Podcast appearances and mentions of Janis Joplin

Last week the "How We Heard It" hosts came up with a list of the greatest women singers in modern music, debating Janis Joplin vs. Whitney Houston and Karen Carpenter vs. Barbra Streisand while also finding endless praise for everyone from Aretha Franklin to Linda Ronstadt to Annie Lennox to Billie Eilish. This week, "How We Heard It" pivots to men singers, going back in time to crooners like Frank Sinatra and Bing Crosby and country legends like Hank Williams and George Jones. From there, the hosts come forward, breezing through classic singer-songwriters like Jim Croce and James Taylor, R&B pioneers such as Ray Charles, Marvin Gaye and Stevie Wonder, and all manner of rock singers, including Elvis Presley and Freddie Mercury, while pausing to engage in the inevitable Paul McCartney vs. John Lennon debate. The 1980s and 1990s are represented by the likes of Bruce Springsteen, Prince, Sting, Robert Palmer, Michael Hutchence, Trent Reznor, Vince Gill and Randy Travis. And today's stars are also evaluated, including Post Malone, The Weeknd, Harry Styles, Benson Boone and John Legend. Meanwhile, you might be surprised to find out where many of the others fall into place, including Elton John, Willie Nelson, Michael Jackson and Robert Plant. Especially Robert Plant.

Kate Taylor is a daughter, a sibling, a wife, a mom, and an expert craftswoman. She's also my guest for Episode No. 183.Learn more about Kate's awesome artwork at @matchboxkansascity on Instagram. Find her on Facebook at Matchbox KC, or reach out to her regarding a commission piece you'd like her to create for you at matchboxkansascity at gmail dot com. She's also on Threads.It was lovely meeting Kate and learning a little bit about her story. She's often posted up at First Fridays, so keep your eyes peeled for her setup there.Kate and I talked about the awesomeness of being Gen Xers. We also talked about the the fantastic live-music scene in Lawrence, KS (both now and especially when we were coming up). We also talked about a few of Kate's favorite albums, which were these:Janis Joplin's Pearl (1971)Hunting High & Low (1985), a-haThey Might Be Giants' Flood (1989)On How Life Is (1999), Macy GrayMany thanks to Kate for carving some time out of her busy schedule and making the trek over to chat with me. Additional thanks to her for the cool gifts she brought me, and thank you to all of you that support the podcast.copyright disclaimer: I do not own the rights to the audio clips contained within this episode. They are cuts from a tune called, "Glide," which Phish released as part of their 1992 record, A Picture of Nectar (c/o Elektra Entertainment).

The Deadcast examines how Franklin's Tower bucked every trend on Blues For Allah to become one of the Dead's all-time classics, including a tape of its studio creation, a look into the multi-tracks, & a rare line-by-line breakdown by lyricist Robert Hunter himself.Guests: David Lemieux, Geoff Gould, Jürgen Fauth, Shaugn O'Donnell, Chadwick Jenkins, Will Backstrom, Max Ritchie, Hannah GrabbensteinSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

TVC 705.3: From August 2018: Chuck Harter and Ed remember The Music Scene (ABC, 1969), the short-lived music comedy series from the fall of 1969 that featured such top Billboard artists as The Beatles, James Brown, Neil Diamond, Three Dog Night, Tom Jones, Janis Joplin, Sly and The Family Stone—all performing live every week. Hosted by comedian David Steinberg, and also featuring a house band led by Patrick Williams and a regular improvisational comedy group that included a pre-Laugh-In Lily Tomlin, The Music Scene is mostly remembered today for its odd length (45 minutes).

Ce soir, Marjorie Hache ouvre la semaine avec une émission dense mêlant nouveautés, classiques rock et hommages. Le moment fort revient à Rick Davies, cofondateur de Supertramp, disparu ce week-end, avec un live parisien de 1979. L'album de la semaine est "Cutthroat" de Shame, post-punk londonien audacieux, présenté dans plusieurs titres. Sébastien Tellier signe son grand retour avec "Refresh", tandis que Nine Inch Nails dévoile "As Alive As You Want Me To Be", extrait de la B.O. de "Tron Ares". Jeff Beck et Joss Stone réinterprètent "I Put A Spell On You" de Screamin' Jay Hawkins et Les recommandations de Francis Zégut nous mènent à His Lordship. On croise aussi Jehnny Beth, Janis Joplin, Idles, The Hives ou X-Ray Spex, pour une soirée entre hommage, énergie brute et élégance électrique. Idles - Rabbit Run U2 - Vertigo Prince Buster -Take It Easy Feist - Mushaboom Supergrass - Pumping On Your Stereo Faith No More - Epic Janis Joplin - Cry Baby Shame - Cutthroat Electric Light Orchestra - Don't Bring Me Down The Hives - Go Right Ahead R.E.M. - Uberlin AC/DC - Thunderstruck Jehnny Beth - No Good For People Jeff Beck - I Put A Spell On You (Feat Joss Stone) Arctic Monkeys - Do I Wanna Know Supertramp - Ain't Nobody But Me (Live in Paris) His Lordship - Old Romantic The Doors - Roadhouse Blues Electric Six - Gay Bar Nine Inch Nails - As Alive As You Need Me To Be Neil Young - Heart Of Gold Oasis - Supersonic Sebastien Tellier- Refresh Depeche Mode - A Pain That I'm Used To Pain - Party In My Head X-Ray Spex - Germ Free Adolescents The Black Keys - Gold On The Ceiling B.B. King - Call It Stormy Monday Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Singers often make or break a song. The exceptional ones can lift a bland arrangement into the stratosphere and the mundane ones can sink a great arrangement like a torpedo. This week the "How We Heard It" guys take a look at women vocalists (men singers will come next week), from the clear-voiced vocalists with perfect enunciation to soul singers who use a ragged edge to add personality. Some are belters, some practically whisper, some float into the atmosphere, and some are Bjork. But the differences between artists are pronounced, even in the sub-categories. Find out why Karen Carpenter hits differently than Barbra Streisand, how Tina Turner persevered, what sets Debbie Harry apart, where Sheryl Crow lands and how Billie Eilish factors in. And the guys are not on the same page on many of these vocalists, from Janis Joplin to Joni Mitchell to Kate Bush to Whitney Houston to Mariah Carey. Some of these women only seem better the more you explore their work, while others don't hold up to a closer listen. Your hosts dovetail, dissent and then dovetail again as they explore women singers from today, yesterday and long ago.   

