Podcast appearances and mentions of Jerry Lee Lewis

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

Send us a textThis week on The Joy of Cruising Podcast, I am proud to welcome Josh Christina, Recording Artist, scene-stealing, piano-wielding frontman, and veteran headliner of several cruise lines. Listeners know I am as passionate about music and comedy as I am about cruising so when I get a chance to have a conversation with someone who has performed on cruise ships, I am in my glory. Josh Christina is a dynamic and passionate musician whose love for piano rock has taken him on an incredible journey. His musical story began at the age of 7, inspired by the iconic sounds of Elvis Presley in Disney's Lilo & Stitch. It wasn't until age 15, after seeing the Broadway show Million Dollar Quartet and discovering the electrifying Jerry Lee Lewis, that Josh began playing piano, igniting his path as a pianist and performer. Josh's talents caught the attention of Grammy-nominated producer Kent Wells, who has worked with legends like Dolly Parton and Reba McIntire. Kent describes Josh as “such an old soul,” praising the way “the music just pours out of him.” This connection led to Josh recording in Nashville, creating music that resonates with the soul of classic rock and boogie-woogie. His single “Kayla Ann” topped several independent radio charts, and Josh's album Instincts (recorded at the historic Sam Phillips Recording in Memphis, TN) was a testament to his mastery. Produced by Josh and Grammy-winning pianist Jon Carroll, Instincts received high praise, with Jon calling Josh a performer who “does it real well and means every note.” Josh's high-energy performances have taken him across the globe, including a UK tour where he graced the stage of Ireland's Late Late Show. He's headlined major cruise lines, bringing his piano rock show to fans of all ages worldwide. He's also shared the stage with some of the world's top boogie-woogie and rock ‘n' roll pianists, earning admiration from both peers and fans for keeping the genre alive. His latest album, UFO's Over Phoenix, recorded live at Stages Music and Arts in Maryland, has already captured attention for its unique sound. Daryl Davis, former bandleader and pianist for Chuck Berry, describes the album as striking “the perfect balance of a scent of the familiar while being creatively and refreshingly new.” Josh Christina's infectious energy, undeniable talent, and deep respect for rock and roll history have earned him a dedicated following. His music is a celebration of the past, present, and future of piano rock.Support the showSupport thejoyofcruisingpodcast https://www.buzzsprout.com/2113608/supporters/newSupport Me https://www.buymeacoffee.com/drpaulthContact Me https://www.thejoyofcruising.net/contact-me.htmlBook Cruises http://www.thejoyofvacation.com/US Orders (coupon code joyofcruisingpodcast)The Joy of Cruising https://bit.ly/TheJoyOfCruisingCruising Interrupted https://bit.ly/CruisingInterruptedThe Joy of Cruising Again https://bit.ly/TheJoyOfCruisingAgainIntl Orders via Amazon

The Sharon Playhouse is launching its 2025 summer season with the musical “Million Dollar Quartet,” opening Friday night and run through July 6th, including a special holiday performance on July 4th at 4pm.This show brings to life the unforgettable night in 1956 when rock and roll legends Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins gathered at Sun Records to create musical history.The season will continue with three other shows including Annie, Sylvia and The Mousetrap.

For this episode we're joined in our Hammersmith lair by the highly respected Chris Bohn, known better these days by his alias Biba Kopf (cue a nod to Berlin Alexanderplatz author Alfred Döblin...) The veteran NME contributor and sometime editor-in-chief of The Wire talks about his long career as a Europhile connoisseur of extreme and out-there music. We start by asking our guest about his mother's experience as a teenage refugee fleeing her native Silesia after the advance of the Red Army in 1945 – and her subsequent settling in the English Midlands. We learn about Chris' journalistic training on the Sutton Coldfield News and his subsequent travels around Europe, where he reconnected with relatives in West (and East) Germany. Chris reminisces about his first London job as a press officer for Polydor Records, for whom he chaperoned Siouxsie & the Banshees to tapings of Top of the Pops. He then talks us through his writing career from Melody Maker and NME to decades-long association with The Wire. Among the articles mentioned are his 1979 live review of Joy Division, his groundbreaking 1981 on-the-road piece "Trans-Europe Express", and his interviews with Nina Hagen (1979) and Einstürzende Neubauten (1983). Discussion of The Wire leads us into clips from an audio interview with Wire icon Ornette Coleman … by Wire mainstay David Toop. We conclude the episode by paying heartfelt tribute to two Californian geniuses who left us this week: Family Stone funk pioneer Sly Stone and the Beach Boys' "pocket symphonist" Brian Wilson. We shall not see – or hear – their like again. Many thanks to special guest Chris Bohn a.k.a. Biba Kopf. Visit the Wire's website at thewire.co.uk to subscribe digitally and in print.  Pieces discussed: Nina Hagen: West Is Best, Einstürzende Neubauten: Let's Hear It For The Untergang Show, Ornette Coleman (1995), Sly & The Family Stone: Sly Buries Underground And Has Fun!, Not Only Sly, But Sometimes Just Plain Damn Evasive, Sly Stone's Higher Power, Some Producers' Hints From Beach Boy Brian, Brian Wilson, Brian Wilson: Beach Boy, Pop Visionary, Wounded Soul, The Devil and Jerry Lee Lewis and  Group Home: Supa Group.

In this episode of My Rock Moment, we sit down with Jake Brennan, the creator and voice behind the wildly popular podcast Disgraceland. Known for blending true crime and music history, Jake explores the wild, dark, and often unbelievable stories behind some of rock's most iconic figures. We dive into the legends—and the controversies—surrounding John Lennon, Jim Morrison, Mama Cass, Jerry Lee Lewis, and more. We also tackle the bigger question: Can we really separate the art from the artist? Find more info on Disgraceland and Hollywoodland here: https://www.disgracelandpod.com Disgraceland Apple Podcasts: https://podcasts.apple.com/us/podcast/disgraceland/id1275172907 Hollywoodland Apple Podcasts: https://podcasts.apple.com/us/podcast/hollywoodland/id1563966720 Learn more about your ad choices. Visit megaphone.fm/adchoices

