Podcasts about i wish i was

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

Vamos a profundizar en uno de los discos más inspirados, importantes e influyentes de la historia: The Bends de Radiohead. Ricardo Portman nos relata la interesante historia del álbum. Escucharemos Planet Telex, The Bends, High and Dry, Fake Plastic Trees, Bones, (Nice Dream), Just, My Iron Lung, Bullet Proof… I Wish I Was, Black Star, Sulk y Street Spirit (Fade Out). Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ La Música del Arcón - FM 96.9 (Buenos Aires, Argentina) miércoles 18:00 (hora Arg.) Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

A Funny WednesdayFirst a look at the events of the dayThen The Henry Morgan Show, originally broadcast February 19, 1947, 78 years ago, The Radio Blood Test.  How radio affects blood pressure. Two "ad men" named "Charlie" and "Henry." "Dimitri's Keyhole": a Russian gossip program. How to save on taxes. "Offenbach On Broadway." "Hortense and Gerard." "The Coming Attractions Theatre" presents a funny preview of the movie, "Blubber.".Followed by A Day in the Life of Dennis Day, originally broadcast February 19, 1949, 76 years ago, The Missing Heir. Dennis is reluctant to attend his high school reunion. His old chum gets him to join him in an insurance fraud.Then Bob Hope, originally broadcast February 19, 1952, 73 years ago, I Wish I Was....   Bob and Hy take inventory in Bob's house which has been remodeled. Bob has dinner with guest Tyrone Power and afterwards dreams that he's Tyrone and Tyrone is Bob Hope.Followed by George Burns and Gracie Allen, originally broadcast February 19, 1948, 77 years ago, Keeping George from Making Decisions.  George has the opportunity to make $5000 in the cattle market, if only he can use the phone!Finally, Lum and Abner, originally broadcast February 19, 1942, 83 years ago, Lum is the Circulation Manager.   Lum is heading for the county seat in his new position as circulation manager. Lum tells Abner the secret password while telling him that he can't reveal the secret password. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

Send us a textIntro song: The Coo Coo Bird by Clarence "Tom" Ashley (1929)Song 1: East Virginia by Buell Kazee (1927)Song 2: Minglewood Blues by Cannon's Jug Stompers (1928)Song 3: James Alley Blues by Richard Rabbit Brown (1927)Song 4: I Wish I Was a Mole in the Ground by Bascom Lamar Lunsford (1928)Song 5: Rabbit Foot Blues by Blind Lemon Jefferson (1926)Outro song: Expressman Blues by Sleepy John Estes & Yank Rachell (1930)

When this week's guest, musician/music historian Matthew Sabatella discovered Harry Smith's 'The Anthology Of American Folk Music' in the late 90s, it literally changed the direction of his own musical journey. This amazing collection of recordings made and issued from 1926 to 1933 by a variety of performers got under his skin, and eventually moved him to found Ballad of America, Inc., a nonprofit organization with a mission to preserve and celebrate music from America's diverse cultural history. Songs discussed in this episode: Henry Lee - Dick Justice;  Sir George - Matthew Sabatella; Old Lady & The Devil - Bill & Belle Reed; White House Blues - Charlie Poole & The North Carolina Ramblers; Tenting On The Old Camp Ground - Matthew Sabatella and the Rambling String Band; Memory Coast - Matthew Sabatella; House Carpenter - Bob Dylan; The House Carpenter - Clarence Ashley; Ommie Wise - G. B. Grayson; John Hardy Was a Desperate Little Man - The Carter Family; Casey Jones - Grateful Dead; Kassie Jones - Furry Lewis; Brilliancy Medley - Eck Robertson; Mountain Banjo - Rhiannon Giddons; Acadian One-Step - Joseph Falcon; Present Joys - Alabama Sacred Harp Singers; Judgement - Sister Mary Nelson; I Wish I Was a Mole in the Ground - Bascom Lamar Lunsford; Stuck Inside of Mobile With the Memphis Blues Again - Bob Dylan; Way Down the Old Plank Road - Uncle Dave Macon; Spike Driver Blues - Mississippi John Hurt; Going Up The Country - Canned Heat; Fishing Blues - Henry Thomas; This Old Hammer - Matthew Sabatella and the Rambling String Band

Send us a textIn this podcast edition Tony channels spirit on what would happen if "I Wish I Was a Lotus Flower". This focus is what the qualities of a Lotus Flower is and how it represents something that would be amazing to possess. Tony explains that there are so many things that distracts us in life because we are focused on other people so much and our desire to please people no matter how they treat us.Tony uses numerous examples of how to use emotions experienced by trauma to help deal with negative effects. Whether it is distraction, relabeling or detachment these are ideal techniques you can try to see if it helps you look at a trauma through a different set of eyes so you feel differently about the incident. Discover more in this podcast. The Meditation only podcast channel with Tony and his Tuning Forks: https://raisingyourspiritsmeditation.buzzsprout.comIn the meditation portion of this podcast we used the Lotus Flower Meditation: Lotus Flower Meditation - Resilience (buzzsprout.com)Support the showAfter listening to this podcast if you liked it and you know someone that absolutely needs to hear this text them right now by sending a link to them. Let me know what happened and if it helped them. Thanks for caring. Please do not operate heavy machinery, drive, ride, or do activity while the podcast is on as it will alter your state in a more meditative state of receiving. This is not a background soundtrack while you are doing housework, reading, or any other activity. Subscribe to our YouTube Channel at https://www.youtube.com/user/susanneandtony17 for Tony's Tuning Fork meditations.Podcast Library: https://raisingyourspirits.buzzsprout.comNew Meditation only Podcast Library: Raising Your Spirits Meditation Podcast (buzzsprout.com)Tony Gyenis conducts free weekly on-line Tuning Fork meditation on Fridays called Tune In with Tony which is a private Facebook group. Book your spot here: https://calendly.com/whitelight878/tune-in-with-tonyIf you would like to donate or support our channel to help keep us going we would so appreciate it: ...

1 - On the Street of Regret - Connee Boswell – 19422 - Wish I Had Never - Tommy Ridgley and his Band - 19543 - Mistakes - Jack True with The Nite Owls – 19384 - I Wish I Was a Single Girl Again - Kelly Harrell - 19265 - I Wish I Was Single Again - Tom Glazer – 19496 - Am I Making the Same Mistake Again? - Ruth Brown with Budd Johnson's Orchestra – 19507 - I Boogied When I Should Have Woogied - Ray McKinley with Will Bradley and his Orchestra – 19418 - My Greatest Mistake - Dick Haymes with Harry James and his Orchestra - 19409 - Mistake in Life - Jimmy Wilson and His All-Stars – 194710 - I Was Wrong - Judy Canova and Riders of the Purple Sage - 194411 - The Mess-Around (A Wholetone Study) - Fats Waller – 192212 - When Father Laid the Carpet on the Stairs - Billy Murray - 190513 - I Learned a Lesson I'll Never Forget - The Five Red Caps – 194414 - I've Learned My Lesson - Bob White with the Emitt Slay Trio - 195315 - Hvis du har taget Fejl, saa sig det med det samme (If you have made a mistake, say so immediately) - Gull-Maj Norin med Sid Merriman's Danseorkester16 - To Make a Mistake is Human - Ella Fitzgerald – 1948