We kick off a brand-new season of Queens Podcast with the one and only Janis Joplin—Port Arthur's wild child who became a 1960s rock legend. From awkward high-school years in segregated Texas to discovering the blues, to fronting Big Brother & the Holding Company, bringing down the house at Monterey Pop, and flying into Woodstock by helicopter, Katy and Nathan trace the meteoric rise—and heartbreaking fall—of a woman who refused to shrink herself. Expect Texas gossip, bisexual chaos, and the usual Queens Podcast charm Time stamps: 00:00 Welcome to Queen's Podcast 03:02 Introducing Janis Joplin 08:47 High School Struggles 13:57 College and Early Music Career 17:07 San Francisco and the Hippie Movement 24:27 Return to Texas and Attempt to Get Clean 25:53 Big Brother and the Holding Company 29:27 Peggy: The Villain or Friend? 33:00 Monterey Pop Festival and Rising Fame 38:23 Woodstock 42:20 The Downward Spiral 45:07 A Glimmer of Hope in Brazil 47:38 Final Days and Legacy Sources: Birth chart: https://astro-charts.com/persons/chart/janis-joplin/  https://www.theguardian.com/music/2015/nov/22/janis-joplin-teenage-traumas-little-girl-blue  https://sharpscript.net/usecases/rockstar-files/dead/joplin/  She dares to be different: https://www.michaelcorcoran.net/she-dares-to-be-different-janis-at-ut-1962/  Monterey fest: https://www.youtube.com/watch?v=X1zFnyEe3nE Queens podcast is part of Airwave Media podcast network. Please get in touch with advertising@airwavemedia.com if you would like to advertise on our podcast. Want more Queens? Head to our ⁠⁠⁠Patreon⁠⁠⁠, check out our⁠⁠⁠ merch store⁠⁠⁠, and follow us on ⁠⁠⁠Instagram⁠⁠⁠! Learn more about your ad choices. Visit megaphone.fm/adchoices

She's been called Janis Joplin and Ben Harper's love-child, and Cass Eager's inspirations show in her own career. She took us through her favourite tracks.

Beehive, a musical revue celebrating the women of rock and roll from the 1960s, is set to run from September 5 to 21 at the Actors Theatre of Indiana in Carmel.The show features 26 songs and iconic dances from the era, highlighting influential female artists such as Janis Joplin, Tina Turner, Leslie Gore, and Aretha Franklin. Beehive aims to explore the diverse musical styles of the 1960s, showcasing the evolution of rock and roll through the decade.“Beehive is basically a musical review, so it takes place from 1960 to 1969, and it covers all of the women of rock and roll in the 60s,” Abigail Storm explained.The performers, including Michaela McGarel, Kira Rangel, Kayla Perry, Rachel Dudt, and Riley Francis, have bonded over the high-energy production. “This is such a good group of girls to like we've all bonded so it's going to be awesome,” one performer shared.The show is scripted, meaning the songs were pre-selected to represent the era's iconic female musicians best. Audiences can expect a vibrant performance filled with familiar tunes and energetic dance routines. The production also includes two original songs, one of which features the ‘beehive dance,' incorporating popular dances from the 1960s such as the pony, the jerk, and the monkey. Beehive not only celebrates the music but also reflects the women's movement of the time, adding a layer of historical context to the performance.Beehive promises to be an exciting and nostalgic journey through the music and cultural shifts of the 1960s, offering audiences a chance to relive the era's vibrant energy and groundbreaking female artists.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Laurel Sapp: Saskatchewan-Based Songwriter from Little Pine First Nations, Laurel Sapp is a self-taught musician. She is emerging as one of the promising voices in the Country Folk scene.With her deep husky and soulful vocals, she has been compared to artists such as Janis Joplin, Darby Mills and Wynnona Judd. Powered by passion of music and creative song writing adeptness, her songs are based on real and raw truths. Her themes of outlaw reverence resilience, life experiences, love and self-discovery are found within her music. As she continues to work on several singles and an album in studio with Matt Stinn of Rainy Day Recording Co in Saskatoon, Laurel continues to work on cultivating her signature sound with southern country folk and rock. With Laurel's energetic stage performance and ability to captivate audiences, she is a new Artist to look out for. #laurelsapp #recordingartist #songwriter #countryfolkmusic #chrispomay #livewithcdp #barrycullenchevrolet   / laurelsappmusic    / laurelsappmusic    / laurelsapp    / gypsy_saskgirl  https://beacons.ai/chrisdpomayhttps://www.cameo.com/chrispomayhttps://www.paypal.com/paypalme/chris..https://podcasts.apple.com/ca/podcast..https://www.barrycullen.com/ the official sponsor of Live With CDP Sports & Entertainment Talk Show.

