Podcasts about elvis

This week on The Treatment, Elvis speaks with F1 director Joseph Kosinski about his freshly minted box office juggernaut. Then, actor Greg Kinnear stops by to talk about Smoke, his new Apple TV+ series about a serial arsonist. And on The Treat, The New Yorker editor (and Lorne Michaels biographer) Susan Morrison shares an epic “I was there” story.

Listen to today's Independence Day Special featuring Dom discussing the top headlines of the day, Robin Shaffer of Protect Our Coasts NJ interviewing people on the Ocean City beaches and boardwalk, Linda Kerns speaking on the importance of the holiday and Elvis, Dom's Top 10 Founding Father's List, and your calls!

Ep 540: Dylan and Elvis are back for another brand-new special episode! The boy's recap how their weekend went and go through any major news in the NBA & NFL. Dylan and Elvis will also hit the diamond and look to stay hot and give out their best bets in the MLB.  So, please make sure you guys hit that like button, subscribe, rate, leave a review and comment below who you'll betting on this weekend!Watch On Youtube: https://www.youtube.com/live/9sMcQokzkV4?si=McjaPSmIu2LpA4RNListen to the full Podcast: https://podcasts.apple.com/us/podcast...RATE AND REVIEW THE SHOW ON iTUNES & AUDIO PLATFORMS!#Sports #Podcast #TheDreamWager #MLB #SportsBetting #MLBPicks Follow The Dream Wager on X@thedreamwager  Follow The Dream Wager on Instagram@thedreamwagerFollow the boys on X Dylan: @rockk24  Elvis: @e_thedreamwager

Jacoby Cochran and all 12 other City Cast podcast hosts (from Austin, Boise, DC, Denver, Houston, Las Vegas, Madison, Nashville, Philly, Pittsburgh, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe!

Bree Davies and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Houston, Las Vegas, Madison, Nashville, Philly, Pittsburgh, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about the sponsors of this July 3rd episode: City & County Denver Tech Elizabeth Martinez with PorchLight Real Estate - Do you have a question about Denver real estate? Submit your questions for Elizabeth Martinez HERE, and she might answer in next week's segment. Learn more about your ad choices. Visit megaphone.fm/adchoices

All 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Denver, Houston, Las Vegas, Madison, Nashville, Philly, Pittsburgh, and Portland) compete head-to-head in a high-stakes showdown, judged by Ali Vallarta, to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about the sponsors of this July 3rd episode: Stein Eriksen Workshopslc.com - use code CITYCAST for 20% off. Live Crude - Get $10 off your first CRUDE purchase with promo code CITYCASTSLC Learn more about your ad choices. Visit megaphone.fm/adchoices

Megan Harris and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Denver, Houston, Las Vegas, Madison, Nashville, Philly, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about your ad choices. Visit megaphone.fm/adchoices

Claudia Meza and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Denver, Houston, Las Vegas, Madison, Nashville, Philly, Pittsburgh, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about the sponsors of this July 3rd episode: Women in Science Learn more about your ad choices. Visit megaphone.fm/adchoices

Raheel Ramzanali and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Denver, Las Vegas, Madison, Nashville, Philly, Pittsburgh, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about the sponsors of this July 3rd episode: Downtown Houston+ Margaritaville Lake Resort Lake Conroe | Houston Visit Port Aransas Learn more about your ad choices. Visit megaphone.fm/adchoices

Marie Cecile Anderson and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Denver, Houston, Las Vegas, Madison, Philly, Pittsburgh, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe!

Bianca Martin and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, DC, Denver, Houston, Las Vegas, Nashville, Philly, Pittsburgh, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about your ad choices. Visit megaphone.fm/adchoices

Bridget Todd and all 12 other City Cast podcast hosts (from Austin, Boise, Chicago, Denver, Houston, Las Vegas, Madison, Nashville, Philly, Pittsburgh, Portland, and Salt Lake City) compete head-to-head in a high-stakes showdown to answer the question that's been burning up our company-wide Slack for weeks: which city is the best for a summer weekend trip? From naked bike rides to ‘the country's best farmers market,' pickle festivals to Elvis impersonators driving pink convertibles, our hosts are bringing the best of the best of what their city has to offer. Did your city win? Take our interactive quiz to see which city best fits YOUR vibe! Learn more about the sponsors of this July 3rd episode: District Bridges Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode #265Will Turpin from Collective Soul is celebrating the 30th anniversary of the band, talking the double album 'Here to Eternity', the documentary 'Give Me A Word: The Collective Soul Story' coming out 7/8, touring, recording in Elvis's house in Palm Springs, Woodstock '94 & '99, Black Sabbath, The Beatles, Fenway Park,  band dynamics, festivals, Peyton Manning, truck stop shopping, disc golf, wolf t-shirts, and so much more!Check out the custom playlist for Episode #265 here!Hear Will Turpin on Episode #132 hereHear Ed Roland on Episode #205 hereGet tickets to see Collective Soul here! Find Will Turpin online:FacebookTwitterInstagramBandcampCheck out Will's StudioFind Collective Soul online:WebsiteTwitterInstagramFacebookYouTubeFind Mistress Carrie Online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramBlueskyThreadsYouTubeTikTokCameoPantheon Podcast NetworkFind The Mistress Carrie Podcast online:InstagramThreads Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you an Elvis fan? What about JFK? Cuz this movie kinda has those guys in it. It's 2002's cult classic BUBBA HO-TEPBUBBA HO-TEPRELEASED: June 9, 2002DIRECTED BY: Don CoscarelliSTARRING: Bruce Campbell, Ossie Davis, Ella Joyce, Bob IvyBUDGET: $1M BOX OFFICE: $1.2MESTIMATED LOSS: TotalNext episode: Let's get this over with. It's X-MEN: DARK PHOENIX.  0:00 Intro 2:32 Show & tell7:27 This week's movieSHOW NOTES: Jack of All Trades intro (Old Bruce Campbell pirate show Ian was talking about) https://www.dailymotion.com/video/x8kckp1