Want to request a song? Tell us your rating? Send us a Text Message right now! I Wish I Was a Prospector (With Gold Dust in My Hair)Oh, I wish I was a prospector with gold dust in my hairIn '63, they searched for dreams in mountains high and fairWhen the world moved slower and you trekked by mule and cartAnd the only way to strike it rich was to dig with all your heartDUBBY DUBBY is declaring WAR on big Energy! Use the promo code "1001songs" at checkout for 10% off! Subscribe to our Patreon for early access to episodes as well as Patreon exclusives episodes each week. Please tell your mates about the podcast and jump on Apple Podcasts/iTunes and give us a 5-star review!Blessington Support the podcast when you buy a Blessington watch! Use the promo code “1001songs” at checkout. DUBBYDUBBY is declaring WAR on big Energy! Use the promo code "1001songs" at checkout for 10% off! Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.Follow us on Instagram: https://www.instagram.com/1001songsthatmakeyouwanttodie/Follow us on TikTok: @the1001crew

The Stan Rogers Folk Festival is a celebration of songwriters honouring one of Canada's most prolific songwriters, Stan Rogers. The weekend-long musical adventure features a variety of genres, including folk, country, blues, soul, gospel, pop, rock, bluegrass, and world music. Join East Coast DNA host, Darcy Walsh, for a chat with StanFest's executive director, Troy Greencorn, and artistic director, Steve MacIntyre. This year promises some exciting new additions and they've brought the news to us first hand. Subscribe to East Coast DNA for more music + arts news and interviews throughout the year. In its 27th season, the Stan Rogers Folk Festival (Stanfest) is announcing a major expansion move. Eight additional concerts will be staged in six communities in Guysborough County as part of the new series called the Stanfest Roadshow. The concerts will commence on Monday, July 22 and lead into the annual summer festival in Canso, Nova Scotia, Thursday, July 25 to Sunday, July 28. "Change is good. There are various ways to grow. With the addition of the Stanfest Roadshow, we are taking the shows to the people,” shares Troy Greencorn, festival Executive Director. “We are also giving our passionate and loyal audience an opportunity and reason to come earlier and stay longer. On top of that, we are creating a lot more employment for artists. This is an innovation opportunity that was hidden in plain sight. We are excited and community response has been over the top." The first edition of the Stanfest Roadshow presents: Monday, July 22 Opening Gala: Lucy MacNeil and Rankin and the Broken Reeds Miles MacDonald Performance Centre, Guysborough Monday, July 22 Troubadours: Rachel Davis and Darren McMullen Seawind Landing, Charlos Cove Tuesday, July 23 I Wish I Was in Sherbrooke Now: Max MacDonald and Dave Gunning Sherbrooke Village, Sherbrooke Tuesday, July 23 Troubadours: Joe H Henry Seawind Landing, Charlos Cove Tuesday, July 23 Irishtowners: Morgan Toney, George Hart, Kevin O'Handley, Brian Bouchie, and Gertie Grant AJ's Pub, Canso Wednesday, July 24 Down Home, We Sing it From the Heart: Carl Bond, Eldon Munroe, Shiretown, Steve MacIntyre, and Dave Gunning St. Agnes Parish Hall, Little Dover Wednesday, July 24 Kitchen Party: The Once Jost Building, Guysborough Waterfront Wednesday, July 24 La Grand Démarrage: Mary Beth Carty, Mimi O'Bonsawin, and Les Royal Pickles Communities Along the Bay Multi-Use Facility, Larry's River Shows are individually priced, and tickets are available now at: stanfest.com/tickets --- Send in a voice message: https://podcasters.spotify.com/pod/show/east-coast-dna/message

Welcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.comI will read your scores out on the following episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!.....The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!Intro song: Brown Sugar by The Rolling Stones (1971)Song 1: The Shock of the Lightning by Oasis (2008)Song 2: Priscilla by Miranda Lambert (2014)Song 3: I Wish I Was the Moon by Neko Case (2002)Song 4: Gimme Some Rhythm Daddy by The Brian Setzer Orchestra (2009)Song 5: Old Man by Neil Young (1972)Song 6: Black or White by Michael Jackson (1991)Song 7: King and Lionheart by Of Monsters and Men (2011)Song 8: Faith by George Michael (1987)Song 9: That's the Way Love Goes by Janet Jackson (1993)Song 10: On My Way by Phil Collins (2003)

Two + hours of ComedyFirst a look at this day in History.Then The Henry Morgan Show, originally broadcast February 19, 1947, 77 years ago, The Radio Blood Test. How radio affects blood pressure. Two "ad men" named "Charlie" and "Henry." "Dimitri's Keyhole": a Russian gossip program. How to save on taxes. "Offenbach On Broadway." "Hortense and Gerard." "The Coming Attractions Theatre" presents a funny preview of the movie, "Blubber."Followed by The Bob Hope Show, originally broadcast February 19, 1952, 72 years ago, I Wish I Was. Bob's opening monologue is about the new 1952 cars. Bob and Hy take inventory in Bob's house which has been remodeled. Bob has dinner with guest Tyrone Power and afterwards dreams that he's Tyrone and Tyrone is Bob Hope. Then The Jack Benny Show, originally broadcast February 19, 1950, 74 years ago, Jack Returns to LA on the Train. Jack and Mary are playing Gin Rummy while aboard the Super Chief. Followed by A Day in the Life of Dennis Day, originally broadcast February 19, 1949, 75 years ago, The Missing Heir. Dennis is reluctant to attend his high school reunion. His old chum gets him to join him in an insurance fraud. Finally Lum and Abner, originally broadcast February 19, 1942, 82 years ago, Lum is Circulation Manager. Lum is heading for the county seat in his new position as circulation manager. Lum tells Abner the secret password while telling him that he can't reveal the secret password.Thanks to Robert for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mentioned on the show can be found here: http://www.civildefensemuseum.com/docs.html

Sobran las palabras para describir que es Radio Curie: Música y más música escogida selectamente por eclectic_club. El programa se emite quincenalmente en iPop a las 20 horas. Han Sonado: 1) Juan Wauters - P.O.V. 2) Adult DVD - Yacht Money 3) Getdown Services - Evil On Tap 4) Folly Group - Big Ground 5) Talk Show - Gold 6) Emily Yacina - Nothing Lasts 7) gglum - Easy Fun 8) Dutch Mustard - Wake Up 9) Jaws the Shark - Suff City 10) Neva Dinova - Outside 11) PACKS - HFCS 12) Hand Drawn Maps - Red and Blue 13) Omni - Exacto 14) PROJECTOR - No Guilt 15) The Rills - Bones 16) Autogramm - Plastic Punks 17) I Wish I Was a Punk Band - Let It Rest 18) KNEECAP; Grian Chatten - Better Way To Live 19) Cakes da Killa; Sevndeep - Sip of My Sip 20) Daniel Avery - Need Electric - 2023 Redux - Edit 21) Mint Julep - All Summer Long