The Deadcast uses Blues For Allah's complicated instrumental Slipknot! to explore the musical and creative ambiguity the Grateful Dead pursued in early 1975, when there both was and wasn't a Grateful Dead, & their public reemergence at Bill Graham's S.N.A.C.K. benefit that March.Guests: David Lemieux, Ned Lagin, Ron Rakow, Steve Brown, Gary Lambert, Joan Miller, Jay Kerley, Chadwick Jenkins, Shaugn O'Donnell, Melvin BackstromSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A tub-thumping, snare-cracking, cymbal-simmering, two-way backbeat to this week's rock and roll news, the on-beats including … … “Trauma-bonding?” Why being ‘a fan' is like a love affair … Ian Brown, Morrissey, Siouxsie, Janis Joplin, Jim Morrison … why singers who don't play an instrument are a different species … the stadium-rock drummer transfer window … Sigourney Weaver at Shea Stadium in '65 … singers who don't sound like their personalities … what can a singer-songwriter write about if they get famous at 18? … the unreleased Beatles Holy Grail? … can you be a fan of someone younger than you are?Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear … how do you know a drummer's knocking on your door? … plus Leonard Cohen, Phil Oakey and are you ever too old to be wearing a Libertines military tunic? Hosted on Acast. See acast.com/privacy for more information.

A tub-thumping, snare-cracking, cymbal-simmering, two-way backbeat to this week's rock and roll news, the on-beats including … … “Trauma-bonding?” Why being ‘a fan' is like a love affair … Ian Brown, Morrissey, Siouxsie, Janis Joplin, Jim Morrison … why singers who don't play an instrument are a different species … the stadium-rock drummer transfer window … Sigourney Weaver at Shea Stadium in '65 … singers who don't sound like their personalities … what can a singer-songwriter write about if they get famous at 18? … the unreleased Beatles Holy Grail? … can you be a fan of someone younger than you are?Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear … how do you know a drummer's knocking on your door? … plus Leonard Cohen, Phil Oakey and are you ever too old to be wearing a Libertines military tunic? Hosted on Acast. See acast.com/privacy for more information.

A tub-thumping, snare-cracking, cymbal-simmering, two-way backbeat to this week's rock and roll news, the on-beats including … … “Trauma-bonding?” Why being ‘a fan' is like a love affair … Ian Brown, Morrissey, Siouxsie, Janis Joplin, Jim Morrison … why singers who don't play an instrument are a different species … the stadium-rock drummer transfer window … Sigourney Weaver at Shea Stadium in '65 … singers who don't sound like their personalities … what can a singer-songwriter write about if they get famous at 18? … the unreleased Beatles Holy Grail? … can you be a fan of someone younger than you are?Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear … how do you know a drummer's knocking on your door? … plus Leonard Cohen, Phil Oakey and are you ever too old to be wearing a Libertines military tunic? Hosted on Acast. See acast.com/privacy for more information.

 We talked with Cali Navarro on this episode and what a delight! Cali is an up-and-coming singer songwriter who talked about her love of pop music, how she feels free on stage, and her love of the audience!   Calista Navarro, also known as Cali, is a singer-songwriter, actress, and storyteller from Elsa, Texas. Cali grew up with music all around her, from the classic rock, country, and pop played in the car on family road trips, to the soundtracks she heard while watching Mexican soapoperas on TV. It is no surprise that she developed a love of performance early on and was singing and dancing on stage in school assemblies by the time she was three years old. Two years later, Cali began taking voice lessons, marking the start of her formal education in music that continues to this day. Since embarking on her musical journey, she has learned to play the ukulele and acoustic guitar, and compose original songs inspired by artists she loves, suchas Taylor Swift, Janis Joplin, and Etta James.    In 2022, Cali was invited to the PBS broadcast of Reading Rainbow, where her original song “Reading is Magical” was featured during the live premiere event. Other notable performances include singing the national anthem at sporting events and appearing in showcases for music schools across Texas and in New York City. In the summer of 2023, she had theopportunity to open for KidzBop during their Never Stop Live Tour at major venues such as Smart Financial Centre in Sugar Land, Toyota Music Factory in Irving, and ACL Live at The Moody Theater in Austin.      Be sure to check Cali out here:  Website: calinavarro.com  YouTube: Cali Navarro  TikTok: cali_navarro  

Unnatural celebrity deaths and unnaturally celebrated murders pockmark the history of Los Angeles, looming as large in the public imagination as the Hollywood stars themselves. Death in Paradise is the first authorized history of the Los Angeles Coroner's Office, revisiting the most culturally significant and forensically complex cases of accidental death, suicide or murder of the famous. It documents the notorious deaths of Senator Robert Kennedy, Marilyn Monroe, Sharon Tate, Janis Joplin and many others, providing an unflinching view of Tinseltown's dark, even perverse underbelly.Brad Schreiber, who wrote the original hardcover for book packager Tony Blanche, has updated many of the fascinating cases in Death in Paradise and added new photographs for this e-book edition. Schreiber, who created the truTV series North Mission Road inspired by this book, also presents some of the lesser-known but most puzzling deaths in the history of Hollywood. Did 1930s comedy film star Thelma Todd accidentally die of carbon monoxide poisoning in her own garage, commit suicide or was she killed by the jealous lover who locked her out of her own house? Death in Paradise highlights the bizarre as well as the renowned. There's the story of a funhouse dummy that got broken during a TV show filming, only to reveal the mummy of a Wild West gunslinger underneath. Or how about the murderer of a woman who was caught, based upon the ingredients in the exotic cocktail found in his victim's stomach?In addition to these mind-bending investigations, Death in Paradise summarizes the surprising origins of early historical medical examiners, the development of forensic science and, of course, the rise of the Los Angeles County Department of Coroner, the most technologically advanced in the world…and the only one with its own gift shop. https://amzn.to/4mcilYBBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

