Podcasts about Britain

There's something drifting in on the air today. A funk. Criminality. Yes it seems to be bifta o'clock as John spots a doob roller on the tube. That, and it being the relaxfest which is Glastonbury, combine to see the hazy funk of ‘da ‘erb' and its ensuing uncoolness discussed at length. Because simply put this is not how Britain will build back better.Elsewhere, Elis comes in today on a high. A cycling high. And that high isn't from anything which Lance Armstrong might have partaken in. It's just the high of exercise, good vibes and raising money for charity. A figure that was primarily boosted by John. Humble, giving John. Why? Because that's just who he is.There's also a Made Up Game which appeals to Producer Dave's topical content nose, a classic Mad Dad and the expectation of Elis knowing William Hague's wife.If you want to get in touch then elisandjohn@bbc.co.uk is the means, as is 07974 293 022 on WhatsApp.

This is a free preview of a paid episode. To hear more, visit www.louiseperry.co.ukIn this bonus episode for paid subscribers, I spoke with philosopher Nina Power about the new laws on abortion and assisted suicide passed in the House of Commons this week, and what they tell us about the state of modern Britain.Please go to LouisePerry.Substack.com to listen to the full episode.

Happy Dan Hannan Day! We “celebrate” nine years of Desperate Dan's infamous Brexit prediction. Plus, War in and/or on Iran. Whatever happened to “America First”? Does Britain have any influence on Trump in this? And would Tony Blair have joined in America military action? And… this terrible, terrible heat. As the 1.5 degree limit looks increasingly fanciful, is living in a sweaty Britain the best we can hope for?  Charlotte Nichols MP of Warrington North is our special guest. ESCAPE ROUTES • Zoe recommends Shock And War: Iraq 20 Years On on BBC Sounds and Sirens on Netflix.  • Marie recommends Hacks on Amazon Prime. • Charlotte recommends Everything Must Go by our own Dorian Lynskey and On The Calculation Of Volume by Solvej Balle. • Ros recommends Lionessheart: The Life and Times of Joanna Plantagenet by Catherine Hanley.  • Back us on Patreon for ad-free listening, bonus materials and more.  Presented by Ros Taylor with Marie le Conte and Zoe Grünewald. Audio production by Robin Leeburn. Theme music by Cornershop. Produced by Chris Jones. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dreaming of meandering through the Cotswolds countryside or cruising along Scotland's North Coast 500? Before you grab those keys, there's crucial information you need to know about driving in the UK that could make or break your road trip experience.The romantic notion of spontaneously exploring Britain's charming villages and stunning landscapes can quickly turn stressful when faced with the reality of narrow country lanes, baffling roundabouts, and parking nightmares. Having driven thousands of miles across the UK and helped countless travellers plan their journeys, we've witnessed the same mistakes happening time and again.In this practical guide, we reveal the 15 most common UK driving pitfalls and how to avoid them. From the shocking truth about journey times (that 50-mile drive could take twice as long as you think!) to the critical importance of booking an automatic car well in advance, we cover essential knowledge that guidebooks often miss. We'll explain why driving in London is a mistake most travellers regret, how to navigate the UK's unique parking systems, and why checking if your accommodation actually has parking facilities could save your holiday from disaster.Whether you're used to driving on the left or not, the UK presents unique challenges that can catch even experienced international drivers off guard. We share insider advice on handling motorway driving, understanding road terminology, and preparing for the infamous British weather. Plus, we reveal the truth about rental car insurance and why paying extra for zero excess might be the best decision you make.Our goal isn't to discourage you – a UK road trip can be truly magical when done right. With proper planning and realistic expectations, you'll be free to enjoy those winding coastal roads and picturesque villages without the stress. Listen now to transform your UK driving experience from potentially nerve-wracking to absolutely brilliant!

Erik-Jan Zürcher on the uses and abuses of nostalgia for empire in contemporary Turkey and the UK. The conversation is based on Zurcher's recent lecture at the Istanbul Policy Center, “The Poison of Nostalgia”, which compared neo-Ottomanist tendencies in Turkey with the view of empire in Britain's Brexit debate. Support Turkey Book Talk on Patreon or Substack. Supporters get a 35% discount on all Turkey/Ottoman History books published by IB Tauris/Bloomsbury, transcripts of every interview, and links to articles related to each episode.

Zoe & Georgia simply can't contain their admiration and feel so inspired by today's guest...Anna McNuff!The Girlguiding Ambassador and self-proclaimed mischief maker, adventure queen and mumma of three talks to us about her journey so far, whether it's running barefoot around Britain visiting Girlguiding units, pushing boundaries of what's possible or embarking on a whole new nomad adventure with her whole family on board! inspiring girls to believe they can do anything and turning the experience into a powerful book. Anna chats about camping with kids and how she supports her mental health.Visit girlguiding.org.uk and follow Anna's adventures at restlessmumma.substack.com, annamcnuff.com and instagram.com/annamcnuffBy the end of this episode you'll be itching to go for a run outside and feel the grass on your feet - Zoe certainly was, Georgia maybe not so much!Listen by clicking ‘Play', subscribe or follow on Apple Podcasts, Spotify and Acast, and please do rate and review to help others find the podcast.Find a new episode every Tuesday & Friday and in the meantime check out Made By Mammas on Instagram: @madebymammas.Made By Mammas® is an Audio Always production. Hosted on Acast. See acast.com/privacy for more information.