 Karen Saves The Universe: Part 3Karen Embarks on a cure campaign.Based on a post by LingeringAfterthought, in 3 parts. Listen to the Podcast at Steamy Stories.Karen sighed, "Might as well. Let's go kill the libido of an entire civilization, Holland."Holland took her arm and soon the cell where she was held disappeared and another space formed around them. Captain Hemsworth and several crew members from the ship stood nearby, as well as Ensign Holland who was still holding her arm, reassuringly. Looking around, Karen saw that they were in what appeared to be a sound-booth of sorts. One crewmember activated some equipment and moved one protruding tentacle closer to Karen's mouth and another toward Captain Hemsworth's."Are we ready, Ellis?" Captain Hemsworth asked, clearing his throat. Ellis nodded and stepped back from the tentacles. Hemsworth tapped the end of the tentacle and a booming noise reverberated around the room. He cleared his throat several more times and straightened his collar. "People of Priam! Your deliverance has come! You sent us forth among the stars to find the cure to the horrid addiction of filth that has infiltrated our minds and we have not failed you! We have dedicated our lives to this effort, foregone having families, and any comforts of home to bring you this salvation! Behold; The Karen!" he proclaimed, gesturing for Karen to speak."Um; hi?" Karen said, unsurely. Hemsworth glanced at Ellis who was reading some type of display. Ellis frowned and motioned for her to continue speaking. "Um; my name is Karen;""Hi Karen;” several crew members responded unanimously before Captain Hemsworth cut them off with a gesture."Um; I'm not quite sure what I'm supposed to say. I heard you're all having some troubles. I'm sorry. I know what that's like. I've had some troubles, too. I married the wrong person; someone who didn't really love me. I wasn't brave and I tried to avoid trouble too much. I had four kids, but they grew up seeing me treated badly, so they don't really see me as being worth much; if they don't need me to be a mom anymore, what good am I to them? I love them, but; I wish I had done more with my life. Now, I'm getting a divorce; and now that I'm in my 50's, I'm not young and beautiful anymore, so it's like I'm invisible to most people. My body hurts more than it used to; and I'm afraid most days. I don't know what's going to happen to me. Everything keeps changing and I don't know where I belong. I feel like I've failed all the time. But, they said that maybe I could help you, so; I hope I can help make things better for you. I'd like to see something good come out of all this," Karen said, wiping some tears off her cheeks. Holland stepped next to her and took her hand. She smiled and leaned her head on his shoulder."Ellis?" Hemsworth asked.Ellis looked up from the display, a disconcerted expression on his face. "I don't understand;” he murmured, leaning down and feverishly working on the equipment. "They're hearing it. I know they're hearing it;”"It's not working? She just spoke more than it took to knock out the entire bridge crew! What do you mean it's not working?" Hemsworth said, frustrated. Karen looked at Holland, who simply shrugged.Captain Hemsworth frowned with determination and motioned to Karen, "Speak again. Louder. Talk about the cobb salad! Men, brace yourselves!" he ordered."Cobb salad?" Karen repeated, surprised. "Oh, well, um; it's just yummy. It's got hard boiled eggs, tomatoes, bacon, and avocado on a bed of lettuce; chives and bleu cheese over the top is good, too. The nice thing is that all the ingredients are put into neat little rows across the lettuce, so you can choose exactly what you want in each bite! It's not just a big mess like other salads. You know, I could make you one ; do you guys have avocadoes?" she said enthusiastically, looking to Holland.Holland immediately began looking up something on his hand-held computer. "Av-o-ca-does; do they yield their young willingly, or do we need to;""What the hell is going on???" Captain Hemsworth yelled, grabbing Holland's ear and looking inside. "Holland! You're not wearing protection! Why aren't you unconscious on the floor?""Oh, um; they were kind of uncomfortable, and they made it hard to hear what she was remembering, and;""You Remembered With The Karen? What Is Wrong With You?" Hemsworth shouted, before calming himself. "Momoa, get some caffeline ready. I need to hear her again," he said, bracing himself as he pulled what looked like slugs out of his ears. "Speak again about the salad;”"Okay, uh; most like to eat it with a vinaigrette? I think that gets to be a bit too much if there's bleu cheese on top, though. Sometimes I'll get it with ranch or something creamy because then;""What the hell, Holland! What did you do to The Karen? I barely feel anything!" Hemsworth yelled, grabbing Holland by the uniform."Um; I don't know; we just talked and remembered; you know, she's really nice, if you get to;""Dammit, You've Broken The Karen, Holland! How Are We Supposed To;" Captain Hemsworth yelled until he was interrupted by a knock nearby.Lieutenant Ellis activated a control on his display and a hole formed in the wall of the room. An assembly of Priamites entered the room, as smoothly as if they were rolled in on a platform together. The crew of the Onan immediately fell prostrate on the floor before them. Karen, unwilling to lie face-down on a floor she hadn't cleaned herself, looked around uncomfortably and gave the assembly a small wave. One Priamite raised her hand to return the gesture but was quickly stopped by her neighbor."Welcome, crew of the Onan," one of the assembly said, followed by the rest of the assembly nodding agreeably. "We are most appreciative of all your; efforts. We realize that you have dedicated several of your lifetimes to freeing our civilization from the throes of pornographic addiction, and for your many sacrifices, we thank you," the speaker said, then glanced around uncomfortably at the others. "Most unexpectedly, ah; while the Eros Curse was most distressing to the initial generations, the subsequent generations acclimated to it rather quickly. Then, as fashions changed, the Eros Curse became more of a joke, really; dance mixes were made, memes;”"Excuse me?" Captain Hemsworth said, lifting his face from the floor."I mean, sure, the Eros Curse is still out there. It's just that it's just become something people live with. It doesn't take over our lives, but some indulge in it a little after the kids have gone to bed for the night. I mean, it's not really such a big deal. It adds a little spice to an otherwise boring life, you know?""Boring life?" Hemsworth repeated, rising to his feet. "Are you telling me that all of Priam just walks around, living life, thinking about; that?""Well, yes, but we are very grateful for all you and your crew have done for us. We express our thanks to all the crews of the ships we loaded up with uptight intellectuals that were determined to rid our civilization of; alternative thoughts. We have come here to present you and your crew with a commemorative plaque for all your;""Is this some kind of joke?" Hemsworth said, pacing around. "I've been trekking throughout the universe looking for a cure to your abhorrent lust-filled thoughts and now you just want to give me a plaque for a lifetime of sacrifice because you don't see a problem with your disgusting sticky existence?""Well, there's no need to kink-shame;” the assembly spokesperson muttered, "Honestly, you never wondered why they sent the most uptight assholes on the planet off on a vague 'mission' and never really asked for progress reports?""I don't believe this;” Hemsworth said, his eyes bulging, nostrils flaring. "We've sacrificed our lives for nothing???""Oh, I see where this is going;” Karen said to Holland, who seemed to be trying to assume a duck-and-cover position."How could you do this to us???" Hemsworth yelled."Use the diaphragm for projection, baby; you can do it;” Karen encouraged."I Want; To See; The Manager!" Captain Hemsworth yelled at the top of his lungs, causing a feedback loop to screech throughout the room. The last thing Karen saw before falling unconscious was the sight of every Priamite in the room projectile vomiting on each other. The stench was overwhelming.Karen's Humility.Karen lifted her face off the bathroom floor, overwhelmed by the stench. She brushed off a spare piece of toilet paper stuck to her face, as she tried to remember what had happened. Her lungs burned from what she slowly recognized as pepper spray. She gathered her purse and stumbled out of the stall and looked at herself in the mirror. Her eyes were red, and a bruise was swelling where her cheek hit the floor. She splashed some cold water on her face and wiped off the makeup that streaked in the process. This was Snookers; not Baker's Pie. She had just ripped a kid a new asshole for not having cobb salad on the menu. What was she doing with her life?Upon exiting the bathroom, she ran into Travis the Waiter, who looked like he had just splashed water on his face, too. Dread and unease filled his face upon seeing her before it was quickly masked into concern. "Oh, um; are you okay? Can I get you some ice for that?" he asked, looking at the bruise on her cheek."What? Oh, no, honey. I'm okay. I just fell," she said, before meeting his eyes and taking his hand in hers. "Travis, I'm so sorry about the way I treated you. That was awful, and I have no excuse. You didn't deserve that.""It's okay; it happens," Travis said, carefully."It shouldn't, though. I was wrong, and I'm sorry. Would you mind if I just gave you some cash to cover the meal and snuck out of here? God knows what that group of biddies will gossip about when I go out there like this," Karen said, gesturing to herself."Yeah, that should be no problem," Travis said, taking the money she offered. "Are you sure you're okay?"Karen nodded, "I'm fine. I've just got some things to do. You've got a sweet heart, honey. Keep listening to it."Karen swallowed nervously as she went up the walkway to the small suburban house. She hadn't called before coming. It was rude of her not to call ahead of time, but then again, she was pretty sure that her number had been blocked. She didn't know if her oldest son had gone "no contact" or just "low contact" with her, but she was pretty sure her daughter-in-law would threaten to call the police within five minutes of her ringing the doorbell. Nevertheless, when she got up to the door, Karen put her finger forward and rang the bell."What do you want, Karen?" Hailey's terse voice came through the doorbell."Oh; you got one of those camera doorbell things; that's nice;” she began, unsure of how to say what was in her heart without a face in front of her."What do you want?" Hailey repeated."Um; I wanted to talk with you;""The last time you wanted to 'talk' with me, you just wanted to see my kids while you criticized my inadequate housekeeping, my inept child-rearing, and my unattractive post-pregnancy body. So, forgive me if I'd prefer not to have a heart-to-heart, Karen," Hailey interrupted."You're right," Karen said, looking at the dark circle holding the doorbell's camera. "I did that. I did that. I have not been kind to you. When Cal Jr. brought you home, I was not welcoming. I should have been; because you deserved that. You deserved it because you made my son happy. You have made him happier than I've ever known him to be; and that's what I've always wanted for him. If you were just like me, if you did all the things that I obnoxiously told you to do; he wouldn't be half as happy as he is with you; just as you are. If for no other reason than my son's happiness, you have my gratitude. I'm sorry that I've wasted the chances you've given me to know you better. You're brave and confident and funny. Honestly, I think you're the person I wished I could have been at your age. I'm sorry for a lot of things but being wasteful; saying thoughtless things that hardened people's hearts; those are the things that I wish I could take back the most. So, um;” Karen said, checking her notes on her phone's notepad to make sure she got all the points she wanted, "that's pretty much it. Oh, and I put that chocolate mousse recipe you liked on this index card so you can make it, but feel free to call me if you can't read my writing; or if you, you know, ever need anything."Karen nodded at the doorbell and started back down the walkway toward her car, blinking back tears. She had wasted so much time, so many chances. She didn't know if there was a point in trying again now, but she had to. She wasn't getting any younger.As she reached the end of the walkway, she was nearly knocked over by two little bodies running into her and grabbing onto her legs. Tears fell freely down her cheeks as she bent down to pick up her grandchildren, kissing them until they tried to wiggle away. As they started simultaneously telling her everything they had been doing while she was away, Karen's eyes drifted up to the doorway where her pierced and tattooed daughter-in-law stood. "Thank you" Karen mouthed silently over her grandchildren's backs.Karen pushed open the doors of Forest Glenn Hospice Care, her bag stuffed with an array of items and went up to the front desk. "Karen Weaver. I'm here for Dana Stevens," she said.The new girl at the reception desk looked at Karen with quiet unease. "Um; Ms. Stevens has requested only visitors who have;" Karen smirked and lifted the wig off her head, revealing her clean-shaven head. "Oh! Great! Go right in," she said, relieved.The corridor of the hospice facility was peaceful and quiet; exactly the kind of thing the old Dana would hate. Entering her room, Karen looked for any signs that other visitors had been to see Dana but saw nothing. Dana was napping again, her face drawn and gaunt, but thankfully not in pain. Karen put down her bag in a nearby chair and took out a rolled-up electronic piano keyboard and unfurled it on a table next to the hospital bed. As she was on her hands and knees trying to find an outlet to use, she heard Dana clear her throat. "What the hell is that?" she asked, smirking as she nodded at the keyboard."Your afternoon's entertainment. I ordered it on Amazon; you should have seen the bitchy reviews. Reminded me of you. Mind you, I haven't played since Cal got rid of the piano when it didn't fit in the Brooklyn apartment, so you're in for a treat," Karen said, rubbing her hands together and moving her glasses on top of her head so she could see the keyboard controls."Calvin Carmichael in a Brooklyn apartment. My god. What was it that emptied the Carmichael family coffers after they stole you away from me, again?" Dana asked, her sunken eyes taking in every detail of Karen's face as she hovered over the keyboard."Bernie Madoff; cleaned 'em dry. His parents were ever so shocked when they had to sell their properties and move to Florida," Karen said. "They weren't poor; they had enough to retire, but; they were horridly middle class.""Karma's a bitch," Dana said, pushing back against her pillows to sit up more. "Kare; I'm so sorry I didn't talk with you when you came back to the apartment. I could have helped you; we both would have helped you."Karen's smile faded, remembering and wondering what might have been. Dana would have helped her, but she was certain Dana's help would be help to get an abortion; and then she would never have had the joy of knowing her grandchildren. Dean would have; well, it was impossible to know what he would have done, but he would have helped. "Well, consider this your punishment," Karen said, stretching her fingers. "Are you ready?""I'm on opiates, baby. Bring it on;” Dana said, a smile moving across her face.Karen's fingers moved across the keys, and at first, she was put off by the strangeness of the keys and the sensation of tapping on something flat instead of the feel of a piano. Then, memory took over and her hands remembered the dance. Years fell away as she was filled again with the joy of making music. She started with "Clair de lune," a gentle Debussy chosen to respect the frailty of her friend's condition.Upon playing the final chords, she looked up for her friend's reaction to see that Dana had covered her face with a pillow in an attempt to smother herself. "God, you're rusty. You used to be better than me. What have you been doing with those hands?" she complained."Raising kids; kneading dough; finding random women's' panties when I changed sheets on the bed," Karen said, ruefully."Should've jumped Dean while you had the chance;” Dana murmured.Karen bit her lips and closed her eyes. "Um; how; how is he?"Dana stared into Karen's eyes for a painfully long moment, then looked out the window, away from Karen. "Life; life wasn't kind to him. After I graduated, he moved back home to take care of Nana. He only came to the city to look after me, anyway. Living alone hardened him. I haven't seen him in years; not that I'd want to see what he's become. Sometimes you just need to let people go, Kare," she said, sighing sadly. "Anyway; I need a laugh. Show me how pathetic your Jerry Lee Lewis catalog is.""Yes, ma'am," Karen said, blinking back tears and starting into "Great Balls of Fire."The wind coming through the drivers' side window ruffled the inch-long cap of vivid red hair that had grown on Karen's head as she drove down the winding West Virginia roads that she hadn't seen in 30 years. The beauty of this place still softened and relaxed her as much as it had, oh so long ago. Despite Dana's warnings, Karen's heart demanded that she make this trip; and after all she had lost, she was determined to listen to her heart from now on, until she could no longer hear it.She frowned at her passenger and began coughing as a noxious odor swirled around, filling her SUV. She rolled her window down further in self-preservation. This was probably a bad idea; but after all these years of thinking things through and being sensible, she felt entitled to indulge in a few harebrained schemes."Country road; take me home; to the place; I belong; West Virginia; mountain mama; take me home; country road;” she sang, smiling as the wooded foothills rose up in the distance. The path became rough when she turned by the Stevens mailbox and began bouncing up through the woods toward the cozy home. Her passenger surveyed the woods around the vehicle with increasing excitement.Karen started doubting herself, though. It was ridiculous, the more she thought about it. All her emails had gone unanswered. The phone number she was given was out of service. Three decades had passed since she came here; why would he want to see a 50-something woman with an unflattering haircut and stretch marks just because he had fallen in love with the 20-something version of her? Would Dean even remember her at all? She ran through her plan again in her mind again. It sounded really stupid, now. At least it would let her make a quick exit if things didn't work out, though.She broke out in a cold sweat when the house came into view. It was just as she had remembered it, maintained well, but not changed. It was like a holy place, kept perfectly through the ages in reverence for what it represented.She pulled up to the house and parked. No one emerged, so she would have to go in. She would have to go knock on that door and see the unrecognition or even disappointment in his eyes. She needed to go tell him about his sister. Opening the door, she slid out and hopped to the ground and stretched her legs. Suddenly, a braying roar filled the air and a wall of fur launched itself from behind the house and came for her. "SIT!" Karen yelled. Her command, though impressive, appeared only to be a gentle suggestion to the monster that continued to charge her. "STAY!" Karen shouted. This recommendation also appeared to go unheeded."BUSTER, NO!" a voice from the porch yelled, and Karen couldn't help but stare at her first glimpse of Dean in decades. He looked wild. Wild hair, wild beard, a body that had to be formed by the wilderness, itself. Not a drop of civilization tainted the essence of this man; and it made her want to laugh and cry at the same time. Karen began walking toward him, completely forgetting about the fearsome beast avalanche coming to bury her. Dean jumped down from the porch and began running toward the flurry of fur and teeth that had bent its path upon Karen's destruction.A split second before Buster reached Karen, the passenger of her vehicle silently flew out, tackled him with a full-body slam and the two went rolling back from where Karen now stood next to Dean. The two tumbled, tearing up the grass and knocking over the woodpile in the commotion. Buster yelped loudly and jumped free of the massive shaggy-furred beast that was still intent upon teaching him some manners. "Judith, come!" Karen called, and with a final snarl at Buster, Judith returned to where Karen stood and sat by her side, still glaring to where Buster stood looking dumbfounded."Well, I'll be damned;” Dean murmured, looking at the still-cowed Buster in wonder."Girl dog privilege," Karen replied simply. "What is that thing, anyway?" she asked, nodding to where Buster now stood whining and trying to approach the growling Judith."Bernese Mountain Dog; Great Pyrenees; and probably a bit of German Shepherd;” Dean murmured, turning toward her. His eyes traveled over her slowly and boldly."Judith's Akita and Malamute; she was turned into the shelter because she always thinks she's right," Karen said. "That, and she farts something awful."