Jala-Chan returns! I'm joined by Dexter and Jala to discuss episode 12 of season 2 for Captain N the Game Master, I Wish I Was a Wombatman. What started as a bizarre 1-off character in season 1 episode 3 has turned into its own full-length episode. We break down all the zaniness of this episode and talk a disturbingly long time about wombat nipples. End Song: Impending Something (Marble Madness - Stage 2) Artist: Doni Album: Button Masher Remastered https://gamechops.com/button-masher/ Check out the Bit by Bit Foundation! https://www.bitbybitfoundation.org/ Support the Podcast! https://www.patreon.com/stillloadingpod Want to buy some Still Loading merch? https://www.teepublic.com/user/still-loading-podcast

Curt and Darren are back with a new episode to end 2022. The Rap Nerds talk about their favorite albums to come out this year and rank their top 5 albums of the year. We also talk about our favorite songs to come out in 2022 - Apple Music playlist below. We close the episode by discussing artists we discovered or were introduced to this year. https://linktr.ee/rapnerds Intro song: I Wish I Was a Chair - Phony Ppl

Ficha técnica Hosts: Leticia Dáquer e Thiago Corrêa Edição: Leticia Dáquer Capa: Leticia Dáquer Data da gravação: 23/09/2022 Data da publicação: 09/2022 Áudios/músicas 12min Of Non-Stop Shofar Vídeo explicando a origem do nome Tiago   Bom Leticia Moscas carnívoras consideradas extintas há 186 anos são encontradas no Parque dos Pirineus, na França (O Globo, 19/08/2022) Pesquisadores descobrem a 1ª cirurgia feita na Idade da Pedra há 31 mil anos (GizModo, 12/09/2022) Thiago Archaeologists locate lost palace of Genghis Khan's grandson (Far Out Magazine, 03/08/2022) 14,000-year-old art engravings found in Spain (Far Out Magazine, 31/07/2022) Nation's first vaginal fluid transplants offer hope for millions (WBUR, 05/08/2022)   Mau Leticia Conservative activists want to ban 400 books from a library — but they aren't even on shelves (NBC News, 23/08/2022)  Thiago Nueva York prohíbe la venta de nata montada a menores de 21 años para que los adolescentes no lo usen como narcótico (20minutos, 30/08/2022) Launceston thief who scooped coins from monkey enclosure pond 'now at risk of herpes' (ABC Australia, 10/08/2022) Climate change is stressing lizards out, ageing them before they are even born (Buzz, 09/08/2022)   Feio Leticia Family 'brought corpse through airport and TSA agents patted it down' (Indy100, 31/08/2022) Quatis 'invadem' casa e consomem 4 kg de bacon e 1 litro de pinga: 'Choque'... (UOL, 16/09/2022) Minhoca gigante com 1 metro de comprimento é encontrada na Nova Zelândia (Olhar Digital, 21/09/2022)  Thiago Wedding music blamed for death of 63 chickens in India (Dawn, 25/11/2021) I Wish I Was a Little Bit Taller (GQ, 15/09/2022) Man jailed in Spain after selling off 7,000 hams he stole from work (The Guardian, 09/08/2022) Wind turbine blades could be recycled into gummy bears, scientists say (The Guardian, 23/08/2022) An AI-Generated Artwork Won First Place at a State Fair Fine Arts Competition, and Artists Are Pissed (Vice, 31/08/2022)   Parceria com Veste Esquerda: Agora tem camiseta do Pistolando direto no site da Veste Esquerda! Mas o código de desconto PISTOLA10 dá 10% de desconto na sua compra da nossa e de outras camisetas maneiríssimas esquerdopatas!   Parceria com Editora Boitempo: compre livros por esse link aqui pra gente ganhar uns trocados de comissão :)   Nosso link de associados da Amazon, mas só em último caso, hein: bit.ly/Pistolando    Esse podcast é produzido pelo Estopim Podcasts. Precisa de ajuda pra fazer o seu podcast? Chega mais, que a gente te ajuda   #MULHERESPODCASTERS Mulheres Podcasters é uma ação de iniciativa do Programa Ponto G, desenvolvida para divulgar o trabalho de mulheres na mídia podcast e mostrar para todo ouvinte que sempre existiram mulheres na comunidade de podcasts Brasil. O Pistolando apoia essa iniciativa.  Apoie você também: compartilhe este programa com a hashtag #mulherespodcasters e nos ajude a promover a igualdade de gênero dentro da podosfera.   Links do Pistolando www.pistolando.com contato@pistolando.com Twitter: @PistolandoPod Instagram: @PistolandoPod   Apóie o Pistolando no Catarse, no Patreon e agora também no PicPay, ou faça um Pix pra gente usando a chave contato@pistolando.com   Descrição da capa: Ilustração feita pela inteligência artificial mencionada na notícia do Thiago. Como ele descreveu no episódio, trata-se de um cenário meio ópera espacial, com figuras humanas usando vestes longas e amplas na cor vermelha, e uma pessoa usando roupas brancas, de pé em frente ao que parece ser uma janela muito grande, redonda, através da qual vê-se alguma paisagem que a definição da imagem não permite ver direito. Há outras pessoas no fundo, além de detalhes nas paredes e ao redor do janelão. No alto, à esquerda, a logo do Pistolando, branca. Logo abaixo, o número e o título do episódio, também em branco. Centralizada na parte inferior, a logo da Estopim, também branca.

5PM - COVID-19 pandemic over? Washington leaders weigh in on Biden's remarks // NYC weatherman Erick Adame fired after his nude photos were sent to boss: lawsuit // I Wish I Was a Little Bit Taller // LETTERS See omnystudio.com/listener for privacy information.

Jawbreaker "Jinx Removing"Cafeteria "Gorgeous Friend"The Both "Milwaukee"Gillian Welch "Look at Miss Ohio"James Carr "You've Got My Mind Messed Up"Chicago Stone Lightning Band "Girlfriend Gone"Robert Finley "Honey, Let Me Stay the Night"Valerie June "Wanna Be On Your Mind"Tom Rush "Duncan And Brady"Louis Armstrong "Back O'Town Blues"Marc Ribot Y Los Cubanos Postizos "Postizos"Arthur Dodge & The Horsefeathers "Birmingham"Amy Helm "Didn't It Rain"Neil Young "The Old Laughing Lady"Andrew Bird "Fiery Crash"The Mountain Goats "The Recognition Scene"Jimmy Duck Holmes "It Had to Be the Devil"Kiki Cavazos "Cold Love"Lucero "Hello Sadness"Shovels & Rope "Birmingham"The Jam "The Modern World"Portastatic "Teenage Kicks"Superchunk "The Question Is How Fast"The White Stripes "Rag and Bone"Muddy Waters "She Moves Me"Bob Dylan "Tomorrow Night"Squirrel Nut Zippers "Wished For You"Cedric Burnside "I Be Trying"The Black Keys "Act Nice and Gentle"Tom Waits "Mockin' Bird"Neko Case "I Wish I Was the Moon"Billy Bragg & Wilco "Way over Yonder in the Minor Key"Steve Earle "Now She's Gone"The Black Crowes "(Only) Halfway To Everywhere"The Jon Spencer Blues Explosion "Bellbottoms"Louise Johnson "On The Wall"Funkadelic "Can You Get to That"George Jones "Stranger in the House"The Lonesome Doves "When We Were Wild"Lenny and the Piss Poor Boys "Leaving in the Morning"Two Cow Garage "Should've California"Alvin Youngblood hart "Mama Don't Allow"Shotgun Jazz Band "Old Man Mose"Nina Simone "Children Go Where I Send You"don't mean maybe "Fake Id"Jawbreaker "In Sadding Around"