A los 88 años ha fallecido Kris Kristofferson, símbolo de la cultura usamericana como cantante country y trovador a la hora de retratar a perdedores y almas errantes víctimas de sus malas decisiones. Una figura imponente sostenida en su gran altura y una mirada entre desvergonzada y penetrante fue tan emblemática de una época (una década de los 70 ejemplo de cambio y revolución) que el cine también le acogió aportando una presencia rotunda y evocadora quedando para siempre en su haber temas como "Help me make it through the night", ganadora del Grammy, "For the good times" y la mítica "Me and Bobby McGee", canción popularizada por su ex pareja Janis Joplin. Este reportaje pertenece al programa "El Cine de LoQueYoTeDiga" nº 446 (16x03) y fue emitido el 5 de octubre de 2024.

Hudební festival Woodstock. Mimořádná událost, která se uskutečnila mezi 15. a 18. srpnem 1969 v americkém státě New York, asi 70 kilometrů od města Woodstock. Jeho samospráva konání akce pro 50 tisíc lidí odmítla, a tak se hlavním dějištěm nakonec staly pastviny soukromé mléčné farmy. Na festival se sjelo zhruba půl milionu účastníků a na pódiu vystoupily tehdejší i budoucí hvězdy rockové hudby, například Jimi Hendrix, Joan Baez, Janis Joplin, Joe Cocker nebo Carlos Santana.Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

The Grateful Deadcast points itself towards 1975 to begin a song-by-song celebration of Blues For Allah's 50th anniversary, loaded with raw session tapes, early lyric drafts, & the story of how the Dead built a new studio, musical language, batch of songs, & LP from the ground up. Guests: David Lemieux, Donna Jean Godchaux-MacKay, Ron Rakow, Stephen Barncard, Ned Lagin, Steve Brown, Gary Lambert, Keith Eaton, Shaugn O'Donnell, Chadwick Jenkins, Matt CampbellSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On the August 12 edition of the Music History Today podcast, the Beatles get their drummer; at least for a little while, Shakira goes unplugged, and Janis Joplin goes on stage for the last time. Plus, happy birthday to Sir Mix-A-Lot and Mark Knopfler.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

What's your most loved and least favorite 1971 hits?! For our latest Wildcard Episode, these 1971 babies decided to rank another huge year end countdown because our 91X 1983 episode was such a blast. On wildcard episodes like these, we end up talking about dozens of bands instead of one, so this one runs about fourteen hours long. Even Adam's "producer", David Gimbel, chimes in with his favorites of the year.  Listen at WeWillRankYouPod.com, Apple, Youtube, Spotify and The Way Back Machine. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod.SPOILERS/FILE UNDER:Ain't No Sunshine (blocked by copyright here), Bee Gees, The Bells, Billboard Magazine, David Bowie, James Brown, Brown Sugar, California, Changes, Cornelius Brothers & Sister Rose, Do You Know What I Mean, Easy Loving, Fearless, Fifth Dimension, Five Man Electrical Band, Fleetwood Mac, Marvin Gaye, David Gimbel, Go Away Little Girl, Groove Me, Freddie Hart, Isaac Hayes, Ben Hill, Hot 100, If You Could Read My Mind, Indian Reservation (The Lament of the Cherokee Reservation Indian), It's Too Late, The Jackson 5, Janis Joplin, Joy to the World, Just My Imagination (Running Away with Me), Carole King, King Floyd, Gladys Knight & the Pips, Jean Knight, Led Zeppelin, Gordon Lightfoot, Lonely Days, Maggie May, Matthews Southern Comfort, Paul & Linda McCartney, Me and Bobby McGee, Melody, Melody Fair, Mercy Mercy Me (The Ecology), Lee Michaels, Frank Mills, Mr. Big Stuff, Joni Mitchell, Music Box Dancer, One Bad Apple, One Less Bell To Answer, Donny Osmond, The Osmonds, Parliament, Pink Floyd, Proud Mary, Paul Revere & The Raiders, The Rolling Stones,  Signs, Stairway To Heaven, Station Man, Stay Awhile, Rod Stewart, Sweet and Innocent, James Taylor, The Temptations, Theme from Shaft, Three Dog Night,Treat Her Like a Lady, Ike & Tina Turner, Uncle Albert/Admiral Halsey, What's Going On, When The Levee Breaks, The Who, Bill Withers, Won't Get Fooled Again, Woodstock, You've Got a FriendUS: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

This week's program features tuneage from Brewer & Shipley, Janis  Joplin, Beatles, Jimi Hendrix Experience, Jefferson Airplane, Talking Heads, Donovan, Kinks, Cat Stevens, Ten Years After, Electric Prunes, Don McLean, Bachman Turner Overdrive, Brian Auger's Oblivion Express, Jeff Beck Group, John McLaughlin, Joni Mitchell, Loggins & Messina, Coldplay, Cream, Dada, Bruce Springsteen, Chicago & Crack The Sky.