Welcome to the Beat Motel podcast, where this week Andrew is joined by Dr Sam for a deep-dive into one of music's most controversial themes: why so many fascinating artists are also colossal bellends.What starts as a light-hearted waffle about lubricated lips and ear balm (yeah, that happened) quickly takes a sharp swerve into the murky territory of artists who challenge our moral compasses. From Marilyn Manson's whiny victim lyrics to Jerry Lee Lewis marrying his 13-year-old cousin, no sacred cows are spared. We get philosophical, sociological, and sometimes just downright sweary. But it's all in the name of exploring the big question: can you separate the art from the arsehole?Also featuring:Suede and the joy of glam simplicityWhy Lou Reed was a magnificent pain in the neckThe brilliance and bafflement of Charles MingusCourtney Love finally getting the credit she deservesODB being… well… ODBDinosaur Jr's PR agent's polite "don't even bother" energyAnd yes, we talk about cancel culture. And yes, we know that'll annoy someone. Good.### Riffs of the week#### Dr Sam's Riff- Say Sue Me - Vacation (0.15)#### Andrew's Riff- Suede - Disintegrate (2:10)### Dr Sam's track choices1. Marilyn Manson - User Friendly (opening)2. Hole - Celebrity Skin (0.31)3. Jerry Lee Lewis - Help Me Make It Through the Night (1:00)4. Charles Mingus - Vassarlean (2.56)### Andrew's track choices1. Lou Reed - Satellite of love (1:00)2. ODB - Shimmy shimmy ya (0:44)3. Dinosaur Jr - Freak Scene (2:18)4. Inspiral Carpets - I want you - Featuring Mark E Smith (0:29)Email us - beatmotel@lawsie.com