After a 10 year hiatus, Carrie finally returned to Vegas!  You've heard her on prior episodes talk about "the good old days" in Vegas and how much she used to love it.  On this episode she is sharing what it was like for her to go back and stay at Caesars Palace of all places!  Carrie tells Fran all about her return to one of her favourite restaurants, the price of food and of course there was some Elvis!  You don't want to miss her review of the strip - and what has changed. Find Francine and Carrie online: Website: https://PixieDustFan.com Instagram: @PixieDustFan Carrie on Instagram: @MuppetCrazy Facebook: Pixie Dust Fan  Pixie Dust Fan Facebook group: PixieDustFanGroup Support Pixie Dust Fan by shopping our affiliates Find Pixie Dust Fan on YouTube: Pixie Dust Fan  

Ian Anderson is touring again in 2026 and talks to us here about tweed stage-wear, an audience of four, his teenage heroes and the first shows he ever saw and played. There's all sorts within, including …   … playing his first gig to Catholic schoolgirls at the Holy Family Youth Club in Blackpool – “we emptied the room”. … queues round the block at the Marquee in 1968 – “the moment I knew we'd arrived.” … how Joe Cocker nicked his breakfast. … seeing Cliff at the ABC in Blackpool – “he was our Elvis.” … guitarists who played “nicely”– Hank Marvin, Eric Clapton, Peter Green, Ritchie Blackmore. “Precise, accurate, they sang melodies.”  … the ceremonial christening of Jeffrey Hammond-Hammond. … exotic clothes, stage names and parallels with Beefheart's Magic Band.  … recording Feel Like Makin' Love with the 90-year-old Engelbert Humperdinck. … learning Guitar Tango by the Shadows - “not blues or rock and roll - progressive pop!” … the fine art of dressing up: Jethro Tull in America – tweeds and deerstalkers v check shirts and denim.   … fund-raising shows for imperilled cathedrals.   … the allure of touring by train – “I'm Michael Portillo with a flute”. … the three songs Jethro Tull always play. Tickets for the Curiosity Tour 2026 here: jethrotull.com Ian Anderson presents Christmas With Jethro Tull:Thursday 18 December 2025 - Bath AbbeyFriday 19 December 2025 - Peterborough CathedralSaturday 20 December 2025 - Southwark Cathedral Hosted on Acast. See acast.com/privacy for more information.

Ian Anderson is touring again in 2026 and talks to us here about tweed stage-wear, an audience of four, his teenage heroes and the first shows he ever saw and played. There's all sorts within, including …   … playing his first gig to Catholic schoolgirls at the Holy Family Youth Club in Blackpool – “we emptied the room”. … queues round the block at the Marquee in 1968 – “the moment I knew we'd arrived.” … how Joe Cocker nicked his breakfast. … seeing Cliff at the ABC in Blackpool – “he was our Elvis.” … guitarists who played “nicely”– Hank Marvin, Eric Clapton, Peter Green, Ritchie Blackmore. “Precise, accurate, they sang melodies.”  … the ceremonial christening of Jeffrey Hammond-Hammond. … exotic clothes, stage names and parallels with Beefheart's Magic Band.  … recording Feel Like Makin' Love with the 90-year-old Engelbert Humperdinck. … learning Guitar Tango by the Shadows - “not blues or rock and roll - progressive pop!” … the fine art of dressing up: Jethro Tull in America – tweeds and deerstalkers v check shirts and denim.   … fund-raising shows for imperilled cathedrals.   … the allure of touring by train – “I'm Michael Portillo with a flute”. … the three songs Jethro Tull always play. Tickets for the Curiosity Tour 2026 here: jethrotull.com Ian Anderson presents Christmas With Jethro Tull:Thursday 18 December 2025 - Bath AbbeyFriday 19 December 2025 - Peterborough CathedralSaturday 20 December 2025 - Southwark Cathedral Hosted on Acast. See acast.com/privacy for more information.

The Stupid History of the Conspiracy Theory that Elvis is AliveBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-stupid-history-minute--4965707/support.