The Grateful Deadcast visits the set for the Grateful Dead Movie, aka the Dead's five “retirement” shows at Winterland in 1974, with heads who attended. This bonus episode is a re-run of the 2nd half of Deadcast Season 9, episode 8.Guests: Donna Jean Godchaux-MacKay, Ron Rakow, Ned Lagin, David Grisman, , Steve Brown, Richie Pechner, Jerry Pompili, Jim Sullivan, Gary Lambert, Geoff Gould, Joan Brown, Michael Parrish, Corry Arnold, Strider Brown, Jay Kerley, Rita Fiedler, Rene Tinner, Lee Ranaldo, Gregory Barette, Ron Long, Brian AndersonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Anna Davlantes, WGN Radio's investigative correspondent, joins Bob Sirott to share what happened this week in Chicago history. Stories include Walter Payton’s induction in the NFL Hall of Fame, Janis Joplin’s concert at Ravinia, the Black Sox scandal, and more.

Drugs as Weapons Against Us: The CIA's Murderous Targeting of SDS, Panthers, Hendrix, Lennon, Cobain, Tupac, and Other LeftistsDrugs as Weapons Against Us meticulously details how a group of opium-trafficking families came to form an American oligarchy and eventually achieved global dominance. This oligarchy helped fund the Nazi regime and then saved thousands of Nazis to work with the Central Intelligence Agency. CIA operations such as MK-Ultra pushed LSD and other drugs on leftist leaders and left-leaning populations at home and abroad. Evidence supports that this oligarchy further led the United States into its longest-running wars in the ideal areas for opium crops, while also massively funding wars in areas of coca plant abundance for cocaine production under the guise of a “war on drugs” that is actually the use of drugs as a war on us. Drugs as Weapons Against Us tells how scores of undercover U.S. Intelligence agents used drugs in the targeting of leftist leaders from SDS to the Black Panthers, Young Lords, Latin Kings, and the Occupy Movement. It also tells how they particularly targeted leftist musicians, including John Lennon, Jimi Hendrix, Kurt Cobain, and Tupac Shakur to promote drugs while later murdering them when they started sobering up and taking on more leftist activism. The book further uncovers the evidence that Intelligence agents dosed Paul Robeson with LSD, gave Mick Jagger his first hit of acid, hooked Janis Joplin on amphetamines, as well as manipulating Elvis Presley, Eminem, the Wu Tang Clan, and others.https://amzn.to/4fH3ZNDBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Andrew and two returning champions sit ringside to referee three iconic albums released and forever associated with quite possibly the most prolific year in rock music, 1971. All three bands/artists also have that crazy common thread of being associated with the 27 Club.Guest Commentators: Hugh Eley and Jan MollerHere's where the three contenders rank on Rolling Stone's 500 Greatest Albums list as of the most recent re-ranking from 2020….The Doors - L.A. Woman, #364Janis Joplin - Pearl, #259Rolling Stones - Sticky Fingers, #104….And yes we know we were waaaay off!!Listen, like and follow! IG: @toptrackpodEmail: toptrackpodcast@gmail.comFacebook: Top Track Bar and GrillBlueSky: @toptrackpod

The Good Ol' Grateful Deadcast is thrilled beyond all audible frequencies to begin its 12th season by welcoming Dan Healy, the Grateful Dead's in-house sound wizard for most of their career, for tales from three decades in pursuit of high and higher fidelity.Guest: Dan HealySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, I take you on a journey through the electrifying world of rock music, spotlighting the legendary women who have shaped the genre. From trailblazers like Joan Jett and Stevie Nicks to modern icons like Hayley Williams, I explore their groundbreaking contributions and enduring legacies. Join me as I uncover the stories behind their most famous hits and how they've inspired generations of musicians. Tune in for an unforgettable journey through the powerful voices and unforgettable riffs that define rock history. FEMALE ROCKERS AND SOME TOP SONGS...Janis Joplin - "Piece of my Heart" and "Me and Bobby McGee"Joan Jett - "I Love Rock 'n Roll"Stevie Nicks of Fleetwood Mac - "Rhiannon", "Dreams", and "Edge of Seventeen"Pat Benatar - "Love is a Battlefield"Debbie Harry of Blondie - "Call Me" and "Heart of Glass"Ann Wilson of Heart - "Barracuda"Chrissie Hynde of The Pretenders - "Brass in Pocket"Delores O'Riordan of The Cranberries - "Zombie"Courtney Love of Hole - "Celebrity Skin" and "Violet"Shirley Manson of Garbage - "Only Happy When it Rains"Amy Lee of Evanescence - "Bring Me to Life" and "My Immortal"Hayley Williams of Paramore - "Misery Business"Lzzy Hale of Halestorm - "Darkness Always Wins"Taylor Momsen of The Pretty Reckless - "Heaven Knows" and "Going to Hell"Florence Welch of Florence + The Machine - "Shake it Out" and "What Kind of Man"Grace Slick of Jefferson Airplane - "White Rabbit"Alanis Morissette - Jagged Little Pill albumMelissa Etheridge - "Come to my Window" and "I'm the Only One"Patti Smith - Horses albumKim Deal of Pixies and The Breeders - "Cannonball"What did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

Hello Basementeers.......Here we go again with a classic Spotlight show on the music of: Janis Joplin.Yes you will hear the of her solo and music with Big Brother & The Holding Company.So ready ?? we are to play the trax of Janis and band....