 Karen Saves The Universe: Part 3Karen Embarks on a cure campaign.Based on a post by LingeringAfterthought, in 3 parts. Listen to the Podcast at Steamy Stories.Karen sighed, "Might as well. Let's go kill the libido of an entire civilization, Holland."Holland took her arm and soon the cell where she was held disappeared and another space formed around them. Captain Hemsworth and several crew members from the ship stood nearby, as well as Ensign Holland who was still holding her arm, reassuringly. Looking around, Karen saw that they were in what appeared to be a sound-booth of sorts. One crewmember activated some equipment and moved one protruding tentacle closer to Karen's mouth and another toward Captain Hemsworth's."Are we ready, Ellis?" Captain Hemsworth asked, clearing his throat. Ellis nodded and stepped back from the tentacles. Hemsworth tapped the end of the tentacle and a booming noise reverberated around the room. He cleared his throat several more times and straightened his collar. "People of Priam! Your deliverance has come! You sent us forth among the stars to find the cure to the horrid addiction of filth that has infiltrated our minds and we have not failed you! We have dedicated our lives to this effort, foregone having families, and any comforts of home to bring you this salvation! Behold; The Karen!" he proclaimed, gesturing for Karen to speak."Um; hi?" Karen said, unsurely. Hemsworth glanced at Ellis who was reading some type of display. Ellis frowned and motioned for her to continue speaking. "Um; my name is Karen;""Hi Karen;” several crew members responded unanimously before Captain Hemsworth cut them off with a gesture."Um; I'm not quite sure what I'm supposed to say. I heard you're all having some troubles. I'm sorry. I know what that's like. I've had some troubles, too. I married the wrong person; someone who didn't really love me. I wasn't brave and I tried to avoid trouble too much. I had four kids, but they grew up seeing me treated badly, so they don't really see me as being worth much; if they don't need me to be a mom anymore, what good am I to them? I love them, but; I wish I had done more with my life. Now, I'm getting a divorce; and now that I'm in my 50's, I'm not young and beautiful anymore, so it's like I'm invisible to most people. My body hurts more than it used to; and I'm afraid most days. I don't know what's going to happen to me. Everything keeps changing and I don't know where I belong. I feel like I've failed all the time. But, they said that maybe I could help you, so; I hope I can help make things better for you. I'd like to see something good come out of all this," Karen said, wiping some tears off her cheeks. Holland stepped next to her and took her hand. She smiled and leaned her head on his shoulder."Ellis?" Hemsworth asked.Ellis looked up from the display, a disconcerted expression on his face. "I don't understand;” he murmured, leaning down and feverishly working on the equipment. "They're hearing it. I know they're hearing it;”"It's not working? She just spoke more than it took to knock out the entire bridge crew! What do you mean it's not working?" Hemsworth said, frustrated. Karen looked at Holland, who simply shrugged.Captain Hemsworth frowned with determination and motioned to Karen, "Speak again. Louder. Talk about the cobb salad! Men, brace yourselves!" he ordered."Cobb salad?" Karen repeated, surprised. "Oh, well, um; it's just yummy. It's got hard boiled eggs, tomatoes, bacon, and avocado on a bed of lettuce; chives and bleu cheese over the top is good, too. The nice thing is that all the ingredients are put into neat little rows across the lettuce, so you can choose exactly what you want in each bite! It's not just a big mess like other salads. You know, I could make you one ; do you guys have avocadoes?" she said enthusiastically, looking to Holland.Holland immediately began looking up something on his hand-held computer. "Av-o-ca-does; do they yield their young willingly, or do we need to;""What the hell is going on???" Captain Hemsworth yelled, grabbing Holland's ear and looking inside. "Holland! You're not wearing protection! Why aren't you unconscious on the floor?""Oh, um; they were kind of uncomfortable, and they made it hard to hear what she was remembering, and;""You Remembered With The Karen? What Is Wrong With You?" Hemsworth shouted, before calming himself. "Momoa, get some caffeline ready. I need to hear her again," he said, bracing himself as he pulled what looked like slugs out of his ears. "Speak again about the salad;”"Okay, uh; most like to eat it with a vinaigrette? I think that gets to be a bit too much if there's bleu cheese on top, though. Sometimes I'll get it with ranch or something creamy because then;""What the hell, Holland! What did you do to The Karen? I barely feel anything!" Hemsworth yelled, grabbing Holland by the uniform."Um; I don't know; we just talked and remembered; you know, she's really nice, if you get to;""Dammit, You've Broken The Karen, Holland! How Are We Supposed To;" Captain Hemsworth yelled until he was interrupted by a knock nearby.Lieutenant Ellis activated a control on his display and a hole formed in the wall of the room. An assembly of Priamites entered the room, as smoothly as if they were rolled in on a platform together. The crew of the Onan immediately fell prostrate on the floor before them. Karen, unwilling to lie face-down on a floor she hadn't cleaned herself, looked around uncomfortably and gave the assembly a small wave. One Priamite raised her hand to return the gesture but was quickly stopped by her neighbor."Welcome, crew of the Onan," one of the assembly said, followed by the rest of the assembly nodding agreeably. "We are most appreciative of all your; efforts. We realize that you have dedicated several of your lifetimes to freeing our civilization from the throes of pornographic addiction, and for your many sacrifices, we thank you," the speaker said, then glanced around uncomfortably at the others. "Most unexpectedly, ah; while the Eros Curse was most distressing to the initial generations, the subsequent generations acclimated to it rather quickly. Then, as fashions changed, the Eros Curse became more of a joke, really; dance mixes were made, memes;”"Excuse me?" Captain Hemsworth said, lifting his face from the floor."I mean, sure, the Eros Curse is still out there. It's just that it's just become something people live with. It doesn't take over our lives, but some indulge in it a little after the kids have gone to bed for the night. I mean, it's not really such a big deal. It adds a little spice to an otherwise boring life, you know?""Boring life?" Hemsworth repeated, rising to his feet. "Are you telling me that all of Priam just walks around, living life, thinking about; that?""Well, yes, but we are very grateful for all you and your crew have done for us. We express our thanks to all the crews of the ships we loaded up with uptight intellectuals that were determined to rid our civilization of; alternative thoughts. We have come here to present you and your crew with a commemorative plaque for all your;""Is this some kind of joke?" Hemsworth said, pacing around. "I've been trekking throughout the universe looking for a cure to your abhorrent lust-filled thoughts and now you just want to give me a plaque for a lifetime of sacrifice because you don't see a problem with your disgusting sticky existence?""Well, there's no need to kink-shame;” the assembly spokesperson muttered, "Honestly, you never wondered why they sent the most uptight assholes on the planet off on a vague 'mission' and never really asked for progress reports?""I don't believe this;” Hemsworth said, his eyes bulging, nostrils flaring. "We've sacrificed our lives for nothing???""Oh, I see where this is going;” Karen said to Holland, who seemed to be trying to assume a duck-and-cover position."How could you do this to us???" Hemsworth yelled."Use the diaphragm for projection, baby; you can do it;” Karen encouraged."I Want; To See; The Manager!" Captain Hemsworth yelled at the top of his lungs, causing a feedback loop to screech throughout the room. The last thing Karen saw before falling unconscious was the sight of every Priamite in the room projectile vomiting on each other. The stench was overwhelming.Karen's Humility.Karen lifted her face off the bathroom floor, overwhelmed by the stench. She brushed off a spare piece of toilet paper stuck to her face, as she tried to remember what had happened. Her lungs burned from what she slowly recognized as pepper spray. She gathered her purse and stumbled out of the stall and looked at herself in the mirror. Her eyes were red, and a bruise was swelling where her cheek hit the floor. She splashed some cold water on her face and wiped off the makeup that streaked in the process. This was Snookers; not Baker's Pie. She had just ripped a kid a new asshole for not having cobb salad on the menu. What was she doing with her life?Upon exiting the bathroom, she ran into Travis the Waiter, who looked like he had just splashed water on his face, too. Dread and unease filled his face upon seeing her before it was quickly masked into concern. "Oh, um; are you okay? Can I get you some ice for that?" he asked, looking at the bruise on her cheek."What? Oh, no, honey. I'm okay. I just fell," she said, before meeting his eyes and taking his hand in hers. "Travis, I'm so sorry about the way I treated you. That was awful, and I have no excuse. You didn't deserve that.""It's okay; it happens," Travis said, carefully."It shouldn't, though. I was wrong, and I'm sorry. Would you mind if I just gave you some cash to cover the meal and snuck out of here? God knows what that group of biddies will gossip about when I go out there like this," Karen said, gesturing to herself."Yeah, that should be no problem," Travis said, taking the money she offered. "Are you sure you're okay?"Karen nodded, "I'm fine. I've just got some things to do. You've got a sweet heart, honey. Keep listening to it."Karen swallowed nervously as she went up the walkway to the small suburban house. She hadn't called before coming. It was rude of her not to call ahead of time, but then again, she was pretty sure that her number had been blocked. She didn't know if her oldest son had gone "no contact" or just "low contact" with her, but she was pretty sure her daughter-in-law would threaten to call the police within five minutes of her ringing the doorbell. Nevertheless, when she got up to the door, Karen put her finger forward and rang the bell."What do you want, Karen?" Hailey's terse voice came through the doorbell."Oh; you got one of those camera doorbell things; that's nice;” she began, unsure of how to say what was in her heart without a face in front of her."What do you