What happens when a guitar wizard stumbles face-first into Hollywood? JD Simo is back, and this time he's not just laying down licks. He's coaching movie stars, babysitting vintage synths, and fixing million-dollar screwups the prop department didn't even notice. He walks us through how a phone call from producer Dave Cobb turned into a full-blown creative rescue mission on two major films: the Elvis biopic and the upcoming Bruce Springsteen flick. Along the way, JD accidentally invents a job, teaches Jeremy Allen White to fingerpick from zero, and nearly loses his mind syncing fake guitar playing with Dolby Atmos perfection. We're talking full-set nerdery. Telling Oscar winners their mic stands are in the wrong place. Sneaking into “video village” and somehow not getting kicked out. And yes, it all started because this man cares about the details. If you've ever screamed at the TV because the guitarist's amp wasn't even plugged in, this one's for you. Check out all things JD on his website HERE https://simo.fm/ Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/reverb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/sweetwater⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or grabbing your guitar/bass strings from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/stringjoy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Release your music via DistroKid and save 30% by going to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

Elvis and Barb are back (once again) with more amazing conversations that they got at the exocad (https://exocad.com/) booth during the 4 days at IDS 2025 in Cologne, Germany (https://www.english.ids-cologne.de/). First up is two gentlemen out of Columbia that their lab 70 years ago decided that it was easier if they just started manufacturing their own materials. Juan David Jaramillo and Luis Diego Monsalve talk about the history of New Stetic (https://www.newstetic.com/en/), the regulation of getting it into 65 different countries, the world of making dental anesthesia, and how they use IDS as a way to connect with customers from around the world. Then we bring back the wonderful Steve Campbell from Nexus Dental Laboratory (https://nexus.dental/)in the UK. Steve is at IDS speaking for exocad and the new exocad ART (https://exocad.com/our-products/exocad-art). He talks about how with exocad, AI, and a video of a patient talking, we can create a video of the patient talking with their new teeth that haven't even been made yet. Steve also updates on Nexus since the last recording and the importance of encouraging your technicians to do better then you. Lastly we talk to Dr. Nicolas Rohde from VHF Milling Machines (https://www.vhf.com/en-us/). Dr. Rohde started with a business degree and a PhD in Organizational Practices. While in Maryland during school, he meets his wife and takes a job with a implant company and that's how he into dental. That company was a reseller for VHF mills and that is how he found them Dr. Rohde talks about moving back to Germany to run the US division, what sets their mills apart from others, and why they take the time to have their own CAM software to run their mills. Take it from Jennifer Ferguson from Ivoclar. If you have a PM7 (https://www.ivoclar.com/en_us/products/digital-equipment/programill-pm7) or are thinking about getting a PM7 (Take it from Barb, you should), on July 1st Ivoclar is launching the "Ivoclar Block Module" that can speed up milling emax (https://www.ivoclar.com/en_us/products/digital-processes/ips-e.max-cad) by 45%!! The best part is that you can try it for FREE for 90 days. All you have to do is send them a message on Instagram at Ivoclar.na (https://www.instagram.com/ivoclar.na/) or send a email to jennifer.ferguson@ivoclar.com. Now go mill emax faster! Special Guests: Dr. Nicolas Rohde, Juan David Jaramillo Gómez, Luis Diego Monsalve Hoyos, and Steve Campbell RDT.

Ep 539: Dylan and Elvis are back for another brand-new special episode! The boy's recap how their weekend went and go through any major news in the sports world. Dylan and Elvis will also hit the diamond and look to stay hot and give out their best bets in the MLB.  So, please make sure you guys hit that like button, subscribe, rate, leave a review and comment below who you'll betting on this week!Watch On Youtube: https://www.youtube.com/live/MFcyAotghXY?si=rENPVt6JTCzkMFfo Listen to the full Podcast: https://podcasts.apple.com/us/podcast/the-dream-wager/id1550381287RATE AND REVIEW THE SHOW ON iTUNES & AUDIO PLATFORMS!#Sports #Podcast #TheDreamWager #MLB #SportsBetting #MLBPicks Follow The Dream Wager on X@thedreamwager  Follow The Dream Wager on Instagram@thedreamwagerFollow the boys on X Dylan: @rockk24  Elvis: @e_thedreamwager