On this episode of Overheard at Fitler, legendary concert promoter and genre originator Larry Magid steps back in time with Citizen Co-creator Larry Platt to relive iconic shows — Magid built music institution the Electric Factory and was behind Live Aid — and meet the artists — David Bowie, Janis Joplin, Mick Jagger — that made Philly music history. Join us for a fascinating and entertaining walk down a rock-fueled memory lane.

Suzi Quatro's been onstage from the age of 14 as the bassist in the all-girl showband the Pleasure Seekers and the rock act Cradle. And then moved to England in 1971 when signed by Mickie Most. This podcast is a testament to the power of self-belief – she's got more front than Woolworths! - and the two things her father told her. She's just started another world tour and talks to us here about … … how British “island humour” took a while to get used to. … two deals in a week: “Elektra wanted the second Janis Joplin. Mickie Most wanted the first Suzi Quatro.” … seeing Elvis on Ed Sullivan aged five and thinking “that's what I want to do”. And how his comeback changed the clothes she wore. … why playing a disastrous Sgt Pepper set at a ‘60s festival was a fork in the road. … knowing she had “the X-Factor, the charisma button”. … hard times in Crouch End while waiting for a hit and how Chinn & Chapman turned her sound in three-minute singles. … supporting Slade and Thin Lizzy – and being supported by Kiss and Blue Oyster Cult. … wise advice her father gave her. … playing Leather Tuscadero in Happy Days and reunions with Henry Winkler. … Michael Aspel wandering on from the wings for ‘This Is Your Life' at the Palladium.Order tickets here: http://www.suziquatro.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Suzi Quatro's been onstage from the age of 14 as the bassist in the all-girl showband the Pleasure Seekers and the rock act Cradle. And then moved to England in 1971 when signed by Mickie Most. This podcast is a testament to the power of self-belief – she's got more front than Woolworths! - and the two things her father told her. She's just started another world tour and talks to us here about … … how British “island humour” took a while to get used to. … two deals in a week: “Elektra wanted the second Janis Joplin. Mickie Most wanted the first Suzi Quatro.” … seeing Elvis on Ed Sullivan aged five and thinking “that's what I want to do”. And how his comeback changed the clothes she wore. … why playing a disastrous Sgt Pepper set at a ‘60s festival was a fork in the road. … knowing she had “the X-Factor, the charisma button”. … hard times in Crouch End while waiting for a hit and how Chinn & Chapman turned her sound in three-minute singles. … supporting Slade and Thin Lizzy – and being supported by Kiss and Blue Oyster Cult. … wise advice her father gave her. … playing Leather Tuscadero in Happy Days and reunions with Henry Winkler. … Michael Aspel wandering on from the wings for ‘This Is Your Life' at the Palladium.Order tickets here: http://www.suziquatro.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Suzi Quatro's been onstage from the age of 14 as the bassist in the all-girl showband the Pleasure Seekers and the rock act Cradle. And then moved to England in 1971 when signed by Mickie Most. This podcast is a testament to the power of self-belief – she's got more front than Woolworths! - and the two things her father told her. She's just started another world tour and talks to us here about … … how British “island humour” took a while to get used to. … two deals in a week: “Elektra wanted the second Janis Joplin. Mickie Most wanted the first Suzi Quatro.” … seeing Elvis on Ed Sullivan aged five and thinking “that's what I want to do”. And how his comeback changed the clothes she wore. … why playing a disastrous Sgt Pepper set at a ‘60s festival was a fork in the road. … knowing she had “the X-Factor, the charisma button”. … hard times in Crouch End while waiting for a hit and how Chinn & Chapman turned her sound in three-minute singles. … supporting Slade and Thin Lizzy – and being supported by Kiss and Blue Oyster Cult. … wise advice her father gave her. … playing Leather Tuscadero in Happy Days and reunions with Henry Winkler. … Michael Aspel wandering on from the wings for ‘This Is Your Life' at the Palladium.Order tickets here: http://www.suziquatro.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

I casi di cronaca più oscuri con il criminologo Massimo Picozzi.

Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui,  Original Lead Vocalist still records & tours  go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.© 2025 All Rights Reserved© 2025  Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Our featured guest this week is the legendary Jim Peterik, the founder of The Ides of March, The Jim Peterick Band, and formerly of Survivor. Jim joined us via telephone from Chicago and was very generous with his time. We discuss the formation of The Ides of March, touring with Led Zeppelin, Jimi Hendrix, and Janis Joplin, his time working with Survivor and Jimi Jamison, and much, much more. He even sings to Derrick and Jeff at the end, so stay tuned for that! Apple - https://bit.ly/3rqqZLP Spotify - https://bit.ly/3EJOGBO YouTube - https://bit.ly/3UgqsY2   TIP BUCKET If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.

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

Don't compromise yourself. You are all you've got. - Janis Joplin Check out John Lee Dumas' award winning Podcast Entrepreneurs on Fire on your favorite podcast directory. For world class free courses and resources to help you on your Entrepreneurial journey visit EOFire.com

