings joins us to discuss that force, his shift toward the flute, the influence of Outkast, and connecting with his father on a creative level.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. Next week on Transmissions? Shabaka Hutchings. For heads, by heads. Aquarium Drunkard is powered by our members. Keep the servers humming and help us continue doing it by subscribing to our online music magazine. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Welcome to ‘Up Next,' a profile of rising coaches within the Minnesota Vikings Football organization. Associate Writer Ellis Williams catches up with Defensive Assistant coach Imarjaye Albury and Safeties coach Michael Hutchings to talk about their journeys of becoming a professional football coach for the Minnesota Vikings. Both Albury and Hutchings document their early love of football, their growth while rising through the coaching ranks, what it's like working with both rookies and veterans in the NFL, and how the Vikings coaching leadership is fostering a new era of coaching talent. All of this and more is in this episode of ‘Up Next.'See omnystudio.com/listener for privacy information.

Blake is joined on today's episode by John Hutchings, the Founder/CEO of Fall River Brewing Company in Redding, CA. The show kicks off with Blake asking John about why he wanted to found Fall River Brewing in the first place, along with if the brewery is a bigger success than John could've imagined and what ups and downs the business has gone through since it's founding (1:43). Next, John describes why he wanted to launch his show "Forward Drinking Podcast" last year, as well as what his favorite Fall River beverage is (23:32). Lastly, Blake asks John what comes next in 2024 (59:40) and lots more! Intro Song: 1. Roy Ayers Ubiquity - Everybody Loves The Sunshine Host & Producer: Blake Mayfield Guest: John Hutchings Fall River Brewing's Event List: https://www.fallriverbrewing.com/events Forward Drinking Podcast: https://open.spotify.com/show/31tMNOWTPlcaEthZXZYVrL Download & Subscribe To "The Blake Mayfield Podcast" For New Episodes On All Streaming Platforms

Ben Rodgers talks with Derrick Hutchings, a county commissioner for White County. They discuss life before the county commission from racing cars to raising quarter horses, if the commission sees a lot of White County citizens attend and speak regularly at meetings, and his excitement being on the budget committee and different things he has learned thus far. Listen to the latest Local Matters Podcast… Presented by Office Mart Visit them at 215 S Jefferson Ave in Cookeville to see what they can do for your office News Talk 94.1 · Presented By Office Mart

Have you ever wondered how you would navigate through the unimaginable, such as stage 3 triple-negative breast cancer? Maybe you're currently grappling with the aftermath of tragedy and finding it challenging to navigate through. Michelle Hutchings-Medina embodies resilience in the face of adversity on multiple fronts. As a former oncology professional turned keynote speaker and certified professional coach, Michelle brings a unique blend of expertise to her mission. That mission is to assist others in not only surviving but also thriving in the aftermath of the unimaginable.✨Highlights from the show:[00:08:10] Modifiable risk factors for breast cancer.[00:16:12] Prioritizing health and awareness.[00:25:37] Supporting loved ones with cancer.[00:27:55] Clinical trial participation advice.[00:34:15] Clinical trial importance.[00:36:16] Resilience.[00:41:32] Unprocessed trauma and grief.

Encore! Director Peter Hutchings discusses with Jan Price his new romantic film, "Which Brings Me to You," available to rent digitally now!Watch the trailer here: https://youtu.be/IyJCO2f1yX0?si=VSDvcaFSa_4p6o0eTwo romantic burnouts, Jane and Will, are immediately drawn to each other at a mutual friend's wedding. After a disastrous hookup in the coatroom, the two spend the next 24 hours together, trading candid confessions of messy histories and heartbreak on the off chance that this fling might be the real thing. Lucy Hale and Nat Wolff star in this hilarious tale from the team behind The Hating Game. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of the Mike the Gardener - Gardening Podcast, I chat with Lucy Hutchings (@shegrowsveg) about her career to date. In 2018, Lucy took to Instagram to chart her progress growing her own fruit & vegetables. She now has a following of over 180,000.  In this episode, I chat to Lucy about her career to date, including her work as a writer, author, garden designer, and now, entrepreneur as she and business partner, Kate Cotterell have set up the UK Heirloom Seed Company. Lucy also shares exclusively their plans for the Chelsea Flower Show in May 2024. To follow Lucy on her Instagram account click here. To follow me on my Instagram account click here. Thanks for listening and please don't forget to follow/subscribe as there are more episodes to follow.  And, if you are able, please leave a review. See you next week. Mike

Dr. Jessica Hutchings is a kaupapa Māori researcher and Hua Parakore (Māori organics) farmer. She is the founding trustee of Papawhakaritorito Trust (https://www.papawhakaritorito.com).