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

Luca, Steven and Firas discuss whether the conflict in Iran is going to become a regime change war, the potential economic impact of the Strait of Hormuz being shut, and Britain's mythmaking madness over Windrush. Get Our Course here: https://courses.lotuseaters.com/bundles/the-trivium

Nicola Harding is a London-based interior designer whose award-winning firm, celebrated for its soulful, layered aesthetic, is regularly named as one of Britain's finest. Andy Harding, her husband, is an e-commerce veteran with experience at House of Fraser and McKinsey. In 2023 the two of them launched a home goods brand, Nix, dedicated to quality, design-driven pieces at a reasonable price point.On this episode of the podcast they speak with host Dennis Scully about why Nicola tried aviation and theology before becoming an interior designer, why they wanted to launch their own brand instead of a licensed collection, and why Nix is coming to America. This episode is sponsored by ErnestaLINKSNicola HardingNixDennis ScullyBusiness of Home

Today Justin talks with Dr. Richard Duckett. Richard received a master's degree from the University of Reading and a doctorate from Open University. He's taught history and politics for more than 20 years. He's also the author of three previous books on British military history in Burma. He's here to discuss the story of Lieutenant Colonel Edgar Peacock, who led mainly indigenous forces to incredible victories against Japanese forces in Burma and India during World War II. Connect with Richard:soeinburma.comTwitter/X: Check out the book, Jungle Warrior: Britain's Greatest SOE Commander, here.Connect with Spycraft 101:Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here.spycraft101.comIG: @spycraft101Shop: shop.spycraft101.comPatreon: Spycraft 101Find Justin's first book, Spyshots: Volume One, here.Check out Justin's second book, Covert Arms, here.Download the free eBook, The Clandestine Operative's Sidearm of Choice, here.OC Strategic AcademyLearn spy skills to hack your own reality. Use code SPYCRAFT101 to get 10% off any course!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

Learn more about your ad choices. Visit megaphone.fm/adchoices

//The Wire//1730Z June 23, 2025////PRIORITY////BLUF: IRANIAN COUNTERATTACK TARGETS US MILITARY BASES IN MIDDLE EAST. SHIPPING CONCERNS MOUNT AS IRAN THREATENS TO TARGET SHIPPING IN STRAIT OF HORMUZ.// -----BEGIN TEARLINE-----Middle East: This morning the kingdom of Qatar closed their airspace to commercial aviation traffic. Separately, both the United States and Britain issued shelter-in-place orders for their citizens. Shortly after these announcements, multiple Iranian ballistic missiles struck US military bases throughout the region. Al Udeid Air Base in Qatar appears to have been successfully targeted to some degree, and impacts were reported at the US Navy base in Bahrain. Reports have emerged indicating unknown bases in Iraq were also targeted by ballistic missiles.Shortly after the missiles were launched, American fighter aircraft were observed scrambling in Saudi Arabia, with a number of sorties being conducted on targets unknown.-----END TEARLINE-----Analyst Comments: As this is a developing situation, the success of these missile strikes remains unknown until the dust settles. Video evidence indicates that many of the missiles were successfully intercepted, however some made it through to successfully impact their targets. Qatar announced that 100% of the missiles intended for their nation were successfully intercepted, however this remains unconfirmed at this time and Qatari media groups stated that at least three missiles evaded defenses to impact at Al Udeid. No word on casualties from any of the strikes reported so far today.Following the strikes on Iranian facilities over the weekend (and today's retaliatory strikes), tensions have escalated sharply throughout the region. Iranian forces have threatened to "close" the Strait of Hormuz, which traditionally involves the emplacement of sea mines throughout the choke point. There are no indications that IRGCN and/or IRIN vessels have laid any mines just yet. However, some commercial shipping companies that are unwilling to accept the risk have turned around and begun returning to their homeports.Analyst: S2A1Research: https://publish.obsidian.md/s2underground//END REPORT//

Once the most famous soldier in Britain, Sir Garnet Wolseley rose through sheer grit and genius — only to fall hard thanks to arrogance, politics, and a changing empire. Historian Stephen Manning joins me to explore the man behind the moustache in all his brilliant, baffling glory.   Stephen's book is available here - https://amzn.to/3ZsBFHT    Sign up for my newsletter here (for a free eBook on the Zulu War) - https://redcoathistory.com/newsletter/    Chris Brice's books can be found here - https://redcoathistory.com/newsletter/ 