By the time The Beatles released their twelfth and final studio album, Let It Be, the ban had already broken up.  Their official break-up was in April 1970, and this album was released in May.Much of the recording dates back over a year, and a project that Paul McCartney developed in an attempt to save the band.  The Beatles went into the studio in January 1969 to begin an album, document the development on film, and showcase the band as they return both to a simpler rock 'n' roll style and to live performance.  They started in Twickenham Film Studios, but quickly began fighting.  George Harrison left the group, only returning after they agreed to returning to Apple Studios and to bringing keyboardist Billy Preston in to assist in the process.Originally entitled "Get Back," the album was delayed multiple times as the group considered aligning with potential televised performances, and eventually postponing the release in favor of the studio album "Abbey Road."  As the demise of the group became more clear, Engineer Glyn Johns and producer Phil Spector were brought in to turn the pieces from the "Get Back" sessions into a complete album.These sessions were also the ones which included the final Beatles live performance, the "Rooftop Concert" recorded from the roof of Apple Studios on the afternoon of January 30, 1969.  This concert proceeded for 42 minutes until the police arrived and instructed the group to turn the sound down.Contemporary reviews of the album were more negative than previous Beatles albums, but those critiques have been revised upwards over time.Bruce presents this album marking the end of an era for this week's podcast.Two of UsPaul McCartney wrote most of this song which is credited to the Lennon-McCartney partnership.  The original idea was inspired by McCartney's travel adventures with Linda Eastman (to whom he was married in March 1969), but it took on more meaning as a gesture of affection to John Lennon after the group broke up.  I Me MineOne of the few non Lennon-McCartney songs on the album, this track was written by George Harrison.  It was their last new track recorded before their official break-up in April 1970.  The lyrics are a cry against the self-centeredness of mankind.  The Beatles recorded it in January 1970, by which time Lennon has privately left the group, so the three remaining members recorded it.  I've Got a FeelingThis song is actually a medley of two unfinished songs.  Paul McCartney wrote "I've Got a Feeling," and John Lennon wrote "Everybody Had a Hard Year." and the two were put together.  This was recorded during the Beatles' rooftop concert in January 1969 with Billy Preston on electric piano.Get BackThe concluding song from the album is unusual. because almost every moment of the song's development was recorded from the first riff to final mixing.  The concluding quip from John Lennon regarding hope that "we passed the audition," was taken from the Rooftop Concert and worked in by Phil Spector.  It was originally released as a single a year before in April 1969, and credited to "The Beatles with Billy Preston." ENTERTAINMENT TRACK:"Burning Bridges" (Main theme from the action comedy film Kelly's Heroes)This World War II comedy stars Clint Eastwood and Telly Savalas revolves around a gold heist as the war draws to a close.   STAFF PICKS:Question by The Moody BluesLynch brings us a song in multiple movements.  The frantic phase represents the question of why we must go to war, while the more subdued section represents love and peace.  Guitarist Justin Hayward wrote this song as a mashup of two unfinished songs which came together after observing the anxiety young US fans were experiencing regarding the draft and the Vietnam War.Proper Stranger by The Guess WhoRob features a deeper cut from the Canadian band off their "American Woman" album.  The lyrics depict the feelings of being alone in a big city where "Nobody knows my face or knows my name.  Nobody knows where I'm going or how I came.  Lost and found, no one claimed me. Alone with a million others."50,000 Miles Beneath My Brain by by Ten Years AfterWayne takes us on another deep cut.  This one is a psychedelic journey with the group that gets its name from their being founded ten years after Elvis's start.  We noticed the similarity between this song and the Rolling Stones' "Sympathy for the Devil," with which it shares a similar chord progression.Baby Hold On by The Grass RootsBruce closes the staff picks with a group that was big from 1965-1985.  The Grass Roots originated in 1965 as a project between the duo P.F. Sloan and Steve Barri.  This song went to number 35 and was included on their compilation album, "More Golden Grass," released in the fall of 1970.   INSTRUMENTAL TRACK:Genesis by Tangerine DreamWe close out this week's podcast with an early industrial track from the future jazz fusion giants. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Elvis chapels and exotic animals. Magicians and pyramids. Sin city has it all. Learn how to talk about Las Vegas in Chinese with today's show. And remember: what happens in Vegas stays in Vegas! Episode link: https://www.chinesepod.com/1393

the Lord has spoken this is the decade of many breakthroughs, now come into this breakthrough Anointing right now and agree for many breakthroughs.

Extra Elvis radio magazine met: Fred van Veen, Kees Mouwen, Fred Omvlee & Matt Shepherd

I'm very excited to host author Peter Bebergal. His work informed much of The Occult Elvis and is essential to my upcoming Bowie work, specifically his magnificent Season of the Witch: How the Occult Saved Rock and Roll. We'll delve into the nexus of American music and spirituality, including the arcane forces that gave rise to the birth of rock music. We'll certainly cover Hinduism in the Beatles, Thelema in Led Zeppelin, Occultism in Black Sabbath, and Masonry in Hip-Hop. And everything in between, with plenty about those Tricksters, Elvis and Bowie. Join me and either chat your questions or call in. Get The Occult Elvis: https://amzn.to/4jnTjE4 The Gnostic Tarot: https://www.makeplayingcards.com/sell/synkrasis Homepage: https://thegodabovegod.com/ Patreon: https://www.patreon.com/aeonbyte AB Prime: https://thegodabovegod.com/members/subscription-levels/ Virtual Alexandria Academy: https://thegodabovegod.com/virtual-alexandria-academy/ Voice Over services: https://thegodabovegod.com/voice-talent/ Support with donation: https://buy.stripe.com/00g16Q8RK8D93mw288Stream All Astro Gnosis Conferences for the price of one: https://thegodabovegod.com/replay-sophia/

Tawinee's Actual Factuals- Pizza, Elvis and Pulp Fiction by STAR 102.5/Des Moines

We're replaying some of our favorite shows about clothes and the people who wear them. In this episode from May 2019, the fascinating and unlikely history of the garment that got its name because it was the outfit of choice for people jumping out of airplanes. Plus: we know there's no jumpsuit like an Elvis jumpsuit. Quartz noted that one of the King's suits, the white peacock-themed one, sold at auction in 2008 for a record $300,000.Jumpsuits (Quartz)Elvis Hoodie (GearHuman)Back Cool Weird Awesome on Patreon for just $1 a month!