want?" Hailey repeated."Um; I wanted to talk with you;""The last time you wanted to 'talk' with me, you just wanted to see my kids while you criticized my inadequate housekeeping, my inept child-rearing, and my unattractive post-pregnancy body. So, forgive me if I'd prefer not to have a heart-to-heart, Karen," Hailey interrupted."You're right," Karen said, looking at the dark circle holding the doorbell's camera. "I did that. I did that. I have not been kind to you. When Cal Jr. brought you home, I was not welcoming. I should have been; because you deserved that. You deserved it because you made my son happy. You have made him happier than I've ever known him to be; and that's what I've always wanted for him. If you were just like me, if you did all the things that I obnoxiously told you to do; he wouldn't be half as happy as he is with you; just as you are. If for no other reason than my son's happiness, you have my gratitude. I'm sorry that I've wasted the chances you've given me to know you better. You're brave and confident and funny. Honestly, I think you're the person I wished I could have been at your age. I'm sorry for a lot of things but being wasteful; saying thoughtless things that hardened people's hearts; those are the things that I wish I could take back the most. So, um;” Karen said, checking her notes on her phone's notepad to make sure she got all the points she wanted, "that's pretty much it. Oh, and I put that chocolate mousse recipe you liked on this index card so you can make it, but feel free to call me if you can't read my writing; or if you, you know, ever need anything."Karen nodded at the doorbell and started back down the walkway toward her car, blinking back tears. She had wasted so much time, so many chances. She didn't know if there was a point in trying again now, but she had to. She wasn't getting any younger.As she reached the end of the walkway, she was nearly knocked over by two little bodies running into her and grabbing onto her legs. Tears fell freely down her cheeks as she bent down to pick up her grandchildren, kissing them until they tried to wiggle away. As they started simultaneously telling her everything they had been doing while she was away, Karen's eyes drifted up to the doorway where her pierced and tattooed daughter-in-law stood. "Thank you" Karen mouthed silently over her grandchildren's backs.Karen pushed open the doors of Forest Glenn Hospice Care, her bag stuffed with an array of items and went up to the front desk. "Karen Weaver. I'm here for Dana Stevens," she said.The new girl at the reception desk looked at Karen with quiet unease. "Um; Ms. Stevens has requested only visitors who have;" Karen smirked and lifted the wig off her head, revealing her clean-shaven head. "Oh! Great! Go right in," she said, relieved.The corridor of the hospice facility was peaceful and quiet; exactly the kind of thing the old Dana would hate. Entering her room, Karen looked for any signs that other visitors had been to see Dana but saw nothing. Dana was napping again, her face drawn and gaunt, but thankfully not in pain. Karen put down her bag in a nearby chair and took out a rolled-up electronic piano keyboard and unfurled it on a table next to the hospital bed. As she was on her hands and knees trying to find an outlet to use, she heard Dana clear her throat. "What the hell is that?" she asked, smirking as she nodded at the keyboard."Your afternoon's entertainment. I ordered it on Amazon; you should have seen the bitchy reviews. Reminded me of you. Mind you, I haven't played since Cal got rid of the piano when it didn't fit in the Brooklyn apartment, so you're in for a treat," Karen said, rubbing her hands together and moving her glasses on top of her head so she could see the keyboard controls."Calvin Carmichael in a Brooklyn apartment. My god. What was it that emptied the Carmichael family coffers after they stole you away from me, again?" Dana asked, her sunken eyes taking in every detail of Karen's face as she hovered over the keyboard."Bernie Madoff; cleaned 'em dry. His parents were ever so shocked when they had to sell their properties and move to Florida," Karen said. "They weren't poor; they had enough to retire, but; they were horridly middle class.""Karma's a bitch," Dana said, pushing back against her pillows to sit up more. "Kare; I'm so sorry I didn't talk with you when you came back to the apartment. I could have helped you; we both would have helped you."Karen's smile faded, remembering and wondering what might have been. Dana would have helped her, but she was certain Dana's help would be help to get an abortion; and then she would never have had the joy of knowing her grandchildren. Dean would have; well, it was impossible to know what he would have done, but he would have helped. "Well, consider this your punishment," Karen said, stretching her fingers. "Are you ready?""I'm on opiates, baby. Bring it on;” Dana said, a smile moving across her face.Karen's fingers moved across the keys, and at first, she was put off by the strangeness of the keys and the sensation of tapping on something flat instead of the feel of a piano. Then, memory took over and her hands remembered the dance. Years fell away as she was filled again with the joy of making music. She started with "Clair de lune," a gentle Debussy chosen to respect the frailty of her friend's condition.Upon playing the final chords, she looked up for her friend's reaction to see that Dana had covered her face with a pillow in an attempt to smother herself. "God, you're rusty. You used to be better than me. What have you been doing with those hands?" she complained."Raising kids; kneading dough; finding random women's' panties when I changed sheets on the bed," Karen said, ruefully."Should've jumped Dean while you had the chance;” Dana murmured.Karen bit her lips and closed her eyes. "Um; how; how is he?"Dana stared into Karen's eyes for a painfully long moment, then looked out the window, away from Karen. "Life; life wasn't kind to him. After I graduated, he moved back home to take care of Nana. He only came to the city to look after me, anyway. Living alone hardened him. I haven't seen him in years; not that I'd want to see what he's become. Sometimes you just need to let people go, Kare," she said, sighing sadly. "Anyway; I need a laugh. Show me how pathetic your Jerry Lee Lewis catalog is.""Yes, ma'am," Karen said, blinking back tears and starting into "Great Balls of Fire."The wind coming through the drivers' side window ruffled the inch-long cap of vivid red hair that had grown on Karen's head as she drove down the winding West Virginia roads that she hadn't seen in 30 years. The beauty of this place still softened and relaxed her as much as it had, oh so long ago. Despite Dana's warnings, Karen's heart demanded that she make this trip; and after all she had lost, she was determined to listen to her heart from now on, until she could no longer hear it.She frowned at her passenger and began coughing as a noxious odor swirled around, filling her SUV. She rolled her window down further in self-preservation. This was probably a bad idea; but after all these years of thinking things through and being sensible, she felt entitled to indulge in a few harebrained schemes."Country road; take me home; to the place; I belong; West Virginia; mountain mama; take me home; country road;” she sang, smiling as the wooded foothills rose up in the distance. The path became rough when she turned by the Stevens mailbox and began bouncing up through the woods toward the cozy home. Her passenger surveyed the woods around the vehicle with increasing excitement.Karen started doubting herself, though. It was ridiculous, the more she thought about it. All her emails had gone unanswered. The phone number she was given was out of service. Three decades had passed since she came here; why would he want to see a 50-something woman with an unflattering haircut and stretch marks just because he had fallen in love with the 20-something version of her? Would Dean even remember her at all? She ran through her plan again in her mind again. It sounded really stupid, now. At least it would let her make a quick exit if things didn't work out, though.She broke out in a cold sweat when the house came into view. It was just as she had remembered it, maintained well, but not changed. It was like a holy place, kept perfectly through the ages in reverence for what it represented.She pulled up to the house and parked. No one emerged, so she would have to go in. She would have to go knock on that door and see the unrecognition or even disappointment in his eyes. She needed to go tell him about his sister. Opening the door, she slid out and hopped to the ground and stretched her legs. Suddenly, a braying roar filled the air and a wall of fur launched itself from behind the house and came for her. "SIT!" Karen yelled. Her command, though impressive, appeared only to be a gentle suggestion to the monster that continued to charge her. "STAY!" Karen shouted. This recommendation also appeared to go unheeded."BUSTER, NO!" a voice from the porch yelled, and Karen couldn't help but stare at her first glimpse of Dean in decades. He looked wild. Wild hair, wild beard, a body that had to be formed by the wilderness, itself. Not a drop of civilization tainted the essence of this man; and it made her want to laugh and cry at the same time. Karen began walking toward him, completely forgetting about the fearsome beast avalanche coming to bury her. Dean jumped down from the porch and began running toward the flurry of fur and teeth that had bent its path upon Karen's destruction.A split second before Buster reached Karen, the passenger of her vehicle silently flew out, tackled him with a full-body slam and the two went rolling back from where Karen now stood next to Dean. The two tumbled, tearing up the grass and knocking over the woodpile in the commotion. Buster yelped loudly and jumped free of the massive shaggy-furred beast that was still intent upon teaching him some manners. "Judith, come!" Karen called, and with a final snarl at Buster, Judith returned to where Karen stood and sat by her side, still glaring to where Buster stood looking dumbfounded."Well, I'll be damned;” Dean murmured, looking at the still-cowed Buster in wonder."Girl dog privilege," Karen replied simply. "What is that thing, anyway?" she asked, nodding to where Buster now stood whining and trying to approach the growling Judith."Bernese Mountain Dog; Great Pyrenees; and probably a bit of German Shepherd;” Dean murmured, turning toward her. His eyes traveled over her slowly and boldly."Judith's Akita and Malamute; she was turned into the shelter because she always thinks she's right," Karen said. "That, and she farts something awful."