Esta semana, en Islas de Robinson, entre 1969 y 1971, en territorio absolutamente clásico. Coordenadas de rock sureño, blues blanco con filtro "british", gospel, espíritu comunitario, y virtuosismo del bueno, al servicio de enormes canciones. Suenan: DELANEY & BONNIE - "LIVING ON THE OPEN ROAD" ("TO BONNIE FROM DELANEY", 1970) / LEON RUSSELL - "DELTA LADY" ("LEON RUSSELL", 1970) / JOE COCKER - "DEAR LANDLORD" ("JOE COCKER!", 1969) / THE GREASE BAND - "LET IT BE GONE" ("THE GREASE BAND", 1971) / DEREK & THE DOMINOES - "ANYDAY" ("LAYLA AND OTHER ASSORTED LOVE SONGS", 1970) / ALLMAN BROTHERS - "PLEASE CALL HOME" ("IDLEWILD SOUTH", 1970) / JANIS JOPLIN - "TRUST ME" ("PEARL", 1971) / DAVE MASON - "SHOULDN'T HAVE TOOK MORE THAN YOU GAVE" ("ALONE TOGETHER", 1970) / SPOOKY TOOTH - "FEELIN' BAD" ("SPOOKY TWO", 1969) / TRAFFIC - "STRANGER TO HIMSELF" ("JOHN BARLEYCORN MUST DIE", 1970) / JOHNNY WINTER - "ON THE LIMB" ("JOHNNY WINTER AND", 1970) /Escuchar audio

Jewel Thieves Charged… Never-ending workdays… Louve workers upset… Mental Health issues rising for white collar workers… Mariah Carey doesn't believe in time… Email: ChewingTheFat@theblaze.com BlueSky suspends VP JD Vance… Charlie Sheen's new book coming out…Janis Joplin history… Animal Kingdom on Netflix… The Pitt and Hacks on Max… Listener won trivia contest from listening to CTF… Who Died Today: Dave Scott 52 / David H. K. Bell 46 / Luis Guevara 19… Matthew Perry Doc to plead out… Not everyone is pleading out in Perry death case… NHL / NBA update… Lakers set new sale record… Joke of The Day…www.blazetv.com/jeffy Promo code Jeffy… Learn more about your ad choices. Visit megaphone.fm/adchoices

From David Bowie to Zeppelin to Janis Joplin, Janda goes through a list of classic rock songs that opened the door to classic rock and shaped her taste in this genre of music. Check it out in this bonus episode of the Behind The Song podcast!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A l'occasion de la fête de la musique, l'équipe Bababam a sélectionné quatre histoires retraçant les destins tragiques de personnalités ayant marqué d'un fer rouge le monde de la musique.   Avec sa voix rauque et grave, ses intonations qui reflétaient son authenticité et sa souffrance, elle est l'un des symboles de la contre-culture hippie et beatnik des années 60. Son nom : Janis Joplin. Membre du tristement connu « club des 27 », découvrez l'histoire de cette icône du rock disparue à l'âge de 27 ans. Qui ne saurait reconnaître son timbre si particulier ? Janis Joplin, avec sa voix exceptionnelle, et capable d'interpréter le blues le plus triste, le rock le plus révolté et les ballades les plus douces, a forcément ému tous ceux qui ont eu la chance de la voir en concert. Si Janis a cette intensité sur scène, c'est sûrement parce qu'elle l'a toujours recherché, depuis son adolescence. Née le 19 janvier 1943 à Port Arthur au Texas, elle vient d'un environnement petit-bourgeois conformiste voire réactionnaire. Très loin de ses aspirations, donc. Un podcast Bababam Originals Date de première diffusion : 21 juin 2022 Learn more about your ad choices. Visit megaphone.fm/adchoices