We act like the missiles decide their targets. As if the Hellfire drone strike has free will. But in modern warfare—and in modern narrative warfare—the target isn't a target until someone paints it.Laser-guided munitions don't wake up one day and say, “That guy.” They wait. For a signal. A beam. A blinking beacon hidden under the floorboards. The ordnance doesn't think. It follows.And in our endless info-war of vibes and virality, it's the same. Redditors, TikTok rage reels, MeidasTouch-style echo chambers—those are just the munitions. They're not autonomous. They're reactive. What matters is: Who painted the target?Was it a whisper campaign? A blue-checked influencer who switched lanes? Was it a newsletter, a leak, a leak about a newsletter? Who snuck past the perimeter and aimed the dot?This is the essay.We don't talk enough about the targeting package. The long-range recon patrol who slips behind lines to mark something—someone—as worthy of outrage. Maybe they parachuted in. Maybe they're already embedded. Either way, their job is to illuminate.Then comes the kill chain:Think tank report (intel)Atlantic op-ed (authorization)Twitter thread (delivery)TikTok (warhead)You never even saw the spotter.One day, Trump is the darling of Manhattan media, a beloved caricature. The next, he's worse than Hitler. Bin Laden? Our Cold War asset. Saddam? Our oil-stabilizing friend. Gaddafi? Photographed with Condi Rice's mixtape on his nightstand. Then: all painted. All vaporized.Even Putin was “New Russia” once—mining nickel, flirting with NATO. Now he's an eternal villain, an ex-KGB fascist oligarch. We changed the noun from industrialist to oligarch and thought we'd done analysis.Narrative paints. Facts arrive later.Ask yourself: Why wasn't Obama painted? Or Biden? Or even Bush, in his second term? Naomi Wolf tried in 2007—she practically screamed “authoritarian creep!”—but her dot never caught the beam.Because the paint has to stick. The actor must be ready. The story must allow it.Trump? He welcomed the role. Signed the casting contract. Took the heel heat and ran with it like it was WrestleMania. “Make America Great Again” was a catchphrase, not a policy. It was kayfabe all the way down. He turned politics into wrestling. But who booked the match?It's tempting to believe these men write their own roles. But come on. This is Stanford/Oxbridge season 6: Global Civics. These leaders come out of the same boarding schools, the same land-grant universities, the same think tanks and G20 mixers.Bad actors are cast. Sometimes they audition. Sometimes they're just… available.And when their arc is up? Witness protection, or a tombstone with a question mark. Epstein. Elvis. Tupac. “Is he dead, or just reassigned?”The script demands turnover.You're not going to understand power through a fascism bingo card. Power doesn't yell its name. It whispers. It points. It paints.So stop obsessing over the missiles. The real question is: Who's behind the brush?The Kill Chain of Public NarrativeThe Fickleness of TargetsTarget Painting Is The Real PowerThe Actor Doesn't Write the ScriptRetire the Checklist, Follow the Laser

On the June 27 edition of the Music History Today podcast, Elvis comes back, John Entwistle goes out like a only a rock star can, a smile turns into a queen, and John Lennon finally becomes legal. Also, happy birthday to Lorrie Morgan and Leigh Nash of Sixpence None the Richer.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.comResources for substance abuse issues - https://988lifeline.orghttps://www.samhsa.gov/find-help/helplines/national-helpline

​​June 26, 1977. Elvis delivers an emotional final public performance at Market Square Arena, Indianapolis.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textA 15-year-old Elvis Tribute Artist that many feel is Elvis reincarnated but looks like Joaquin Phoenix! He is the only singer in his family. The attraction started in second grade after his best friend dared him to dress up as Elvis for Halloween, which began the love affair for the King of Rock n Roll. Aiden also sings Johnny Cash, Josh Turner and a couple others but Elvis is his niche. He says, Elvis is a friend of his that he never got to meet and since 2nd Grade he has been singing his songs that began with “Jailhouse Rock.” Aiden spends an hour every day practicing Elvis's music. He states he has watch every single video on YouTube that Elvis has watched to perfect his mannerisms and movement and some of these moves come natural to Aiden. He has jumpsuits made specifically for him along with the replica clothes and he completely embraces this vintage look and mentions; he was born in the wrong era!Being part of a big competition in Memphis in the Big “little” King Division, he will be performing in the Graceland tent very soon, but Aiden really wants to be the Ultimate Elvis and has been to Tupelo, MS many times and performed right outside the birthplace of Elvis! What is next? VEGAS? Steve Pennington is his vocal coach for over the past year and half, and one Aiden believes in him in which the results speak for themselves. Pennington is the one to credit for posting his videos and putting the naysayers at bay that believed Aiden was lip synching by posting an A Capella video. How is he handling all the notoriety from his VIRAL videos? He tells us what long term plans are, and he has a plan B too! What does a teenager away from being Elvis? He ends with a beautiful story of the impact he has had on others.  Aiden Joiner Links:Join the Facebook Group: https://www.facebook.com/groups/386781849478323Instagram: https://www.instagram.com/aiden_joiner/?hl=enWatch Aiden's Tik Tok Videos: https://www.tiktok.com/@santasteve24 Before the Lights Links:Website: https://www.tommycanale.com/beforethelights-episodesGet Tommy a Glass of Vino: https://www.buymeacoffee.com/beforethelightsSupport the showFollow the show on Instagram: https://www.instagram.com/beforethelightspodcast/Follow the show on Face Book: https://www.facebook.com/beforethelightspodcast/Follow the show on Tik Tok: https://www.tiktok.com/@beforethelightspodcast?lang=enFollow Tommy on Face Book: https://www.facebook.com/tcanale3Rate & Review: https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Email the host: beforethelightspod@gmail.com