This week, we're headed off from Sacramento with the electrifying Billy Rude, who's currently tearing up the stage as Jerry Lee Lewis in Million Dollar Quartet at Broadway At Music Circus!

Send us a textGo back a few years my friends. Back to when you were a kid. This episode will probably take you there when you hear GENE AUTRY, ROY ROGERS & DALE EVANS and then TEX RITTER. Believe it or not, even the great movie star JACK PALANCE did a country album ,as did KEN CURTIS, or as you might recognize him as FESTUS. Hey, LORNE GREEN and DONNY PARENTEAU as well as JERRY LEE LEWIS are all here. All of them HEROES in my book. Hope you enjoy and share.

Send us a textSteve and Wyndham delve into the legacy of iconic rock pianists, debating which legends deserve a place on the Mount Rushmore of keyboard players who shaped rock history.• Tribute to recently departed Rick Derringer, known for "Hang On Sloopy," "Rock and Roll Hoochie Coo," Hulk Hogan's entrance music, and his work with Weird Al Yankovic• Discussion of a recent classic rock countdown that surprisingly placed Metallica's "Enter Sandman" at #1 over traditional classics• Billy Joel and Elton John considered piano rock royalty with both hosts ultimately choosing Billy Joel for Mount Rushmore status• Little Richard unanimously selected as a foundational figure who "started it all" for rock piano• Heated debate between Ray Charles and Stevie Wonder for the final spot on the piano Mount Rushmore• Brief consideration of other influential pianists including Chuck Lavelle, Jerry Lee Lewis, and Freddie Mercury• Announcement of next week's episode focusing on iconic opening bass riffs titled "All the Way to the Base"Join us next week for "All the Way to the Base" - an exploration of the most iconic opening bass riffs in rock history!One idea. Six songs. Infinite possibilities...

Send us a message, so we know what you're thinking!Just because you're successful doesn't mean everyone likes you.  In fact, success can often draw criticisms that might not be given to other performers.  In Australia, we call that the “Tall Poppy Syndrome”, where people look for reasons to bring successful people down! We look at some criticisms (not by us - mainly!), of highly successful artists and try to find a reason for them.    This month seems to have a host of rock star deaths!  In Knockin' on Heaven's Door, we mourn the passing of David Lynn Thomas of post-punk group Pere Ubu; Drew Zingg, an American blues and soul guitarist, best known for work with Steely Dan and Boz Scaggs; Joey Molland from Badfinger, and Richard Chamberlain, of Dr Kildare, Shōgun & The Thorn Birds.   Our “Album You Must Hear before You Die” is Bob Marley and the Wailers' “Catch a Fire”, a landmark album that established reggae as a musical force, influencing such artists as The Clash, The Police, UB40 and Eric Clapton.  Enjoy!! References:  “Tall Poppy Syndrome”, Morrissey, “We Hate it When our Friends Become Successful”, Elvis Presley, Jerry Lee Lewis, YouTube, “Classic Album Review”, Baz, Barry Robinson, “The 10 Worst Bands in the World”, The Doors, Jim Morrison, Patti Smith, Rob Younger, Robbie Krieger, Ray Manzarek, Doors' Miami concert – January 1969, The Eagles, Pink Floyd, “Hell Freezes Over”, Don Henley, Glenn Frey, Joe Walsh, Guns'n'Roses, Axl Rose, Slash, Motley Crue, Shakespeare - “thankless child”, U2, Achtung Baby, “With or Without You”, Adam Clayton's private parts, “Days of Innocence”, REM, Coldplay, “music for estate agents”, Oasis, Gallagher brothers, Sex Pistols, Black Sabbath, Rolling Stones, “The Rest is History”, Frank Zappa, “Billy the Mountain”, “Don't You Eat the Yellow Snow”, PMRC – Parents Moral Research Centre, Tipper Gore, Iggy Pop & The Stooges, Alice Cooper, Kiss, Foo Fighters, Dave Grohl  Our email: MickandthePhatman@Gmail.com  Playlist – The music we talked about in this episode  Homer singing Kiss  Led Zeppelin's light fingers  Classic Album Reviews:  The Ten Worst Bands Ever

3pm: Guest - William Kirk - Washington Gun Law // Bill Kirk reacts to Bob Ferguson’s freshly signed gun legislation // Today in History // 1958 - Jerry Lee Lewis drops a bombshell in London // OceanGate sub implosion documentary goes deep on 'borderline psychopath' CEO: 'He wanted fame' // TITAN: The OceanGate Disaster | Official Trailer

6pm: Guest - William Kirk - Washington Gun Law // Bill Kirk reacts to Bob Ferguson’s freshly signed gun legislation // Today in History // 1958 - Jerry Lee Lewis drops a bombshell in London // OceanGate sub implosion documentary goes deep on 'borderline psychopath' CEO: 'He wanted fame' // TITAN: The OceanGate Disaster | Official Trailer

Jimmy Rip has been everywhere, mainly due to a life of touring, recording, producing, and gigging with some of the top names in rock and blues we've ever seen! He has notably recorded, produced, and played with the likes of Jerry Lee Lewis, Mick Jagger, Debbie Harry, Paul Collins and the Beat, Michael Monroe, Henry Lee Summer, Tom Verlaine, and more. Never one to slow down, Jimmy is hitting the road in his first truck camper, a Cirrus 820 by nuCamp RV! We have his story!