#130-128Intro/Outro: Motivation by James the Mormon130. The Bends by Radiohead (Fake Plastic Trees & High and Dry & Bullet Proof...I Wish I Was & Black Star)129. Jagged Little Pill by Alanis Morissette (You Oughta Know & Ironic & All I Really Want & Hand in My Pocket & Head Over Feet)128. Run-D.M.C. by Run-D.M.C. (Sucker MC's (Krush-Groove 1) & Rock Box & Hollis Crew (Krush-Groove 2) & It's Like That)Today's Album ArtVote on Today's Album ArtWeek 8 Round 1 Winners (episodes 336-340)Vote on Week 8 Round 2 Album ArtWeek 7 Round 2 Winner!! (Moves on to Round 3)Round 3 starts when we have one more Round 2 winner

Donald Trump Must Not Be Elected in 20241. To Save and/or restore Democracy in America we have to make sure Trump is not elected in 2024.2. To make sure he's not, we have to win in 2022 to make sure we don't have a Republican Congress and Senate to pave the way for him.3. To make sure we win in 2022 with no Trump on the ballot to vote against, we have to do something to bring Democrats to the polls in this Mid-term election.4. That can only happen if we deliver on what we promised. To demonstrate that when Democrats win and have power, it can make a positive difference in their everyday lives.5. All this will only happen if the Progressives are willing to compromise on the price tag. If they don't, the price will be the loss of our Democracy. A price none of us can afford.The podcast occasionally runs ads and Facebook banned the ad and took it down. Facebook is on fire on all sides. Should there be regulation of what all these platforms do? What are the algorithms for censorship? Jene recalls seeing Zuckerberg at Glacier National Park.Musical guest: Abe Partridge from Mobile, Alabama performs I Wish I Was a Punk Rocker https://youtu.be/jQpKjeAxehYWebsite: www.abepartridge.comFacebook: www.facebook.com/PartridgeAbeInstagram: www.instagram.com/abepartridge See acast.com/privacy for privacy and opt-out information.

Donald Trump Must Not Be Elected in 20241. To Save and/or restore Democracy in America we have to make sure Trump is not elected in 2024.2. To make sure he's not, we have to win in 2022 to make sure we don't have a Republican Congress and Senate to pave the way for him.3. To make sure we win in 2022 with no Trump on the ballot to vote against, we have to do something to bring Democrats to the polls in this Mid-term election.4. That can only happen if we deliver on what we promised. To demonstrate that when Democrats win and have power, it can make a positive difference in their everyday lives.5. All this will only happen if the Progressives are willing to compromise on the price tag. If they don't, the price will be the loss of our Democracy. A price none of us can afford.The podcast occasionally runs ads and Facebook banned the ad and took it down. Facebook is on fire on all sides. Should there be regulation of what all these platforms do? What are the algorithms for censorship? Jene recalls seeing Zuckerberg at Glacier National Park.Musical guest: Abe Partridge from Mobile, Alabama performs I Wish I Was a Punk Rocker https://youtu.be/jQpKjeAxehYWebsite: www.abepartridge.comFacebook: www.facebook.com/PartridgeAbeInstagram: www.instagram.com/abepartridge See acast.com/privacy for privacy and opt-out information.

#80-76Intro/Outro: The Truth by Brother Cane80. Muse (Absolution & Uprising)79. Queen (Crazy Little Thing Called Love & Don't Stop Me Now)78. The Allman Brothers Band (Melissa & Whipping Post)77. Counting Crows (A Long December & I Wish I Was a Girl)76. Radiohead (Fake Plastic Trees & Burn the Witch)Requests Announcement: I am taking requests! After I finish this list, I will be having five more bonus request episodes. So message me (919-345-4733) with the songs you want to hear. I look forward to playing your songs!

We dug deep into the YouTube world of Sandi Thom's "I Wish I Was a Punk Rocker," and it was so much fun. Classic pod energy. But you can only get into it on Patreon: http://www.patreon.com/155pod    

This week we discuss Sandi Thom's "I Wish I Was a Punk Rocker with Flowers in My Hair." It's a weird one. Want weekly bonus episodes, access to the Discord and so, so much more? Hit up http://www.patreon.com/155pod  

弗洛伊德和培根，如果你对英国的绘画，特别是战后的绘画感兴趣，是你绕不过去的两个名字。 而碰巧的是，这两个人曾经是挚友，他相互为对方画的肖像已经是拍卖市场上标价最高的标的。碰巧的是他们都是名门之后，一个是心理学家，精神分析学派创始人弗洛伊德的孙子，一个是英国哲学家作家培根的后裔。他们都放诞不羁，嗜赌声色犬马，一个直，女友众多，一个弯，而且是虐恋爱好者，在亲密关系中被男友揍得飞起而乐此不疲。 在南国的旅行中，主播们碰巧在厦门遇到了一个“培根个展”，意外地，展纸本油画棒作，非常罕见，闻所未闻。作品来路跟蹊跷，来自培根晚年在意大利结识的一个小男友。这批世间闻所未闻的纸本作品，有数百张，曾经的小男友说是（出了名不爱画纸本不爱画素描的）培根画了送给他的礼物…… ps. 欢迎关注杨老师的微博 和 化化的微博 ■ Cover art 中作品 自画像三习作（之一）/ 弗朗西斯·培根 / 布面油画 / 1972 / 35.5 x 30.5 cm · ■ 主播 杨老师 ？ · ■ Song List Midicronica - San Francisco Radiohead - Bullet Proof...I Wish I Was · ■ sns 感谢你的收听！关于节目和主播的动态，欢迎关注我们的社交号： 「一画一话」微博 「一画一话」豆瓣 Instagram上也可以找到我们。 如果你喜欢我们的节目请在你常用的平台留下好评，将节目分享给你的朋友。 · ■ 付费订阅 http://www.theviewtalk.com/member · ■ say hi info@theviewtalk.com