The last time acclaimed writer-director Alex Garland (Ex Machina, Civil War, Annihilation) appeared on Script Apart, he told Al about his desire to quit directing temporarily and focus on writing – you know, like in the early days of his career. Well, it doesn't get much more like those early days than returning to the blood-soaked quarantined Britain he imagined two decades ago, with a director who he shared an incredibly fruitful partnership with around the turn of the century.28 Years Later, which hit cinemas on Friday, sees Alex team up once more with Danny Boyle – the filmmaker with whom he made The Beach and Sunshine, as well as a 2002 zombie horror that redefined the genre. This sequel, however, is no retread of the film that sent a shiver through Britain's spine. It's a deeply contemplative meditation on Britain, death and how history is remembered and misremembered. The film stars Alfie Williams as Spike, a boy living in a protected tidal island community off the coast of Northumberland, who leads his mother, played by Jodie Comer, on a dangerous quest onto the mainland in search of a doctor to cure a mysterious ailment. What follows is not what many fans expected, in all the best ways.What you're about to hear is a spoiler-filled conversation delving deep into the influence of Brexit on the film. We dissect that ending and its allusions to a disgraced figure from British pop culture history. Also explored: the origins of the Alpha zombies, the inspiration behind Ralph Fiennes' Kelson character, and Alex's original draft of a 28 Years Later movie, which saw Chinese special forces infiltrate Britain in search of the lab where the rage virus began. Enjoy the episode and stay away from those infected, people. Support for this episode comes from Final Draft.Script Apart is hosted by Al Horner and produced by Kamil Dymek. This episode was recorded and mixed by Daniel Gregory. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon. Hosted on Acast. See acast.com/privacy for more information.

By Brian Kerg Naval War College Professor of Strategy Andrew Erickson joins the program to talk about his recent book, Chinese Amphibious Warfare, the most current and authoritative assessment of PLA amphibious capabilities. Dr. Andrew S. Erickson is Professor of Strategy (tenured full professor) in the U.S. Naval War College (NWC)'s China Maritime Studies Institute (CMSI). … Continue reading Sea Control 578: Chinese Amphibious Warfare with Andrew Erickson →

Abdulrazak Gurnah is emeritus Professor of Post-Colonial Literatures at the University of Kent and the 2021 Nobel Prize winner in Literature. Born in Zanzibar in 1948, the second of six children, Abdulrazak grew up in the dying days of the island's status as a British protectorate before independence was declared in 1963. The revolution which followed made Zanzibar an undesirable and unsafe place to live in for young men of Arab heritage. In 1967, he left to seek opportunities in Britain.He subsidised his studies through a series of low paid jobs which included strawberry picking, factory work and time as a hospital porter. In the evenings he was studying at night school and after gaining a PhD in English, he joined the University of Kent, eventually becoming a Professor.Alongside his academic career, Abdulrazak was writing and it took him twelve years to find a publisher for his 1987 debut novel, Memory of Departure.He has published ten more novels since then, including 1994's Paradise and 2001's By the Sea (short and longlisted for the Booker Prize respectively) which explore themes of exile, displacement, belonging and colonialism. He was awarded the 2021 Nobel Prize in Literature for his body of work and “for his uncompromising and compassionate penetration of the effects of colonialism and the fates of the refugee in the gulf between cultures and continents”. He lives in Kent, with his wife, the Guyanese-born scholar, Denise de Caires Narain. DISC ONE: Hit the Road Jack - Ray Charles DISC TWO: Petite Fleur - Sidney Bechet DISC THREE: Nipepee - Seif Salim DISC FOUR: Piano Concerto in A Minor, Op. 7 - 1. Allegro maestoso. Composed by Clara Schumann. Performed by Isata Kanneh-Mason (piano) and Royal Liverpool Philharmonic Orchestra, conducted by Holly Mathieson DISC FIVE: A Day in the Life - The Beatles DISC SIX: Kaira - Toumani Diabaté DISC SEVEN: So What - Miles Davis DISC EIGHT: Folon - Salif Keita BOOK CHOICE: That Glimpse of Truth: The 100 Finest Short Stories Ever Written selected by David Miller LUXURY ITEM: A nail clipper CASTAWAY'S FAVOURITE: Petite Fleur - Sidney Bechet Presenter Lauren Laverne Producer Sarah Taylor

Evening Prayer for Sunday, June 22, 2025 (Proper 7; Alban, First Martyr of Britain, c. 250).Psalm and Scripture readings (60-day Psalter):Psalms 120-121Daniel 1Acts 19:8-20⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here to access the text for the Daily Office at DailyOffice2019.com.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here to support The Daily Office Podcast with a one-time gift or a recurring donation.

Morning Prayer for Sunday, June 22, 2025 (The Second Sunday after Pentecost, or the First Sunday after Trinity [Proper 7]; Alban, First Martyr of Britain, c. 250).Psalm and Scripture readings (60-day Psalter):Psalm 118Judges 5:1-5, 19-311 Thessalonians 1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here to access the text for the Daily Office at DailyOffice2019.com.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here to support The Daily Office Podcast with a one-time gift or a recurring donation.