Ep 538: Dylan and Elvis are back for another brand-new special episode! The boy's recap the NBA Draft + all the major news that happened during the week. The boys will also hit the diamond and look to stay hot and give out their best bets in the MLB.  So, please make sure you guys hit that like button, subscribe, rate, leave a review and comment below who you'll betting on this weekend!Watch On Youtube: https://www.youtube.com/live/yydNLye0uB0?si=i-PTqmDXarLVKJqp Listen to the full Podcast: https://podcasts.apple.com/us/podcast/the-dream-wager/id1550381287RATE AND REVIEW THE SHOW ON iTUNES & AUDIO PLATFORMS!#Sports #Podcast #TheDreamWager #NBADraft #MLB #SportsBetting #MLBPicks Follow The Dream Wager on X@thedreamwager  Follow The Dream Wager on Instagram@thedreamwagerFollow the boys on X Dylan: @rockk24  Elvis: @e_thedreamwager

Olivia Murphy-Rogers joins Justin for an extra-special episode of TCBCast as they trace the real history behind the song "Frankie and Johnny," the title track of Elvis's 1966 film. They learn who Frankie Baker was, the man who "done her wrong," the song she couldn't escape, and the identity of the most likely songwriting candidate to have penned the original folk lyrics - on the very day of the true murder.  The duo also react to the news about Sony's upcoming  "Sunset Boulevard" box set recently announced that will encompass studio recordings from 1972, 1975 and rehearsals from 1970 and 1974, all done at RCA Studios on Sunset Boulevard in Hollywood. Justin has first impressions of the "Harum Scarum Sessions" FTD set, and then the two take a little time discussing Riley Keough and Gina Gammell's "In Process" short films for Tribeca; not just the one everyone else saw, "Chapter 1: Writing" which was filmed at Graceland and stars Riley herself narrating a short essay about her writing process for both film generally and more specifically about "From Here to the Great Unknown," but also the other two less-appreciated Chapters, "A Self Tape" and "Shooting A Scene," all of which were also co-directed by Riley. Justin's Song of the Week is a breezy listen to "The Meanest Girl in Town" from Girl Happy - and Olivia's Song of the Week IS our main topic! FYI - this episode does intentionally end without a proper "sign-off."  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

THURSDAY HR 2 RRR Trivia - 1977 Elvis made his last concert appearance. He only performed 3 times outside of the US. Where was it? Deisis Del Toro brings the Cuban Coffee to the show. Deisi hanging with Amber Trashy vs Tacky

In this heartwarming episode, we unpack the surprisingly deep life lessons hiding inside Disney's Lilo & Stitch. From grief and healing to the true meaning of family, this beloved film is a masterclass in love, loss, and choosing connection over chaos. We explore 8 powerful lessons—some big, some small, and one sneaky bonus at the very end—that remind us that strength looks different for everyone, love is a choice, and no one is beyond redemption. Whether you're a lifelong fan or haven't seen it in years, this episode will leave you thinking a little deeper—and hugging your ohana a little tighter. Aliens, Elvis, and emotional growth? Yep. Let's dive in. Full video on Ariadna's YouTube

durée : 00:59:40 - A Go Go - par : Nathalie Piolé -

We play caller roulette and the callers chat about seeing Elvis in 'Die Hard,' sleeping with enemies and one even complains about "Scotty Ships!"See omnystudio.com/listener for privacy information.

This time we're letting Liz pick the movie, and she went with an Elvis flick that has an... interesting title, to say the least. Like the show? Please leave a rating wherever you found us! Download and listen today on Apple Podcasts, Spotify, iHeart, Amazon, Stitcher, Goodpods, and more of your favorite podcast services.

Bienvenidos Bastarnautas a un episodio más en el que a lo único que no renunciamos es a explayarnos a expresar nuestra múltiples renuncias a todo lo que se deje. Recupera este clásico de Elvis que lo tenías guardado en lo más hondo del cajón más olvidado. Manda todo a la chingada con una grabación original del Tri. Recupera el aliento con un blues de alcurnia seguido de un jazz para animar muertos. No sin antes echarse un clavado profundo con un electro rock más punketon. Pero no te preocupes, te despedimos con Evo Taylor para recuperar la esperanza en la humanidad. Así que arremángate los pantalones, peínate las patillas, desabrochate el cinturón, saca la panza y suéltate la greña para sumergirte en cabina. Para que salgas con aroma a Vermut, bien servido de música sabrosa y elegante, limpio de culpas y listo para salir al mundo a renunciar.