弗洛伊德和培根，如果你对英国的绘画，特别是战后的绘画感兴趣，是你绕不过去的两个名字。 而碰巧的是，这两个人曾经是挚友，他相互为对方画的肖像已经是拍卖市场上标价最高的标的。碰巧的是他们都是名门之后，一个是心理学家，精神分析学派创始人弗洛伊德的孙子，一个是英国哲学家作家培根的后裔。他们都放诞不羁，嗜赌声色犬马，一个直，女友众多，一个弯，而且是虐恋爱好者，在亲密关系中被男友揍得飞起而乐此不疲。 在南国的旅行中，主播们碰巧在厦门遇到了一个“培根个展”，意外地，展纸本油画棒作，非常罕见，闻所未闻。作品来路跟蹊跷，来自培根晚年在意大利结识的一个小男友。这批世间闻所未闻的纸本作品，有数百张，曾经的小男友说是（出了名不爱画纸本不爱画素描的）培根画了送给他的礼物…… ps. 欢迎关注杨老师的微博 (https://weibo.com/yangmo80) 和 化化的微博 (https://weibo.com/WorkArtWithArtist) ■ Cover art 中作品 自画像三习作（之一）/ 弗朗西斯·培根 / 布面油画 / 1972 / 35.5 x 30.5 cm · ■ 主播 杨老师 ？ · ■ Song List Midicronica - San Francisco Radiohead - Bullet Proof...I Wish I Was · ■ sns 感谢你的收听！关于节目和主播的动态，欢迎关注我们的社交号： 「一画一话」微博 「一画一话」豆瓣 Instagram上也可以找到我们。 如果你喜欢我们的节目请在你常用的平台留下好评，将节目分享给你的朋友。 · ■ 付费订阅 http://www.theviewtalk.com/member · ■ say hi info@theviewtalk.com

1 - Make A Wish - Richard Himber and his Ritz Carlton Hotel Orchestra - 19372 - Hvis Jeg Fik Lov At ønske (If I Was Allowed to Wish) - Sven Rye med Elo Magnussen og hans orkester – 19383 - Three Wishes - Freddie Martin Orchestra - 19334 - Wenn Ich Mir Was Wünschen Dürfte (If I Could Wish) - Greta Keller – 19315 - I Wish I Had a Daddy in the White House - Kitty Kallen with George Siravo and his Orchestra - 19516 - I Wish I Could Shimmy Like My Sister Kate - The Virginians – 19237 - I Wish I Had Wings - Bert Lown - 19328 - Wishing (Will Make It So) - Donald King with Roy Smeck and his Serenaders – 19399 - I Wished on the Moon - Billie Holiday with Teddy Wilson and his Orchestra – 193510 - Wishing and Waiting for Love - Scrappy Lambert with Don Voorhees and his Orchestra - 192911 - I'm Wishing - Audrey Marsh with Lyn Murray and his Orchestra – 194412 - I Wish I Was In Peoria - Ted Lewis and his Band – 192513 - I Wish All My Children Were Babies Again - Gene Autry - 194114 - I Wish I Had My Old Gal Back Again - Al Jolson – 192415 - I Wish I Was Single Again - Tom Glazer - 194916 - I Wish I Was a Single Girl Again - Kelly Harrell – 192617 - I Wish I Could Say the Same - Bob Eberly and The Song Spinners - 1947

Vamos a profundizar en uno de los discos más inspirados, importantes e influyentes de la historia: The Bends de Radiohead. Ricardo Portmán nos comenta la interesante historia del álbum y podrán escuchar todas sus canciones: Planet Telex, The Bends, High and Dry, Fake Plastic Trees, Bones, (Nice Dream), Just, My Iron Lung, Bullet Proof… I Wish I Was, Black Star, Sulk y Street Spirit (Fade Out). 

Side B features the intro from Episode 20 - I Wish I Was a Lil' More Palmer (The Remix w/ Jon and colin) - set to the instrumental of "I Wish" by Skee-lo

Diana Rodgers, RD, is a “real food” nutritionist and writer living on a working organic farm. She runs a clinical nutrition practice, hosts the Sustainable Dish Podcast, and speaks internationally about human nutrition, sustainability, animal welfare and social justice. Together with Robb Wolf, Diana has created Sacred Cow, a documentary film and book exploring the ways regenerative agriculture can lead to better health for humans, animals, and ecosystems. Far from being the destroyers of land, she argues, cattle can help bring it back from desertification. Find me on Instagram or Twitter. Please consider supporting this podcast. This Amazon affiliate link kicks a few bucks back my way. Intro music: “Brightside of the Sun,” by Basin and Range; "I Wish I Was a Cowby" by S.E. Rogie; “Smoke Alarm,” by Carsie Blanton.

Seems my outlaw music has someone at Fascist Book triggered and my active tags are now labeled as SPAM! Weird thing is, seems selected communications are now targeted on the platform. I do see others with active tag links. NOTHING like a multi-tiered system in an era where we are all supposed to be equal...supposed to be innocent until PROVEN guilty. The Fascist Book decision has made it so, for the time being, I will not be sharing or help to try to promote any other of my dangerous posts of lost pets, recipes, or your LIVE AT HOME online gigs. Fascist Book has made me into a bad, bad man! All good and nothing bad in hour one of this special edition of “Album Tracks APlenty! @The Music Authority LIVE STREAM Show & Podcast...recorded and on Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, APPLE iTunes, AND Google Play Music! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening?   March 24, 2020, Tuesday, act one…@Orbis 2.0 - TMA SHOW OPEN THEME@Brandi Ediss - 04 I Wish I Was the Moon [Hey (covers, vol. 2)]@The Petal Falls - A Man in Chains [Workin' All Night Workin' All Day]@Liar's Club - 07 Home [Come and Go]@Chris Church - You Are The Thunder [Backwards Compatible] (@Spyder Pop Records)@Pat Todd & The Rankoutsiders - 05 My Own Way@The Foreign Films - Stars In Her Eyes [Ocean Moon]@Super8UK - Love Like Ours [Head Sounds]@The Jack Cades - 10 Mrs. Voyant [Perfect View](@Beluga Records)@The Pretty Shirts - 08 Black Coffee@Am I Dead Yet? - Fake Flowers [Am I Dead Yet?]@Eric Peter Schwartz - 05 Annie's Morning Brew [Winston]@The Reverberations - 10 Time Stops [Changes](@Beluga Records)@The Claws - 09 California M.I.A. [No Connection]@Datura 4 - 05_You're the Only One [West Coast Highway Cosmic]@The Anderson Council - 14 - Wrong Way Out [Worlds Collide] (@Jem Records)@The Why Oh Whys - 09 Come On [The Why Oh Whys] (@Beluga Records)@Clementines – Produce Aisle [Produce Aisle]

"HOW YOU SOUND IS JUST AS IMPACTFUL AS HOW YOU LOOK" - Jon Brennan Historically, sound branding has been restricted to the TV Jingle (e.g. “I Wish I Was an Oscar Meyer Weiner”) or audio logos (e.g. Intel). Today brands must be consistent and persistent with their identity across all touchpoints. Ownable sonic branding will deliver brand affinity, memorability, engagement and importantly purchase. The goal for sonic branding is for all assets, voice, music and UX sounds, to have a common theme that is line with the brand identity. Sonic Signatures has developed principles for effective sonic branding from their experience creating sonic identities across media platforms for leading brands and technologies. Website: https://www.sonicsignatures.io/ Columbus Voice Bootcamp: http://bit.ly/2lGU18j --- Send in a voice message: https://anchor.fm/voicefirstai/message Support this podcast: https://anchor.fm/voicefirstai/support