‘A beautiful novel full of life-affirming wonder and imagination' Benedict Cumberbatch Matt Haig is one of Britain's most celebrated authors, best known for his internationally bestselling novel The Midnight Library and the critically acclaimed memoir Reasons to Stay Alive. Matt's newest novel, The Life Impossible, which became an instant Sunday Times bestseller, follows retired maths teacher Grace Winters who leaves her mundane bungalow in England for Ibiza, where she embarks on a journey to uncover the mysteries of her friend's life and death. Full of surprises and adventure, The Life Impossible is a story about hope and the promise of a new beginning. To celebrate the publication of the paperback edition of the novel, Matt will come to the Intelligence Squared stage to talk about the themes of his book and his writing career so far. --- ----- This is the first instalment of a two-part episode. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tenure of Office: September 22, 1817 - March 3, 1825 Not long after his arrival in Russia, tensions between the US and Britain resulted in war, and John Quincy Adams was called on to help negotiate the peace. Following eight years in Europe, Adams got his chance to shape American foreign policy with his appointment to Secretary of State. Join me and my special guests, Åsa and Chris of A Flatpack History of Sweden and Kingdöm, as we examine this key period in the life of JQA. Sources used for this episode can be found at https://www.presidenciespodcast.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kirsty Lang referees a contest between Northern Ireland and The Midlands.

A federal judge ordered the Trump administration to release on bail Mahmoud Khalil, a pro-Palestinian activist detained since March without being criminally charged

On this week's special Saturday edition of Coffee House Shots, James Heale sits down with Jeremy Hunt to discuss his new book, Can We Be Great Again?. The former chancellor and foreign secretary argues that Britain remains one of the world's most influential nations – but is in danger of losing its nerve. He reflects on working in the Foreign Office during Donald Trump's first term, makes the case for the BBC as a tool of soft power, and admits he wanted to be the first chancellor since 1997 to deliver a Budget with a whisky in hand.Produced by Oscar Edmondson and Patrick Gibbons.

We've got more zombies than you can shake a stick at this week on Breakfast All Day. First off, we review "28 Years Later," the long-awaited reunion of Danny Boyle and Alex Garland in a Britain plagued by rage virus. This is a non-spoiler review, but we're doing a live spoiler chat at our YouTube channel on Wednesday, June 25 at Noon Pacific, so check back with us then and share your thoughts. In theaters now. Then we catch up with the two films that preceded it: "28 Days Later" (2002) and "28 Weeks Later" (2007). We realized in retrospect that you don't need to have seen either of these movies to get into the new one, but we were glad to have the conversations. If you're looking for something a little more lighthearted for the whole family, there's "Elio," the latest animated adventure from Disney Pixar. It's a sweet, gentle film for these stressful times about a misfit kid who dreams of having aliens abduct him. This is minor Pixar, but it's beautiful. In theaters. Finally, we wrap up with a lengthy Movie News LIVE! Among the topics we discuss are the "Jaws" 50th anniversary, the "Brokeback Mountain" 20th anniversary, the trailer for the new Bruce Springsteen biopic "Deliver Me From Nowhere," and Francis Ford Coppola taking "Megalopolis" on the road. Thanks for joining us! Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/

Our latest questions from listeners range from could Britain have stood back from conflict in 1914 and not been part of the Great War, how accurate was the final dugout scene in the film 1917, what duties did Royal Field Artillery Drivers have on the battlefields of WW1 and what was the story of the Canadian soldiers who rioted in Britain in 1919 while awaiting demobilisation?The Old Front Line Youtube Channel: Old Front Line on YouTube.Recommended novel on 1914: Robert Harris - Precipice (Penguin 2024)Books on The Canadian Riots:The story of the Kinmel Park Camp Riots in 1919 by Julian Putkowski (1989)Riots Death and Baseball - Robert H. Griffiths (2019)Got a question about this episode or any others? Drop your question into the Old Front Line Discord Server or email the podcast.Send us a textSupport the show

On this week's special Saturday edition of Coffee House Shots, James Heale sits down with Jeremy Hunt to discuss his new book, Can We Be Great Again?. The former chancellor and foreign secretary argues that Britain remains one of the world's most influential nations – but is in danger of losing its nerve. He reflects on working in the Foreign Office during Donald Trump's first term, makes the case for the BBC as a tool of soft power, and admits he wanted to be the first chancellor since 1997 to deliver a Budget with a whisky in hand.Produced by Oscar Edmondson and Patrick Gibbons.

We start with negotiations between European leaders and Iran in Geneva. Cybercriminals have breached insurance giant Aflac. Pro-Palestinian activists broke into Britain's largest air base. President Donald Trump passed on honoring Juneteenth and made this complaint about federal holidays instead. Plus, why smart phone users are disabling news alerts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Want to know what the government is hiding? Well, this episode is for you! To start, we have British political activist Tommy Robinson on the show to discuss his recent time in prison and his ongoing battle against the Muslim takeover of Britain. Additionally, we discuss his beef with Piers Morgan and whether they will ever do an interview. Following, we talk to the first lady of the FBI, country music singer Alexis Wilkins! She discusses her latest music as well as what it's like dating Kash Patel. Alex then asks Alexis to tell all the government secrets that she knows. Who shot JFK? Where are the UFOs? Who is in the Epstein files? After this, we review the libtard of the day: Tim Walz! Nancy Mace asked him what a woman is, and he did not know the answer! Finally, we end the show debuting the Pride Month music video “It's OK to Be Gay!” Don't miss this episode of “Prime Time with Alex Stein”! Learn more about your ad choices. Visit megaphone.fm/adchoices