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

Check out the article in the latest issue of JDT about Barb and Elvis' visit to IDS: https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fnadl.memberclicks.net%2Fassets%2Fjdt%2FJDTJJ25%2FFeature%2520JDT725.pdf&data=05%7C02%7CElvis%40derbydental.com%7Cc33fea7508384105f07a08ddad0e04e9%7C6fa28314e906466889bfaddab1c310c2%7C0%7C0%7C638856998445771892%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=a64QAz1D6fk6BQEJASihLI%2FzjALozgRhkauA4gpLzpE%3D&reserved=0 We all know and love Nowak Dental Supplies (https://www.nowakdental.com/) for not only their products and services, but for everything they do for our industry. This week we talk to two people from Nowak Dental Supplies (https://www.nowakdental.com/) that are bringing the conference/party of the year to New Orleans in November. Brandi Nowak is one half of the owners and she tells the story of starting in 2000. Taking over her grandfather's legacy that started in the 40s, she has helped the company become what it is today. At the beginning of 2025, they brought on Marybeth Starr to help them grow even more. Marybeth is a veteran of the vendor side of dental laboratories and brings experience to get the job done. Together they have put together NOLA Lab Fest (https://www.nolalabfest.com/) that is happening in New Orleans on November 7 & 8. This is a must attend event because it is going to be what these two are, fun. Register today at: https://www.nolalabfest.com/ THANK YOU to Aidite (https://www.aidite.com/) for sponsoring us! Go buy their stuff from Nowak... win/win for everyone! Take it from Jennifer Ferguson from Ivoclar. If you have a PM7 (https://www.ivoclar.com/en_us/products/digital-equipment/programill-pm7) or are thinking about getting a PM7 (Take it from Barb, you should), on July 1st Ivoclar is launching the "Ivoclar Block Module" that can speed up milling emax (https://www.ivoclar.com/en_us/products/digital-processes/ips-e.max-cad) by 45%!! The best part is that you can try it for FREE for 90 days. All you have to do is send them a message on Instagram at Ivoclar.na (https://www.instagram.com/ivoclar.na/) or send a email to jennifer.ferguson@ivoclar.com. Now go mill emax faster! Special Guests: Brandi Nowak and Marybeth Starr.

Zeus from the number 1 KISS Podcast comes on to shoot the shit...mostly about Elvis then we get into the book "Raise Your Glasses" and podcasting in general.  Give it a spin and you shall have a hoot!PATREON - https://www.patreron.com/realizzypresley WEBSITE - https://www.izzypresley.comIzzy's links https://www.lasvegasguitartradeshow.comhttps://www.sotastick.com                                                                                            https://vintageguitarsrus.com                                                                                      https://www.beeteramplification.com                                                                         https://www.thesmokinkills.com                                                                                   https://www.7thavenuepizza.com                                                                                 https://www.lockecustomguitars.comhttps://www.jkronguitars.comhttps://valkenburgusa.com https://www.monstersofrockcruise.comJKON EDWARD STYLE LIVE WITHOUT A NET STYLE PICKUP PREORDERhttps://jkonguitars.com/product/pre-order-pariah-1986bc/CAMEO https://www.cameo.com/realizzypresleyRAISE YOUR GLASSES https://www.amazon.com/RAISE-YOUR-GLASSES-Celebration-Celebrities/dp/B0DF6KDKLLhttp://www.shoutitoutloudcast.com

Cassandra survives a sizzling Vegas heatwave and finally sees her first Elvis impersonator. Meanwhile, Meredith has a moment: she thought she saw a woman with no arms… but it was just a cold-shoulder shirt. Laugh with us this week! It's a good one!All The Clopen Links:https://linktr.ee/theclopeneffect$2/month keeps us recording and bringing you all the laughs!https://the-clopen-effect.captivate.fm/support

Ep 537: Dylan and Elvis are back for another brand-new special episode! The boy's recap game 7 of the NBA Finals as the OKC Thunder defeat the Indiana Pacers. Elvis and Dylan will look ahead toward the NBA Draft going down this Wednesday and give out their own Mock draft and give out their favorite draft bets. The boys will also hit the diamond and look to stay hot and give out their best bets in the MLB.  So, please make sure you guys hit that like button, subscribe, rate, leave a review and comment below who you'll betting on this week!Watch On Youtube: https://www.youtube.com/live/0Zob_FqpEkY?si=R9I6GYlQNcAVkhot Listen to the full Podcast: https://podcasts.apple.com/us/podcast/the-dream-wager/id1550381287RATE AND REVIEW THE SHOW ON iTUNES & AUDIO PLATFORMS!#Sports #Podcast #TheDreamWager #NBAFinals #NBADraft #MLB #SportsBetting #NBAPicks #MLBPicks Follow The Dream Wager on X@thedreamwager  Follow The Dream Wager on Instagram@thedreamwagerFollow the boys on X Dylan: @rockk24  Elvis: @e_thedreamwager