1. It Ain't No Fault of Mine - Louisiana Collegians - 19302. Everyone's Wrong But Me - Ella Fitzgerald And Her Savoy Eight - 19373. Was That the Human Thing To Do - Bert Lown & His Orchestra - 19324. Hvis du har taget Fejl, saa sig det med det same - Sid Merriman's Danseorkester5. Am I Making The Same Mistake Again? - Ruth Brown with Budd Johnson's Orch. - 19506. Maybe I'm Wrong Again - Bing Crosby; Georgie Stoll and his Orchestra - 19347. Wish I Had Never - Tommy Ridgley and His Band - 19548. I Wonder Who Wished Her On Me - Billy Murray - 19159. I Wish I Was a Single Girl Again - Kelly Harrell - 192610. I Wish I Was Single Again - Tom Glazer - 194911. I Boogied When I Should Have Woogied - Will Bradley and his Orchestra - 194112. Butter Fingers Blues - Charles Creath's Jazz-O-Maniacs - 192713. The Wrong Idea - Swing and Sweat with Charlie Barnet - 193914. The Mess-Around (A Wholetone Study) - Fats Waller - 192215. Mistake in Life - Jimmy Wilson and His All-Stars - 194716. My Greatest Mistake - Harry James and his Orchestra; Dick Haymes - 194017. When Father Laid the Carpet On the Stairs - Billy Murray - 190518. While you're Sneaking Out Somebody Else Is Eazin' In - George McClennon's Jazz Devils - 192619. To Make a Mistake is Human - Ella Fitzgerald - 194820. Kickin' A Hole In The Sky - Ipana Troubadours - 193021. I Was Wrong - Judy Canova and Riders of the Purple Sage - 194422. On the Street of Regret - Connee Boswell - 194223. I Learned A Lesson I'Ll Never Forget - The Five Red Caps - 194424. I've Learned My Lesson - Emitt Slay Trio - 195325. Mistakes - The Nite Owls - 193826. Mistakes - Blue Steele and His Orchestra – 1929

“I Wish I Was the String Connecting the Pearls of a Necklace,” by a Falun Dafa Practitioner in Heilongjiang Province. An experience sharing article from the Twelfth China Fahui on the Minghui website.

We are ending 2018 with the Best Irish & Celtic music of 2018 as voted on you in the Celtic Top 20. Enjoy music from Talisk, Doolin', The Selkie Girls, Runa, Matt & Shannon Heaton, Chris Murphy, The Gatehouse Well, Raglan, New York Brogue, Wolf & Clover, Gwendolyn Snowdon, The Rowan Tree, Colleen Raney, The Gothard Sisters, Sliotar, The Founding, Bill Grogan's Goat, Screaming Orphans, Dervish, Gone Molly.  http://bestcelticmusic.net/  I hope you enjoyed this week's show. If you did, please share the show with ONE friend.  The Irish & Celtic Music Podcast is dedicated to growing our community and helping the incredible artists who so generously share their music. If you find music you love, buy their albums, shirts, and songbooks, follow them on Spotify, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast.  Remember also to Subscribe to the Celtic Music Magazine. Every week, I'll send you 4 or 5 cool bits of Celtic music news. It's a quick and easy way to plug yourself into more great Celtic culture. Plus, you'll get 34 Celtic MP3s for Free, just for signing up today. Thank you again for being a Celt of Kindness. VOTE IN THE CELTIC TOP 20 It's easier than ever to do. Just list the show number, and the name of one or two bands. That's it. You can vote once for each episode help me create next year's Best Celtic music of 2018 episode.  http://bestcelticmusic.net/vote/  THIS WEEK IN CELTIC MUSIC 0:05 "Farewell" by Talisk from Beyond 7:44 "The Road to Gleanntan" by Doolin' from Doolin'  10:37 "Castle of Dromore" by The Selkie Girls from Winter Lore: Songs of Celtic Christmas 14:05 "The Hunter Set" by Runa from Live 19:03 "Botany Bay" by Matt & Shannon Heaton from Lover's Well 23:32 "Maritime Jig" by Chris Murphy from The Tinker's Dream 27:35 "Cape St Mary/The Goodship 'Hope'" by The Gatehouse Well from And the Sparks Did Fly 35:14 CELTIC FEEDBACK 37:38 "The Far Rocks of Sheetrim" by Raglan from A New Dawn 41:51 "Tom Paine's Bones" by New York Brogue from Live from the Poor Mouth 46:58 "Si Bheag Si Mhor" by Wolf & Clover from Wolf & Clover 50:00 "I Wish I Was in England" by Gwendolyn Snowdon from Three Strand Braid 53:21 "Laura's House" by The Rowan Tree from The Rowan Tree 56:31 "Fhear a Bhata" by Colleen Raney from Linnet 1:01:15 CELTIC PODCAST NEWS 1:03:38 "Midnight Sun" by The Gothard Sisters from Midnight Sun 1:07:29 "Kilmaley" by Sliotar from Voyage 1:10:31 "Fox" by The Founding from Form. 1:13:46 "The Devil's Trumpet" by Bill Grogan's Goat from Third Eye 1:18:57 "Humour Is On Me Now" by Screaming Orphans from Taproom 1:22:40 "Out on the Road" by Dervish from Midsummer's Night 1:28:13 "Follow" by Gone Molly from Gone Molly The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. To subscribe, go to Apple Podcasts or to our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. CELTIC PODCAST NEWS * Helping you celebrate Celtic culture through music. My name is Marc Gunn. I am a Celtic musician and podcaster. This show is dedicated to the indie Celtic musicians. I want to ask you to support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon. This is the final episode of 2018. It is also your votes in the Celtic Top 20.  Every year, I ask you to vote for your favorite artists in each episode. At the end, I compile your votes into the Celtic Top 20. These are your favorite songs and tunes of 2018. This is not in any particular order. But these were the twenty most-popular songs and artists of the year.  Now if you enjoy any of these artists, please remember to support them. Buy their music and merch. Buy tickets to shows. Follow them on Patreon or Spotify or send them a few bucks. Let's get on with the music. I was talking with a lot of my musician friends recently. Across the board CD sales are diminishing. Yet, many artists make their living playing music. We knew this was coming but most musicians haven't found out how to adjust. So it comes down you to support the music and arts you love. In show #349, I listed a bunch of Celtic musicians on Patreon. Some of you who are Patrons of this Podcast already know how easy and awesome it is. If you know of any other artists there, please let me know. I'd like to update that list for 2019. Or if there is a special way you support Celtic music, email me.  I am updating the Top Irish & Celtic Music Playlist on Spotify over the couple weeks. This past year, I was hoping to update it every week or every month. But time prevented from doing that. So I came up with an alternative.  I'm gonna add ALL of the available songs from the Celtic Top 20 since it started to this playlist. This will be a massive list of over 200 tracks. Please follow a link in the shownotes to follow the playlist.  The playlist has 240 followers right now. Which is fantastic. But I want it to grow. I want something that will make money for these amazing artists who so generously support the podcast. If you're in a Celtic band and want your music heard on this podcast, go to 4celts.com and submit your music.  If you know a Celtic band that you think should be on the show, please talk to them. Tell them about our and our amazing community. My goal is to help independent Celtic bands be heard. You can make that happen. Finally, I am updating how you vote in the the Celtic Top 20 for 2019. Keep an eye on our newsletter for details. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through it's culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos.  2019 is the Celtic Invasion of Star Wars. 2020 is the Origins of Celtic Invasions. You can find out more about these two exciting trips. Join the invasion at http://celticinvasion.com/ THANK YOU PATRONS OF THE PODCAST! The Irish & Celtic Music Podcast is listener-supported. Instead of filling your ears with advertisements, I make this show free and let you, the listener, support the podcast through your kind patronage on Patreon. You can make a per episode pledge and cap how much you want to spend each month supporting this podcast. Your generosity funds the creation, production, and promotion of the show. Best of all, you get episodes before regular listeners, discounts on merch, and when we hit a milestone, you get extra special episodes. I want to thank our newest patron of the podcast: Liam Forbes, Lawnn Holden, and John Thompson and Jay Martin raised his pledge. You can become a generous Patron of the Podcast at http://patreon.com/celticpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com George Azevedo emailed on Facebook: "Hi there! I'm a listener from Brazil, using Deezer to stay tuned on you guys daily! Keep up the good work!" Michael Andre messaged on Facebook: "Hi Marc, what a pleasure to hear each podcast. I think i play better thanks to your podcast, since I listened to it ! I am from France and play the fiddle and the dadgad guitar. What about a podcast dedicated to french irish music. We ll be there!" Robert Faircloth messaged a photo on Facebook: "Dear Marc, Thank you for the music and all you do. My girls (2year old and 9month old) and I really enjoy listening to the show while at work and at home. “The Selkie Girls” and many others have become a regular favorite at breakfast or the more relaxing albums if it is close to bedtime. Many thanks from Rob and the kids - Cheers. Jack and I enjoying Lake Pontrain episode" Joanna Fedewa messaged a picture on Facebook: "Hey there! I love your podcast! I’ve been listening to it for a few years now and recently became a patron! I usually listen to the podcast when I’m commuting or driving around the valley I live in, which is in Alaska! Today I was listening while on my way home from my Irish Dance class! It’s about a half hour drive for me so the podcast is great fun to listen too and watch the scenery! Here is a picture of Mt. McKinley! Or as we Alaskans call it Denali! This is a picture about seven miles from my house! Which is around 300 miles away from it! The mountain is the largest in North America! I love being able to see that mountain on a clear day!"  