American singer and songwriter Jacob Tolliver was raised on classic rock and roll blasting from his grandmother's radio. After a spontaneous rendition of “Whole Lotta Shakin' Goin' On” on a dusty hardware store upright piano went viral, a star was born. At 19, Tolliver was hired as the understudy—and soon the principal—to play Jerry Lee Lewis in the Las Vegas production of the Tony-winning musical Million Dollar Quartet, giving him three years of eight-shows-a-week schooling in rock and roll showmanship. In this episode, Tolliver shares his inspirational story and how his friendship with Jerry Lee Lewis and other rock ‘n' roll notables has shaped his life and career.

Once A DJ is brought to you by:https://www.sureshotshop.com/ - Record adapters (including customs) & accessorieshttps://myslipmats.com/ - Custom and off the shelf Slipmats, dividers and more.Once A DJ is a https://remote-ctrl.co.uk productionOther ways to support the showFollow the show on Spotify or Apple PodcastsAny feedback or questions? Hit up the Once A DJ Instagram PageSubscribe to the Once A DJ PatreonBuy your Once A DJ Sureshot 45 adapter clampsGreg on Instagram - https://www.instagram.com/dj_greg_wilson/ Greg on Facebook - https://www.facebook.com/DJGregWilson Record Mirror Disco Chart Podcast - https://shows.acast.com/record-mirror-disco-charts This week, we had the absolute pleasure of diving into the fascinating journey of the legendary Greg Wilson! He took us way back to his childhood in Merseyside, where the magic of the 60s and the ever-present soundtrack of The Beatles became deeply ingrained. It wasn't a distraction from anything, but more of an exploration of that incredible era's creativity and optimistic spirit. Imagine growing up a stone's throw from the Tower Ballroom where The Beatles and The Rolling Stones were tearing it up!Greg shared how his deep dives into artists like Bowie and Dylan fueled his passion for understanding the evolution of music. This meticulous approach would later come into play in unexpected ways.Then, we took a turn into the vibrant world of early UK street dance with Broken Glass. Greg recounted how a chance encounter with Kermit (later of the Rap Assassins and Black Grape) led to managing this groundbreaking breakdancing crew. Their "street tour" of the Northwest sounds legendary, breaking down barriers and even sparking connections across racial lines in a time when such interactions were less common in some areas. He fondly remembers seeing young white and black kids connecting over the music and dance – a real moment of positive social impact.The conversation then shifted to the emergence of the Ruthless Rap Assassins. Greg vividly described the raw energy and unique attitude of their early tapes, particularly the track "We Don't Care." Their originality and unexpected humor immediately grabbed him, leading to him taking on management and production duties. He walked us through their journey, from getting studio time to eventually signing with EMI – a "mad" move for such an uncompromising act.The story of their time with EMI is a rollercoaster, from creative freedom with their first album ("Sample City" with its insane sample layering – think Hendrix, Jerry Lee Lewis, Ringo Starr, Happy Mondays, and even Sergeant Pepper!) to the clash with the main marketing department who, fresh off the success of MC Hammer and Vanilla Ice, didn't...

32.026 It's another huge blast of true-blue, all-American rockin' billy music delivered with style, grace and loud volume by the Aztec Werewolf, DJ Del Villarreal! You know it's real when it's 50's rock n' roll! Set your ears to 'stun' with an alarming assortment of killer vintage rock n' roll: we've got Vince Maloy, Dale Hawkins, Buddy Holly, Jack Scott, Billy Harlan, Warren Smith, Johnny Burnette and even Jerry Lee Lewis on board tonight's set list. We've got the future of the modern day rockin' scene well represented as well with entertaining tracks from current stars Jane Rose & The Deadends, J.S. & The Lockerbillies, Marcel Riesco, The Bad Fortunes, Union Avenue, Jesse Ray & The Carolina Catfish, Brandon Wayne & His Lonesome Drifters, Seatbbelt, The Spunyboys, Jimmy Dale Richardson, Sebastien Bordeaux and even hot newcomer Dani West! Only the finest ingredients go into each highly caloric roots rockabilly episode! Make a request for future shows with a fast email: del@motorbilly.com and we'll see YOU on the radio! "Go Kat, GO! The Rock-A-Billy Show!"  - good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

 | Artist  | Title  | Album Name  | Album Copyright  | Andrew Duncanson  | Feelin'Better Now  | California Trap  |   | Mitch Ryder  | One Monkey  | With Love  |   | Delbert McClinton  | The Sun Is Shining  | Outdated Emotion  |   | Dr. Wu' and Friends  | When I Get To Heaven -'Texas Blues' Project  | The Texas Blues Project  | Southern Avenue  | Rum Boogie  | Family  |   |   | ZZ Top  | Gimme All Your Lovin' (2019 Remaster)  | Goin' 50  |   |   | Steve Morrison and Blues Abuse  | A-Train  | Blues Abuse Live  |   | Andy Roberts Group  | High On Love  | ONE  |   |   | Claire Hamlin  | Marching Boogie  | Elbows Going Crazy  |   | Jools Holland & his Rhythm & Blues Orchestra  | Havana Evening  | Sunset Over London  |   | Jake Leg Jugband  | God Don't Like It  | Prohibition Is A Failure  | Jerry Lee Lewis  | Break Up  | A Whole Lotta... Jerry Lee Lewis (CD1)  | Dion  | Tank Full Of Blues  | Tank Full Of Blues  |   | The Swaps  | Sweetheart  | Swaps Live  |   | Alexis P. Suter  | Breathe  | Just Stay High  | 

Cor Sanne is de man die countrymuziek de credits en het podium al gaf toen de makers van Countrykoorts nog met hun oude heer over de sloot sprongen. Hij haalde ze allemaal naar Nederland: Johnny Cash, Buck Owens, Bill Monroe, Emmylou Harris, Jerry Lee Lewis en vele anderen. Een podcast over ontbijten met Cash, zingen met Harris en gedoe met Buck Owens. Maar ook zijn onvoorwaardelijke liefde voor The Everly Brothers. Hij vernoemde zijn zoon zelfs naar één van de broers. Uiteraard blikt Sanne ook terug op zijn eigen muzikale carrière. Met Dick van Altena, Savannah en de Bluegrass Boogiemen. Hoe al deze verhalen in ruim een uur zijn gevangen? Dat is voor de makers ook een raadsel. Luister en geniet van een bescheiden boerenlul uit Nieuwkoop, die het allemaal toch maar mooi heeft meegemaakt.

Laughers, get ready to step into the Broadway magic happening in Winchester with Elizabeth Albert, Managing Director of Shenandoah Summer Music Theatre! Since 1984, this SSMT has wowed over 20,000 audience members each summer while nurturing the next generation of theater talent. Elizabeth shares the origin story of SSMT and how it grew from a student training program into a nationally recognized summer stock company that now draws top talent from across the country!  Discover how they pull off full-scale productions in just weeks and keep audiences coming back year after year. Learn about this season's lineup with Singin' in the Rain (yes, it actually rains on stage!), the heartfelt Little Women, and the rock ‘n' roll energy of Million Dollar Quartet featuring hits by Elvis, Jerry Lee Lewis, Carl Perkins, and Johnny Cash. Find out about Elizabeth's personal connection to SSMT as a childhood performer to theater leader, plus hear stories of longtime patrons, pandemic pivots, and a deep commitment to artist wellness. Whether you're a local or visiting the Valley, don't miss the magic happening on stage in Winchester! Cheers! Shenandoah Summer Music Theatre For Info & Buy Tickets: ssmtva.org Instagram: @ssmtva Facebook: Shenandoah Summer Music Theatre  Address: 620 Millwood Ave Winchester, VA, United States, Virginia 22601 Phone: Local: (540) 665-4569 Toll Free: (877) 580-8025 — This podcast is brought to you by: FWAF [f-wahf] = The Funny Womacks & Friends We offer comedy shows, classes & this podcast! thefunnywomacks.com Facebook & Instagram: @thefunnywomacks YouTube: The Funny Womacks Get some free stuff & discounts to support this podcast!  Love Podcasts? Love Audiobooks? Get a Free One on Us!