When the East India Company surrendered Fort William (in modern-day Kolkata) to the Nawab of Bengal on 20th June, 1756, dozens of British captives were imprisoned in a cell measuring only 18ft long and 14ft wide, with just two tiny windows - ‘the Black Hole of Calcutta'. Among the prisoners was John Zephaniah Holwell, whose pamphlet describing the terrors of the airless room caused a sensation back in Britain and became a cause célèbre in the idealization of imperialism in India. Holwell claimed 123 men lost their lives in the cell, although it is now thought the number of deaths was exaggerated. In this episode, Arion, Rebecca and Olly uncover Holwell's mixed feelings around colonialism; consider how ‘the black hole of Calcutta' became an enduring term of phrase; and reveal what connected Kolkata with Olly's home village in Hertfordshire… Further Reading: • ‘A Genuine Narrative of the Deplorable Deaths of the English Gentlemen, and Others, who Were Suffocated in the Black-Hole in Fort-William, at Calcutta, in the Kingdom of Bengal, in the Night Succeeding the 20th Day of June, 1756, in a Letter to a Friend - By John Zephaniah Holwell' (A. Millar, 1758): https://www.google.co.uk/books/edition/A_Genuine_Narrative_of_the_Deplorable_De/xGg0Cg9WVNcC?hl=en&gbpv=1&dq=Holwell+%2B+Calcutta&printsec=frontcover • ‘The Black Hole of Calcutta – Kolkata, India' (Atlas Obscura): https://www.atlasobscura.com/places/the-black-hole-of-calcutta • ‘The Story of The Black Hole Of Calcutta - Britain's Secret Homes' (ITV Daytime, 2016): https://www.youtube.com/watch?v=DbjFxITtXwU This episode first aired in 2021 Love the show? Support us!  Join 

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review! This week we're spinning in circles—in the best possible way—with our Top 5 Loops in film and television. Whether they're time loops, narrative loops, or just delightfully circular plot structures, these stories keep us guessing and coming back for more. We're also checking out Armando Iannucci's razor-sharp satire In The Loop and revisiting the chronologically chaotic world of Power Rangers Time Force.

On this week's Progress Report, Emma is going solo with the news. Discover how global child labor has nearly halved since 2000, why alarming disaster statistics might be more about better data than a world in crisis, and how Britain's zoos are rolling out major reforms to improve animal welfare. What Could Go Right? is produced by The Progress Network and The Podglomerate.For transcripts, to join the newsletter, and for more information, visit: theprogressnetwork.orgWatch the podcast on YouTube: ⁠⁠⁠https://www.youtube.com/theprogressnetwork⁠⁠⁠And follow us on X, Instagram, Facebook, TikTok: @progressntwrk Learn more about your ad choices. Visit megaphone.fm/adchoices

Jill Dando was one of Britain's most trusted TV faces—until she became the subject of the very kind of crime she helped solve.In this gripping episode of The Tom Zenner Podcast, we explore the shocking 1999 doorstep murder that froze a nation and remains unsolved to this day. Was it a professional hit? Revenge for her work on Crimewatch? Or something even darker?From the flawed police investigation to the wrongful conviction of Barry George and the chilling Serbian revenge theory, this is one of the most mysterious unsolved crimes in UK history.Become a supporter of this podcast: https://www.spreaker.com/podcast/one-degree-of-scandalous-with-tom-zenner-and-kato-kaelin--6258576/support.

On this week's Defense & Aerospace Report Washington Roundtable, Dr. Patrick Cronin of the Hudson Institute think tank, Michael Herson of American Defense International, former Pentagon Europe chief Jim Townsend of the Center for a New American Security, former Pentagon comptroller Dr. Dov Zakheim of the Center for Strategic and International Studies join Defense & Aerospace Report Editor Vago Muradian to discuss Reconciliation and Senate rescissions as Defense Secretary Pete Hegseth testified before the Senate Armed Services Committee; two Minnesota lawmakers and their spouses were shot and two are killed; Israel and Iran continue to trade attacks as Jerusalem presses ahead its drive to destroy Tehran's nuclear capabilities through air attacks and troops on the ground; after initially demanding Iran's “unconditional surrender,” President Trump has said he's given Iranian leaders an “ultimate ultimatum” to give up its nuclear aspirations while still weighing whether US forces should join Israel in strike; America is the only nation with the capabilities to bomb Iran's deeply buried sites, but doing so might cause nuclear contamination; at the G7 meeting in Canada, Trump again sided with Russia as leaders prepare to converge on The Hague for what will be an abbreviated NATO summit during which the US president is expected to announce the withdrawal of some American troops from Europe; the US Indo-Pacific Command raises its threat level as two Chinese aircraft carriers operate together in the South China Sea; as Britain's HMS Prince of Wales also is operating in the region; and the president cleaned the acquisition of US Steel by Nippon Steel after demanding the US government hold a “golden share” in the new entity.