The Boys are back with a new format! University Academics, Steve & Nick present Science Vinyl, using track listing of famous albums to focus sciencey discussion, hope you enjoy. Please follow us on Twitter @TheScienceShed or @ScienceVinyl Show Notes 1. "Planet Telex" 4:19 2. "The Bends" 4:06 Henry, W. (1803). "Experiments on the quantity of gases absorbed by water, at different temperatures, and under different pressures". Phil. Trans. R. Soc. Lond. 93: 29–274. doi:10.1098/rstl.1803.0004. 3. "High and Dry" 4:17 4. "Fake Plastic Trees" 4:50 Challenge of Synthetic Cellulose, SHIRO KOBAYASHI, https://onlinelibrary.wiley.com/doi/pdf/10.1002/pola.20662 Anselme Payen, distinguished French chemist and pioneer ... - JStor https://www.jstor.org/stable/24530133 5. "Bones" 3:09 6. "(Nice Dream)" 3:53 https://psychology.berkeley.edu/people/jack-l-gallant https://www.youtube.com/watch?v=Ecvv-EvOj8M 7. "Just" 3:54 8. "My Iron Lung" 4:36 9. "Bullet Proof..I Wish I Was" 3:28 10. "Black Star" 4:07 11. "Sulk" 3:42 12. "Street Spirit (Fade Out)"

Show #428   Malcolm Holcombe - I Don't Wanna Disappear  (Come Hell Or High Water)  Shemekia Copeland - Great Rain  (America's Child)   Buffalo Gospel - 18 Wheeler  (On the First Bell)   Asleep At The Wheel - Pencil Full of Lead  (New Routes) (mic break) David Olney - This Side Or The Other  (This Side Or The Other) The Jellyman's Daughter -  I Hope  (Dead Reckoning)   The Naked Sun - War with Shadows  (War with Shadows)   Chad Elliott And The Redemptions - Hills Of Tennessee  (Rest Heavy) Malcolm Holcombe - -It Is What It Is  (Come Hell Or High Water) (mic break) Kristina Murray - Made In America  (Southern Ambrosia) Don Gallardo -  The Bitter End  (Still Here) Lyman Ellerman - Bigger Plans  (I Wish I Was a Train) Ashleigh Flynn & The Riveters -  -Big Hat, No Cattle  (Ashleigh Flynn & The Riveters)  (mic break) Malcolm Holcombe - Left Alone  (Come Hell Or High Water)