Enjoying the Ride: On TourThe Deadcast season finale hits shows at 3 legendary venues, exploring Dick Latvala's transformative experience at Red Rocks ‘79, Hollie Rose's tour journal, the wonders of the Alpine Valley parking lot, & when Shakedown Street got its name.Guests: David Lemieux, Jay Kerley, Hollie Rose, Rebecca Adams, Bill Lemke, Phil Garfinkel, Jim Jonze, Tom Ryan, Art Moss, Lisa Hitchcock, David Van Divier, Scott Bauer, Julie Dock, Mobile SteeleSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In today's episode of Backpacker Radio presented by The Trek, brought to you by Topo Athletic, we are joined by Jonathan Thomas, known on trail as Janis Joplin. Janis Joplin is a thru-hiker, FKT record holder, D1 collegiate track and field athlete, former news cameraman, Boston Marathon bombing survivor, CDT trail angel, and owner of Exotic Pax, an innovative, vest-style backpack for thru-hikers handmade in Chama, New Mexico. This episode covers a lot of ground, including the many times he's narrowly escaped death, what is was like growing up in New Orleans, being a D1 collegiate athlete, what brought him into the world of FKTs and how FKT athletes are more possessive over their records than they might lead on, what it's like to run an outfitter in a sleepy CDT town, and the inspiration and process that goes into his unique backpacks. We wrap the show with a reversal on the closure of a campground key to JMT and PCT hikers, our takes on who'd win in a fight between 100 men and one silverback gorilla, and the Triple Crown of items you geniously stash in many strategic locations. Topo Athletic: Use code “TREKSPRING15” at topoathletic.com. Gossamer Gear: Use code “BACKPACKER20” for 20% off packs at gossamergear.com.  Betterment: Learn more at betterment.com/trek. Burgeon Outdoor: Use code “BACKPACKER15” for 15% off at burgeonoutdoor.com. Bear Mattress: Use code “BACKPACKER” for 40% off at bearmattress.com. [divider] Interview with Jonathan Thomas aka JJ JJ's Instagram JJ's Youtube Exotic Pax Website Tumble On Outfitters Website Time stamps & Questions 00:05:34 - Reminders: Take our survey, listen to our episodes ad-free on Patreon, and apply to blog for the Trek! 00:09:25 - Introducing JJ 00:10:28 - What's it like growing up in New Orleans? 00:18:10 - Tell us about working for a news channel 00:21:40 - What's the most interesting scene you ever shot from? 00:24:30 - What were the highlights from the local news industry? 00:26:50 - What events did you do at LSU? 00:30:00 - Discussion about biking in Baton Rouge 00:34:20 - What personality differences were there between swimmers and runners?00:35:25 - Why did you walk on to the team at LSU? 00:37:35 - Tell us about running the Boston marathon 00:40:40 - How did you get into hiking? 00:43:20 - How did the PCT compare to running? 00:44:12 - How have you processed the trauma you've gone through? 00:48:27 - Did the calm on a long trail draw you in? 00:50:10 - Tell us about attempting to do an FKT in the middle of your PCT thru-hike 00:53:40 - What are the differences between the different distances of running? 00:59:25 - What are the differences between preparing for an FKT and for road running? 01:03:40 - How do you train for the unexpected? 01:12:15 - What's the wildest hallucination you've had? 01:17:00 - Is it difficult to maintain motivation during your FKT attempt? 01:26:20 - Discussion about JJ's Oregon FKT 01:29:30 - Wheel spin 01:36:25 - Tell us about the Oregon FKT 01:39:50 - Why did you carry a cast iron on the trail? 01:45:40 - Tell us about your interactions with foxes 01:49:45 - What other meals do you make on trail? 01:56:20 - What's the inspiration for your company? 02:03:40 - What are the main stitches used in backpacking gear? 02:09:12 - Discussion about Exotic Pax 02:12:30 - How did Tate find you to make his pack? 02:16:27 - Tell us about the process with making custom packs 02:18:00 - Which model of backpack is the most popular? 02:20:40 - Tell us about the zippered pocket 02:22:42 - Explain the vest functionality of your backpack 02:30:00 - Chaunce tries on the backpack 02:33:30 - How do you do the sizing? 02:37:20 - How did you decide to go for the PCT FKT this year? 02:39:00 - Where can people keep up with you? 02:39:48 - Peak Performance Question: What is your top performance-enhancing or backpacking hack? Segments Trek Propaganda: Yosemite Campground Closure Will Disrupt Backpackers — Including JMT and PCT Thru-Hikers by Katie Jackson QOTD:  Who wins in a fight, 1 gorilla vs. 100 men? Triple Crown of items you geniously stash in many strategic locations Mail Bag 5 Star Review [divider] Check out our sound guy @my_boy_pauly/ and his coffee. Sign up for the Trek's newsletter Leave us a voicemail! Subscribe to this podcast on iTunes (and please leave us a review)!  Find us on Spotify, Stitcher, and Google Play. Support us on Patreon to get bonus content. Advertise on Backpacker Radio Follow The Trek, Chaunce, Badger, and Trail Correspondents on Instagram. Follow Backpacker Radio, The Trek and Chaunce on YouTube. Follow Backpacker Radio on Tik Tok.  Our theme song is Walking Slow by Animal Years. A super big thank you to our Chuck Norris Award winner(s) from Patreon: Alex and Misty with NavigatorsCrafting, Alex Kindle, Andrew, Austen McDaniel, Brad & Blair Thirteen Adventures, Brent Stenberg, Bryan Alsop, Carl Houde, Christopher Marshburn, Coach from Marion Outdoors, Eric Casper, Erik Hofmann, Ethan Harwell, Gillian Daniels, Greg Knight, Greg Martin, Greg McDaniel may he bring honor to his name, Griffin Haywood, Hailey Buckingham, Lauren F, Patrick Cianciolo, Rebecca Brave, Sawyer Products, SPAM, Timothy Hahn, Tracy ‘Trigger' Fawns A big thank you to our Cinnamon Connection Champions from Patreon: Bells, Benjy Lowry, Bonnie Ackerman, Brett Vandiver, Chris Pyle, David, David Neal, Dcnerdlet, Emily Galusha, Greg Floravanti “Lumberjack”, Jack Greene, Jeanie, Jeanne Latshaw, Luke Netjes, Merle Watkins, Peter, Ruth S, and Spencer Hinson.

The Deadcast cruises down the eastern seaboard, including stops in Hartford, Hampton, Philadelphia, and Landover, featuring touring tips, another police chase, & a visit to the White House.Guests: David Lemieux, Sam Cutler, Dennis Alpert, Tyler Roy-Hart, David Leopold, John Leopold, Rebecca Adams, Brian Schiff, Gary Lambert, Chris Goodspace, Winslow Colwell, Scott Jones, Chad EylerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Listen in on this conversation about classic rock songs that just feel like summertime! From Mungo Jerry to ELO, warm up with a great list of tunes to put you in a summer state of mind. Check it out on the new bonus episode of the Behind The Song podcast.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scholar Dr. Anne Soon Choi has just written L.A. Coroner:Thomas Noguchi and Death in Hollywood, the first-ever biography of Dr. Tsunetomi "Thomas" Noguchi, the Chief Medical Examiner-Coroner of the County of Los Angeles from 1967 to 1982. Throughout his illustrious career, Dr. Noguchi conducted autopsies on some of the most high profile and controversial figures in American history, including Marilyn Monroe, Robert F. Kennedy, Sharon Tate and other victims of the Manson Family, Janis Joplin, John Belushi, and Natalie Wood. His elaborate press conferences, which often generated more controversy than they did answers, catapulted him into the public eye and made him a celebrity in his own right. He was the inspiration for the popular television drama Quincy, M.E. starring Jack Klugman, and penned the bestselling 1983 book Coroner.