AP correspondent Karen Chammas reports on more Israeli strikes in Iran; Iran's FM meets with European counterparts; Spain refuses NATO request to up spending on defense; Britain votes an an end of life bill.

AP correspondent Karen Chammas reports on Britain's 'End Of Life ' bill.

The Traveling Historian: Bill Whiteside Forty-Ninth Episode: After selling software for 30 years, Bill abandoned that career to finish writing a book he started researching to keep his mind engaged during his time on the road. He was intrigued by an incident from early in Winston Churchill's first term as Britain's prime minister. As he dug into the story from multiple angles, his diversion evolved into an obsession. The more he learned, the more it became a book he had to write. That book is The Attack that Shocked the World: Winston Churchill and the Royal Navy's Assault on the French Fleet, to be published by the U.S. Naval Institute Press in Annapolis, Maryland. In the meantime, given what he learned in researching and writing that, he wrote and published another one: Everybody Knows a Salesman Can't Write a Book. Bill joins me to talk about history, writing, learning, and whatever else crosses our minds. Please join us.   Video Version: https://www.youtube.com/live/FzGG8b6SPHw?si=fNwjSqNxcFCfjlEY   Learn more about Mark here: https://www.youtube.com/channel/UC4cXoftnMYJ7bREYG-K9eng https://www.linkedin.com/company/the-anxious-voyage/about/?viewAsMember=true https://www.facebook.com/profile.php?id=100095313165139 https://www.linkedin.com/in/markobrien/ https://www.facebook.com/MarkNelsonOBrien https://www.facebook.com/MartinTheMarlin/ mark@obriencg.com

Remember the inquiry into grooming gangs that didn't support the right wing's racist assertions on who was responsible? Well the government is having a do over until they get the result they want. We also read an article about Britain's Bestest Prime Minister ever. Content warning for discussion of sex trafficking/assault and racism Subscribe for two whole bonus episodes a month: https://www.patreon.com/praxiscast Watch streams: https://www.twitch.tv/praxiscast Buy shirts: https://praxiscast.teemill.com/ Follow us: https://bsky.app/profile/praxiscast.bsky.social Cast: Jamie - https://bsky.app/profile/wizardcubes.bsky.social David - https://bsky.app/profile/sanitarynaptime.bsky.social Rob - https://bsky.app/profile/trufflehog.bsky.social Alasdair - https://bsky.app/profile/ballistari.bsky.social 

#302 - Schizophrenic: The Real/Fake Peter Bryan - Part Five (Richard Loudwell)This is Part Five of Five of Schizophrenic: The Real/Fake Peter Bryan.Peter Bryan is regarded as one of Britain's most infamous serial-killers and cannibals with almost every article and documentary about him slavering over the grisly details of his murders, and especially his cannibalism. But how much of this story is the truth, an exaggeration or a lie? Who created these myths, why do we still believe them, and what evidence is there of cannibalism? Told in full for the very first time, this is Schizophrenic: The Real/Fake Peter Bryan.Part One: Peter's upbringing, symptoms and diagnosisPart Two: The Murder of Nisha SheshPart Three: The Assault of Girl 'P4'Part Four: The "Cannibalism" of Brian CherryPart Five: The Murder of Richard LoudwellThis episode features a promo from Once Upon A Crime. Murder Mile is one of the best UK / British true crime podcasts covering only 20 square miles of West London. Triple nominated at the True Crime Awards and nominated at the British Podcast Awards. It is researched, written and performed by Michael of Murder Mile UK True Crime Podcast with the main musical themes written and performed by Erik Stein and Jon Boux of Cult With No Name and additional music, as used under the Creative Commons License 4.0. A full listing of tracks used and a full transcript for each episode is listed here and a legal disclaimer.YouTube Video (out 7th June) - Peter Bryan is NOT a Cannibal by me, click hereFor links click hereTo subscribe via Patreon, click here Support this show http://supporter.acast.com/murdermile. Hosted on Acast. See acast.com/privacy for more information.

In this explosive Heretics interview, TalkTV firebrand Kevin O'Sullivan joins Andrew Gold to expose the hypocrisy at the heart of modern Britain. From the burka debate in Parliament to Labour's calculated play for the Muslim vote, Kevin gives his uncensored take on how identity politics, groupthink, and fear of offence are eroding British values. SPONSORS: Struggling with anxiety, addiction, loss, relationships, cancel culture, or feeling low? Go to http://Just-Therapy.org . James' private practice: https://jamesesses.com  Give online therapy a try at https://betterhelp.com/HERETICS  Cut your wireless bill to 15 bucks a month at https://mintmobile.com/heretics  Set up your online dream biz on https://shopify.co.uk/glassbox Go to https://TryFum.com/HERETICS  and use code HERETICS to get your free FÜM Topper when you order your Journey Pack today! Go to https://freespoke.com/gold  to search freely. Download app & sub for 25% off Freespoke Premium with my link.