CHRISTOPHER BICKEL, underground filmmaker, punk rocker and artist joins Death By DVD to discuss their most recent film PATER NOSTER AND THE MISSION OF LIGHT, why they make movies, art and MORE on this fresh from the grave episode celebrating all things Christopher Bickel. We have been very luck to have had Mr. Bickel on Death By DVD previously, and now they are back for a ghoulish interview I think you'll enjoy! Well, at least I hope you enjoy it. We discuss the films of Christopher Bickel and what makes them tick as an artist, how they create art and of course we discuss who they are as an artist. Strap in and get ready, this is an action packed episode filled with laughter and joy. I hope you click play and hear it today. Would you like to see a behind the scenes video with footage from the recording of this interview? TAP HERE or copy and paste the link : https://www.patreon.com/posts/death-by-dvd-at-131273256Wanna hear my first interview with Christopher Bickel? TAP HERE or copy and paste the link : https://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelWatch PATER NOSTER AND THE MISSION OF LIGHT ON NIGHT FLIGHT. TAP HERE or copy and paste the link : https://www.nightflightplus.com/videos/pater-noster-and-the-mission-of-light/670d3d1a2d57b50001a4f878Learn all about Christopher Bickel's new film PATER NOSTER AND THE MISSION OF LIGHT HERE : Https://www.paternostermovie.comChristopher Bickel on IMDb : https://www.imdb.com/name/nm3355435/PATER NOSTER AND THE MISSION OF LIGHT ON IMDb : https://m.imdb.com/title/tt33064297/WATCH BAD GIRLS BY CHRISTOPHER BICKEL ON AMAZON : https://www.amazon.com/Bad-Girls-Morgan-Shaley-Renew/dp/B09LQ42SX3WATCH THE THETA GIRL BY CHRISTOPHER BICKEL ON AMAZON : https://www.amazon.com/Theta-Girl-Victoria-Elizabeth-Donofrio/dp/B07HSMHVDLSUPPORT CHRISTOPHER BICKEL BY SHOPPING PAPA JAZZ RECORD SHOPPE : https://www.papajazz.com/Did you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES  ★ Support this podcast on Patreon ★

Ep 536: Dylan and Elvis are back for another brand-new special episode! The boy's recap game 6 of the NBA Finals and see how we got to a Game 7. The two best words in sports, Game 7. Elvis and Dylan will preview game 7 of the NBA Finals and give out their best bets for tonights win or go home game! The boys will also hit the diamond and look to stay hot and give out their best bets in the MLB.  So, please make sure you guys hit that like button, subscribe, rate, leave a review and comment below who you'll betting on this weekend!Watch On Youtube: https://www.youtube.com/live/aHJBCP8XSSw?si=_HdDF8en7iW4CTAY Listen to the full Podcast: https://podcasts.apple.com/us/podcast/the-dream-wager/id1550381287RATE AND REVIEW THE SHOW ON iTUNES & AUDIO PLATFORMS!#Sports #Podcast #TheDreamWager #NBAFinals #MLB #SportsBetting #NBAPicks #MLBPicks Follow The Dream Wager on X@thedreamwager  Follow The Dream Wager on Instagram@thedreamwagerFollow the boys on X Dylan: @rockk24  Elvis: @e_thedreamwager

Topics: Elvis Auction, Brant's Three Things, Brant's Hair Cut, Drive-In Theater and J.R.R. Tolkien, Knock-Off brands, Hot Meetings, You're Wrong Song, Fellowship Bonus Content:  Life With Fellow Believers Vs Without Quotes: “I had interest in the cottage cheese kiosk.” “The life of a believer doesn't work on your own.” “He looks like my junior high school band lesson instructor." “You're still wrong. And I'm right about everything. You're so wrong, so wrong… it's breathtaking.” Thanks for listening to the Oddcast Rewind. We hope you enjoyed these clips we picked out from past episodes—Whether it's your first time hearing them or they bring back memories, we hope they brought a little extra joy and encouragement to your day. . . . Holy Ghost Mama Pre-Order! Want more of the Oddcast? Check out our website! Watch our YouTube videos here. Connect with us on Facebook! For Christian banking you can trust, click here!

This week on The Treatment, Elvis Mitchell chats with Oscar-nominated screenwriter and director Tony Gilroy about the second season of the Disney+ epic Andor. Later, Elvis leads a conversation on the future impact of AI in the film industry with Range Media Partners' Peter Micelli, Google's Neil Parris, and Sean Douglas. And on The Treat, Kerry Washington gives a shout out to the places that ground her.

This week on The Treatment, Elvis Mitchell chats with Oscar-nominated screenwriter and director Tony Gilroy about the second season of the Disney+ epic Andor. Later, Elvis leads a conversation on the future impact of AI in the film industry with Range Media Partners' Peter Micelli, Google’s Neil Parris, and Sean Douglas. And on The Treat, Kerry Washington gives a shout out to the places that ground her.