Are you ready for the Celtic Summer Festivals? We're gonna get you ready with great indie Celtic music from Doolin', Socks in the Frying Pan, Jodee James, Chris Murphy, The Founding, Gwendolyn Snowdon, The Minstrel Rav'n, Dave Wilson and Willie B., Dones-n-Drums, The Here & Now, Celtica Pipes Rock, The Led Farmers, Natalie MacMaster, Donnell Leahy, The Elders, Kilted Kings. http://celticmusicpodcast.com/ Listen and share this podcast. Download 34 Celtic MP3s for Free. Subscribe to the Celtic Music Magazine. This is our free newsletter and your guide to the latest Celtic music and podcast news. Remember to support the artists who support this podcast: buy their CDs, download their MP3s, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. THIS WEEK IN CELTIC MUSIC 0:03 "The Road to Geanntan" by Doolin' from Doolin' 3:26 "The Boop Set" by Socks in the Frying Pan from Socks in the Frying Pan 6:58 "Lady Joan" by Jodee James from Lady of the Fountain 12:50 "Maritime Jig" by Chris Murphy from The Tinker's Dream 16:53 "Fox" by The Founding from Form. 20:20 CELTIC FEEDBACK 23:24 "I Wish I Was in England" by Gwendolyn Snowdon from Three Strand Braid 26:44 "Forge of the Nymph" by The Minstrel Rav'n from The Minstrel and the Harp 29:24 "Dunbrody Bounce" by Dave Wilson and Willie B. from Encounters 34:06 "Cathedral Crossover" by Dones-n-Drums from Contrast 39:31 "Summerfly" by The Here & Now from Ladybird 42:49 CELTIC PODCAST NEWS 44:06 "Beyond Avalon" by Celtica Pipes Rock from Legends and Visions 47:45 "To Offer" by The Led Farmers from Katie 52:03 "Fiddler's Dispair" by Natalie MacMaster|Donnell Leahy from One 54:38 "Show Me A Soul" by The Elders from TRUE 58:59 "Slainte Mhaith" by Kilted Kings from Name On My Soul The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. To subscribe, go to Apple Podcasts or to our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/.   VOTE IN THE CELTIC TOP 20 It's easier than ever to do. Just list the show number, and the name of one or two bands. That's it. You can vote once for each episode help me create next year's Best Celtic music of 2018 episode. http://bestcelticmusic.net/vote/   CELTIC PODCAST NEWS * Helping you celebrate Celtic culture through music. My name is Marc Gunn. I am a Celtic and Geek musician and podcaster. This show is dedicated to the indie Celtic musicians. I want to ask you to support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon. If you love the show and want to help promote it, get an Irish & Celtic Music Podcast bumper sticker. You can put it on your car, your instrument case, the bathroom in your local pub. Buy a dozen and you'll save 30%. This is a great for you to celebrate Celtic culture through music. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through it's culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Join the invasion at http://celticinvasion.com/ THANK YOU PATRONS OF THE PODCAST! The Irish & Celtic Music Podcast is supported by listeners like you. Your generous pledge helps pay for the production and promotion of the podcast and its artists, as well as my time in producing it. Patrons get episodes before regular listeners, discounts on merch, and when we hit a milestone, you get a two-hour special. Our next milestone will bring 2-hours of Celtic flute and whistle music to your ears. I want to thank our newest Patrons of the Podcast: Wolfram Stoll You can become a generous Patron of the Podcast at http://patreon.com/celticpodcast   I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com Lorraine Healy emailed: "Hi, mark! 351 was one fantastic set of music, I've been buying almost every tune! I'm trying to get "Wi a 100 Pipers" by Christine Weir and the Kilts, went to her website, went to iTunes, but it's not there. Any suggestions about where I can get t? Thanks so much!" Joel Kleinhen emailed a photo: "I listen to your podcast while I walk on the NEWBURGH river trail in Newburgh Indiana. Love the show." Ken Little emailed a few pictures: "hello marc aka the celt father, yes i am on my knees like the scene in waynes world. congrats on the show its going grand. I enjoy mostly all of it. celtic rock eh not so much. I probably lean more towards the trad as rock is rock just with different instrument- loud brash n in your face. great at venues not so much when I'm working. I drive around all day in the old celtic countryside, listening to your podcast on a playback loop. 4/5 episodes all day. I am a multi drop delivery driver in suffolk england. think of queen boudica of the British celtic iceni tribe country. yup thats what i drive around in all day every day ik right wish we could all be that lucky lol please find attached a few pix of some of the views i see. not much celticness as the romans destroyed pretty much all of it. but you do get a feel of it. just a slower pace of life sitting by the pond watching the world pass by. and thx again for the music, my ears appreciate it. my wallet from buying tracks eh not so much lol. till next time enjoy the day."

COMPACT DISC-USSION: "Not-so OK Computer." (1995) Alright music snobs, here’s your elfin’ Radiohead episode. Apparently they are the avant-garde band of the 1990s, which is an opinion nearly half of this show's hosts can agree with. That leaves a remaining percent that despises both the band and their fans. So come hear if Bob and Tim can find some common ground in this track-by-track discussion of the 1995 album release THE BENDS. 00:00:00 PRE-SHOW PRATTLE - sobering up 00:00:42 MORE BAD RADIO - and Bob encounters Radiohead 00:07:28 THE CD IS … THE BENDS - and they’re talking about everything else but The Bends 00:17:00 AND THE BENDS ARE … - impressions of a CD cover 00:18:49 PLANET TELEX - not-so-pro-Bono 00:21:42 THE BENDS - Yorke telling me 00:25:47 HIGH AND DRY - or is it FAKE PLASTIC TREES 00:33:37 BONES - a thematic fracture 00:35:35 (NICE DREAM) - another Rearviewmirror situation 00:38:40 JUST - stone temple pilates 00:41:03 MY IRON LUNG - and Bob’s hidden talent 00:45:09 BULLETPROOF .. I WISH I WAS - a reason for the seething 00:47:25 BLACK STAR - shoddy track placement 00:51:08 SULK - how did this one go again? 00:53:05 STREET SPIRIT (FADE OUT) - and (maybe) how a video is made 00:55:29 A TWENTY-SOMETHING MENTALITY - and maintaining distaste 01:04:03 CLOSINGS - contacts, plugs and no catchphrasesThis episode of 20TH CENTURY POPCAST was recorded by ZENCASTR, a high fidelity podcast recording platform that records multiple guests from multiple zip-codes all as if they were in the same room. It was then mastered by AUPHONIC, a web-based post-production service that makes it sound like Bob and Tim are worth listening to. Log in to each for studio quality recordings NOW! (exclamation point provided by ZENCASTR). MUSIC FEATURED IN TODAY’S EPISODE: “Super Poupi ” (opening theme) and "Poupi Great Adventures: The Arcade Game" (closing theme) performed by Komiku from the 2018 album POUPI'S INCREDIBLE ADVENTURES available at Freemusicarchives.org.Cleared for public domain use through Creative Commons under a CCO 1.0 Universal License. Subscribe to 20TH CENTURY POPCAST! on APPLE PODCASTS, STITCHER and ANDROID or stream it at www.20popcast.com.Like, share and reminisce with 20TH CENTURY POPCAST! on FACEBOOK.Contact the show with any questions, suggestions or possible topics at 20popcast@gmail.com, #20popcast on Twitter and the POP TALK section of www.20popcast.com.Follow ROBERT CANNING @rhcanning on TWITTER. Read his web-comic at EXAGGERATEDLIFE.wordpress.com and his music blog at superultramegamix.wordpress.com. Follow TIM BLEVINS @subcultist on TWITTER and as SUBCULTISTon INSTAGRAM. 20TH CENTURY POPCAST will return next week to pit a weathered fedora against an intergalactic vest.

Today’s episode is about a song I wrote back in high school called "Based On a True Story." It's influenced by a Radiohead tune, "Bulletproof... I Wish I Was" from their album, The Bends. Visit jakehaws.com for lyrics and more info.

Story, hello, storytelling, alaska, library So much can happen while someone else travels 36 miles in the wrong direction before realizing it and turns around. Sometimes our fears give way to a sweet reality. Sarah Jaffa from the Kitsap Regional Library told this story at our November 2017 Story Night event when the theme was "What Goes Around." I might have said "What comes around" in the podcast. The song for this episode is "I Wish I Was the Moon" by Neko Case.Thank you for listening. We look forward to hearing your story.

Orville brought great music knowledge and insight about songs I was not too familiar with. I dug them. We know each other from playing music together, but hearing his stories tied back to these tracks gave me a greater appreciation for Orville's musical influences and what they mean to him today. I Wish I Was a Girl - The Pink Fairies Used To - Wire Flipper - Way of the World

AFTERBUZZ TV – True Blood edition, is a weekly “after show” for fans of HBO's True Blood. In this show, host Maria Kanellis breaks down the “I Wish I Was the Moon” episode in which Bill has Eric arrested and, … Read the rest The post True Blood S:4 | I Wish I Was the Moon E:6 | AfterBuzz TV AfterShow appeared first on AfterBuzz TV Network.