Today's bad idea is ‘genius', the label that has enabled all sorts of terrible behaviour through the ages. Writer and broadcaster Helen Lewis explains how and why the idea of genius gets misapplied to people and things that just aren't. Why are geniuses meant to be tortured? Why are individual geniuses prized over the collaborations that lie behind most innovations? Why do we think that people who are brilliant at one thing will be good at everything else? Plus, David makes the case for Dickens as a bona fide genius. The Genius Myth by Helen Lewis is out from today wherever you get your books https://bit.ly/3FSAKda David's new 20-part series Postwar – about the 1945 general election and the making of modern Britain – is available now on BBC Radio 4 and BBC Sounds. https://www.bbc.co.uk/programmes/m002d8v1 Next time on The History of Bad Ideas: The Decisive Battle w/Dan Snow Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oliver Lavery is an English mythologist, folklorist, traveling professional storyteller, and host of The Story Crow YouTube channel from Wiltshire County, England, the home of Stonehenge. For this summer solstice special, our return guest describes our recent trip to Avebury, Britain's largest Neolithic complex with its stone circles, village-sized henge [ditch], passage graves and giant manmade mound. First we've got to know, who built these mysterious megaliths & ancient earthworks; and for what purpose? Oliver shares a psychedelic vision he had during the annual solstice festivities that correlates with recent metaphysical theories that the stone circles assist the spirits of the dead. With the many burial mounds scattered across the landscape, we hear of uncanny sights & senses while camping amongst them along the ancient Ridgeway Trail. We conclude the highlights of mysterious Avebury with the largest prehistoric artificial mound in Europe, Silbury Hill. From there we muse on crop circles; hallucinogenic goblins; the similarity between bards & shamans; and finally, a little local lore from Wiltshire.Check out Oliver's Story Crow YouTube Channel and follow his van-life Instagram @The_Folk_BusSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com

In the aftermath of the Second World War, as Britain's Empire faded away, British Prime Ministers had few choices than to take their lead from America. Following the disaster of the Suez invasion, Britain abandoned any pretence that it might have an independent foreign policy and operated as an arm of American power in the world until the present day. As we face the possibility of a war with Iran that almost 80 per cent of the population oppose but British Prime Minister Sir Keir Starmer has strongly indicated he might be willing to commit forces to, this podcast explores Britain's outsourcing of foreign policy to Washington. *****STOP PRESS*****I only ever talk about history on this podcast but I also have another life, yes, that of aspirant fantasy author and if that's your thing you can get a copy of my debut novel The Blood of Tharta, right here:Help the podcast to continue bringing you history each weekIf you enjoy the Explaining History podcast and its many years of content and would like to help the show continue, please consider supporting it in the following ways:If you want to go ad-free, you can take out a membership hereOrYou can support the podcast via Patreon hereOr you can just say some nice things about it here Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Stick to Football brought to you by Sky Bet.This week, music royalty joins the panel as The Smiths guitarist Johnny Marr sits down with Gary Neville, Jamie Carragher, Jill Scott, Roy Keane and Ian Wright.From his early days with The Smiths to the chaos of managing the band at just 23, Johnny reflects on the highs, lows and lasting impact of one of Britain's most iconic groups, and how close they really are to a reunion.We also hear about Johnny's deep love for Manchester, growing up in the city, and how football culture shaped his life. He opens up about his support for Manchester City, his friendship with Roy Keane, and the surprising crossover between the football and music worlds. Plus, we get into Bond soundtracks, favourite guitarists, and what it takes to stay grounded after decades in the spotlight.This show is sponsored by LinkedIn.Post your job for free at https://www.linkedin.com/STFTerms and conditions apply.This episode is brought to you by Huel.Start every day off strong with Huel – the ultimate meal on the go.New customers get an exclusive offer – plus a free gift at https://huel.com/theoverlapPlease vote for us at the British Podcast Awards for the Listeners' Choice Award! Thank you! https://www.britishpodcastawards.com/voting And don't forget to subscribe to our new show Stick to Cricket, wherever you get your podcasts. 00:00 - Intro03:13 - Writing music07:27 - Similarities between football and music16:06 - The Smiths23:06 - Working on James Bond with Hans Zimmer27:21 - Will The Smiths ever return?32:11 - Growing up with music and football40:37 - Family life43:41 - Overcoming the ‘rockstar lifestyle'51:20 - Johnny's Favourite guitarists53:25 - Friendship with Roy54:13 - Manchester City59:46 - What's next? Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, host Sir Richard Dearlove, former head of Britain's MI6, is joined by Sir David Manning, a former colleague and friend. Manning is currently Director of Gatehouse Advisory Partners and previously held several diplomatic posts including British Ambassador to Israel, NATO, and the United States, among others. They sit down to discuss the tensions in the Middle East, including the developing conflict between Israel and Iran, and examine the role of President Donald Trump in peace negotiations. They also explore what to expect from the NATO Summit in The Hague, Netherlands, including whether Ukraine should become a member of NATO, and the recent rise in far-right politics in European countries. Plus, Sir Richard and Sir David share stories of working in the field together. Episode produced by Situation Room Studios. Original music composed and produced by Leo Sidran.

'I find this completely and utterly, and totally, extraordinary!'Nigel Farage MP reacts to a poll topping him as Britain's sexiest male politician. Hosted on Acast. See acast.com/privacy for more information.