What is the best lead gen and marketing tactic your agency needs to succeed? You'll be surprised to find out there's no silver bullet with marketing; any strategy can be successful with consistency. In this episode of The Agency Blueprint, I'm joined by Claire Hutchings to discuss the power of consistency in lead generation and marketing, plus what makes consistency challenging. Claire is an award-winning marketing consultant and founder of Chime Agency with 15 years of experience in agencies and consultancies of all shapes and sizes. She helps agencies and consultancies increase the volume of their marketing strategy and content. Listen in to learn more about how to approach budgeting and the importance of being authentic and intentional with your marketing. Key Questions: [01:15] Do you agree that the best lead gen strategy for every agency is the one that they implement fully and do consistently? [03:29] In your experience, why do you think consistency is difficult for agencies to establish? [08:06] What's your advice to someone who hasn't been consistent on how to achieve consistency? [16:40] What's your advice around thinking and setting a budget aside? What You'll Discover: [01:43] Why the best marketing and lead gen tactic is being consistent and practicing what you preach. [03:44] The structural and mindset reasons why marketing consistency is difficult for agencies to establish. [08:20] How to gain consistency across your marketing by intentionally resourcing your marketing, setting a clear budget, and having a singular hero moment. [14:01] The importance of being realistic and understanding that you need awareness before jumping to the bottom of the funnel. [16:54] Claire explains how to approach budgeting for marketing, including people costs and investing. [21:05] The importance of being authentic and intentional to make your marketing easier. [23:18] Claire on her agency's benchmark report and how it can help you with marketing and revenue growth. Connect with Claire: LinkedIn

A conversation with Jessica Hutchings, a Maori researcher and apothecary, about indigenous knowledge, letting go of old mindsets, our relationship with nature and the deities of our landscapes. A deep dive in the New Zealand food system, indigenous ways to connect with soil and the food web, sound of plants, vibration of nature and much more.This episode is part of the Regenerative Mind series, supported by our friends at Stray who are exploring systemic investing with awe and wonder as well as our friends at Mustardseed Trust, who are enabling a transition to a care economy that fosters regenerative food systems.---------------------------------------------------Join our Gumroad community, discover the tiers and benefits on www.gumroad.com/investinginregenag. Support our work:Share itGive a 5-star ratingBuy us a coffee… or a meal! www.Ko-fi.com/regenerativeagriculture----------------------------------------------------More about this episode on https://investinginregenerativeagriculture.com/emma-chow-jessica-hutchings.Find our video course on https://investinginregenerativeagriculture.com/course.----------------------------------------------------The above references an opinion and is for information and educational purposes only. It is not intended to be investment advice. Seek a duly licensed professional for investment advice.Use KOEN10 for 10% off! https://rfsi-forum.com/2024-rfsi-europe/Support the showFeedback, ideas, suggestions? - Twitter @KoenvanSeijen - Get in touch www.investinginregenerativeagriculture.comJoin our newsletter on www.eepurl.com/cxU33P! Support the showThanks for listening and sharing!

Today Rachel is joined by feature film rom-com director Peter Hutchings to talk about his career and new movie WHICH BRINGS ME TO YOU Use our affiliatelink to get the book WHICH BRINGS ME TO YOU (ad) https://amzn.to/3O6BQCR Follow Peter on instagram https://www.instagram.com/phutchings37/ Check out our playlist of all our director interviews https://www.youtube.com/watch?v=-6qev7EfhX8&list=PLXv4sBF3mPUBlik8iWDeZHnwT0-SZkxyM Please support the podcast on patreon and be part of these ranking episodes at https://www.patreon.com/hallmarkies Follow us on ITunes https://itunes.apple.com/us/podcast/hallmarkies-podcast/id1296728288?mt=2 https://twitter.com/HallmarkiesPod on twitter @HallmarkiesPodcast on Instagram HallmarkiesPodcast.com Get some of our great podcast merch https://www.teepublic.com/stores/hallmarkies?ref_id=8581 Please support the podcast on patreon and be part of these ranking episodes at https://www.patreon.com/hallmarkies Follow Rachel's blog at http://rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Follow Rachel's Reviews on youtube https://www.youtube.com/c/rachelsreviews Follow Rachel on facebook www.facebook.com/smilingldsgirlreviews

Tim Hutchings is a unique voice in the world of game design, known for his innovative approach that blends his rich background in fine arts with interactive storytelling. Hutchings' journey from the world of high art to game design is marked by his acclaimed creation, 'Thousand Year Old Vampire,' a solo-RPG game that exemplifies his talent for crafting deeply emotional and immersive experiences. As a professor of game design, Hutchings imparts both practical and theoretical wisdom, guiding his students through the exploration of games in innovative and thought-provoking ways. It was a joy to have him on the show to discuss the art and philosophy of game design. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit justingarydesign.substack.com

Recorded in Nashville, July 2023