This is The Briefing, a daily analysis of news and events from a Christian worldview.Part I (00:14 - 11:55)A Crisis of Existential Crises: Outside of Christ, Everything is an Existential CrisisWhy Is Everything an Existential Crisis? by The Wall Street Journal (Andrew Hartz)Part II (11:55 - 17:00)Is Burning the Koran a Crime in the UK? A Strange Alliance of Secularists and Christians are Questioning a Ruling in the UKA ruling in Britain stokes fears of backdoor blasphemy laws by The EconomistPart III (17:00 - 22:22)President Macron is Posturing: The Big Problems with the Calls by France's President for a Palestinian StatePart IV (22:22 - 26:40)The Non-Existent European Constitution: The 20th Anniversary of the European Vote for a Written Constitution That FailedThe constitution that never was still haunts Europe 20 years on by The EconomistSign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.

When Novichok's deadly tendrils claim an innocent victim in Dawn Sturgess, Prime Minister Theresa May must find the perpetrators and bring them to justice. But any response risks plunging Britain into full-scale chemical war.Do you have a suggestion for a scandal you would like us to cover? Or perhaps you have a question you would like to ask our hosts? Email us at britishscandal@wondery.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Day 1,211.Today, as the death toll from Monday night's strike on Kyiv climbs, we report reaction from the United States, plus why we should be paying attention to the St Petersburg Economic Forum and how Moscow has taken aim at Britain's new head of MI6.Contributors:Dominic Nicholls (Associate Editor of Defence). @DomNicholls on X.Hamish De Bretton-Gordon (Former British Army Tank Commander). @HamishDBG on XJames Kilner (Foreign Correspondent). @jkjourno on X.SIGN UP TO THE NEW ‘UKRAINE: THE LATEST' WEEKLY NEWSLETTER:https://secure.telegraph.co.uk/customer/secure/newsletter/ukraine/ Each week, Dom Nicholls and Francis Dearnley answer your questions, provide recommended reading, and give exclusive analysis and behind-the-scenes insights – plus maps of the frontlines and diagrams of weapons to complement our daily reporting. It's free for everyone, including non-subscribers.Content Referenced:Kim Jong-un will send troops to help Putin rebuild Kursk (The Telegraph):https://www.telegraph.co.uk/world-news/2025/06/18/kim-jong-un-will-send-troops-to-help-putin-rebuild-kursk/ Ukraine's parliament passes state asset agency reform crucial for EU funding (Kyiv Independent):https://kyivindependent.com/ukraines-parliament-passes-state-asset-agency-reform-key-to-eu-funding/ Subscribe: telegraph.co.uk/ukrainethelatestEmail: ukrainepod@telegraph.co.uk Hosted on Acast. See acast.com/privacy for more information.

Zia Yusuf is a British businessman and political campaigner. He is currently the head of Reform UK's Department of Government Efficiency (DOGE). | SPONSOR. We use Ground News to escape the echo chamber and stay fully informed. Go to https://ground.news/triggernometry to save 40% on the Ground News unlimited access Vantage plan. SPONSOR. Masa Chips! https://masachips.com/trigger and use code TRIGGER for 25% off your first order. Join our exclusive TRIGGERnometry community on Substack! https://triggernometry.substack.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Shop Merch here - https://www.triggerpod.co.uk/shop/ Advertise on TRIGGERnometry: marketing@triggerpod.co.uk Find TRIGGERnometry on Social Media: https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry: Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians. 00:00 Introduction 00:52 Zia's Story 07:04 What Makes The UK Great And What Should We Be Worrying About? 19:31 Why Has Immigration Not Been Lowered After Multiple Elections And Brexit Demanding It? 27:05 A Growing Fear Of Sectarianism And Islam 39:18 Deporting All Illegal Migrants 47:14 What Reform Will Do To Fix The Huge Economic Problems 53:25 The Chaos At Reform and The Resignation 01:00:23 Can You All Get Along To Deliver For The Country? 01:07:33 Banning The Burka 01:14:49 The War In Gaza And Israel's Conflict With Iran 01:19:13 What's The One Thing We're Not Talking About That We Should Be? Learn more about your ad choices. Visit megaphone.fm/adchoices

At a time when debates over tariffs, regulation, and the scope of government are back at center stage. Is this time in American history unprecedented, or can we find parallels in the past? For example, has trade “hollowed out” U.S. manufacturing—or have fact tariffs like the Corn Laws in Britain hurt working-class families the most? Was the Great Depression a failure of capitalism—rather than a policy crisis worsened by poor monetary responses and overreach? Today’s guest is Phil Gramm, a former U.S. Senator and author of “The Triumph of Economic Freedom.” We look at five periods of American history—the Industrial Revolution, Progressive Era, Great Depression, decline of America’s postwar preeminence in world trade, and the Great Recession—along with the existing levels of income inequality and poverty, leads many to believe in expanding government in American life. Gramm argues that the evidence points to a contrary verdict: government interference and failed policies pose the most significant threat to economic freedom.See omnystudio.com/listener for privacy information.