32.029 The stars at night, are big and ROCKIN' deep in the heart of TEXAS! Enjoy our incredible 22nd Annual Lonestar Roundup episode of "Go Kat, GO!" featuring rockin' music from ALL of the band performing at the Lonestar Roundup. PLUS we get an up-close-and-personal interview with festival organizer Steve Wertheimer of the Continental Club. Hear fresh new rockin' music from Union Avenue, Bloodshot Bill, Tami Neilson & JD McPherson and The Hot Rod Gang plus plenty of powerful picks from the Motorbilly vaults including Johnny Burnette, Joe Poovey, Vince Taylor & The Playboys, Alvis Wayne, Jape Richardson, Roy Orbison & Jerry Lee Lewis. Enjoy a huge 3+ hour blast of retro-styled roots of rock n' roll with the Aztec Werewolf™, DJ Del Villarreal and his Wednesday night platter party, "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Mike takes us on a nice little road trip before talking to long time listener Bernadette about the Brewery Bar II and it's chili then an open review of Casa Bonita before Mike makes his first official visit!! And to finish it off...Jerry Lee Lewis!!! Keep in touch!!! www.mikeboyle.com See omnystudio.com/listener for privacy information.

In this special deep-dive episode, we explore the extraordinary story of Gilbert O'Sullivan, the iconic Irish singer-songwriter who defined an era of melodic, thoughtful 1970s pop. From humble beginnings in Waterford, Ireland, and later Swindon, England, young Raymond O'Sullivan dreamed of creating music that was both emotionally honest and musically timeless. What he achieved went beyond even his wildest dreams.We trace Gilbert's transformation from a quiet, artistic boy into the global pop sensation known for timeless hits like “Alone Again (Naturally),” “Clair,” “Get Down,” and “Nothing Rhymed.” Along the way, he invented a persona all his own—complete with a schoolboy haircut, flat cap, and short pants—that helped him stand out in an industry dominated by glam rock, heavy metal, and psychedelic bands. His look was quirky, but his sound was grounded in elegant piano pop and biting lyricism.He wasn't chasing fads—he was creating his own lane.We'll look at how Gilbert's early influences—from Buddy Holly, Jerry Lee Lewis, and Fats Domino to the British Invasion bands like The Beatles and The Kinks—shaped his unique sound. You'll hear the story behind his breakout moment, how he almost gave up before finding success, and why “Alone Again (Naturally)” became one of the most impactful and controversial pop ballads of the '70s.We also dig into the often-overlooked second chapter of his career: the legal battles, the fight for artistic control, and his ongoing legacy as a fiercely independent songwriter who continues to tour and release new music decades after his biggest hits.Whether you're a lifelong fan, a 70s music aficionado, or just discovering Gilbert O'Sullivan for the first time, this episode is a heartfelt and eye-opening journey through one of pop music's most compelling careers.

"Raised on Vancouver Island, Canada, Zachary is an internationally recognized award-winning actor, musician and writer. Best known for his performances as Buddy Holly, Zach was coined a “dead ringer for dead singers” by the Victoria Times Colonist for his portrayal of the legendary rock 'n' roller as well as Hank Williams, Elvis Presley, Carl Perkins, Jerry Lee Lewis and Phil Ochs. In 2018, Zachary won the prestigious "Jeff" Award in Chicago for Outstanding Performance by an Actor in a Leading Role (Musical) for the Buddy Holly Story, a role he's honed in more than a dozen productions of across Canada and the United States. Other acting highlights include Million Dollar Quartet, Hair, Fire, Urinetown, Assassins, Sweeney Todd, Company and Ring of Fire. Zachary is also an accomplished songwriter and active frontman for several bands including his original trio: the Oh Boys, a Tribute to Buddy Holly, and The Fortunate Sons. He's been featured as an original artist at countless festivals including the Ottawa Folk Fest, Blue Skies Festival, Summerfolk, Winterfolk (Toronto), Folk Alliance (Memphis, Ottawa and Kansas City), and the Ottawa Blues Festival" (zacharystevenson.com). If you enjoy the podcast, please let others know, subscribe, or write a review! IF YOU'D LIKE TO SUPPORT THE PODCAST IN A MONETARY WAY, I'M NOW ON PATREON! Please note: new Patreon members get to pick a cover song for me to record especially for them! www.patreon.com/andysydow Guest Links: https://zacharystevenson.com Episode Music: Original music by Andy Sydow Contact me: middleclassrockstar@gmail.com (or) andysydowmusic@gmail.com

TV's Nellie Oleson joins Rick and Dave and talks about her one-woman show (and book) Confessions of a Prairie Bitch. She has incredible stories about Liberace, Pia Zadora, Carol Channing, Jerry Lee Lewis, and of course, Michael Landon. [Ep174]

Cuti Vericad recuerda músicos y canciones estadounidenses inspirados en el país vecino, México. Suenan The Coasters, Sinatra, Elvis Presley, Patsy Cline, Merle Haggard, Jerry Lee Lewis o James Taylor, entre otros.

This week Ken welcomes author, music fan, semi-pro plus one and cousin of the famous, David Klein (www.davidkleinauthor.org) to the show. Ken and David discuss his new book "The Plus-One: Getting by on Good Connections in the Analog Age", being Winona Ryder's cousin, growing up in suburban NJ, moving to North Carolina, mix tapes, personal memories tied to pop culture, David's brother's work with MTV, getting kicked out of a youth program resulting in riding in an airplane with Tom Petty and the Heartbreakers, going to the Night on Earth premiere, meeting Bono, having an ex-roomate who dated Marisa Tomei, MTV Europe, record shopping in London, cool older brother effect, Willie Alexander, a song for every number, the two 50s chord progressions, the highlight of a funeral, those people who not only light up a room but light up everyone in the room, trying to get your kids to like cool stuff, The Ramones, being ahead of your time, finding your thing, The Replacements, My Boyfriend's Back, finding your voice, becoming the author you always should have been, being fueled by rejection, how being bored by your work is the most offensive thing, suburban kids getting in trouble on a Friday night, Led Zepplin, Tenafly NJ, Tenafly Viper in Street Trash, the Pixies, how love is a jigsaw puzzle, Mermaids, Phillip Seymour Hoffman, how you only need to see the movie Hapiness once, reading underground Comix, Timothy Leary, the beauty of Monty Python's Flying Circus, Ken's advocacy for Adrian Borland's The Sound, still discovering new music as you get older, having your uncle ask Jerry Lee Lewis how he drove here tonight, Glen Miller, and how the Adventures of Pete and Pete is the greatest television show of all time. 

Episode 325, Six Years of Rock and Roll, features 20 famous recordings from 1954 through 1959, with performances by The Everly Brothers, Elvis Presley, Chuck Berry, Ricky Nelson, Johnnie and the Hurricanes, Jerry Lee Lewis,... Read More The post Episode 325, Six Years of Rock and Roll appeared first on Sam Waldron.

This week: Trump's tariffs – madness or mastermind? ‘Shock tactics' is the headline of our cover article this week, as deputy editor Freddy Gray reflects on a week that has seen the US President upend the global economic order, with back and forth announcements on reciprocal and retaliatory tariffs. At the time of writing, a baseline 10% on imports stands – with higher tariffs remaining for China, Mexico and Canada. The initial announcement last week had led to the biggest global market decline since the start of the pandemic, and left countries scrambling to react, whether through negotiation or retaliation. China announced a second wave of retaliatory tariffs – to 84% – and Trump, while softening his stance towards other countries, appeared to lean in to a trade war with China by announcing a further hike to 125%. As Freddy writes, for Trump and his supporters ‘China is America's chief enemy.' ‘President Trump just took a massive punch at Xi, right in the chops,' said Steve Bannon. ‘The overlords of easy money, the sociopathic overlords that run Wall Street, the globalist corporatists and the apartheid state of Silicon Valley – all of them combined are the partners of the Chinese Communist party.' But, as Freddy asks in the magazine, is there method in the madness? Freddy joined the podcast to discuss alongside the financial journalist and Spectator contributor Michael Lynn. (1:35) Next: should cousin marriages be banned? Cousin marriage has been back in the news since the Conservative MP Richard Holden proposed banning the practice. Much of the debate has focused on the British Pakistani community where marriage between cousins is less taboo than other communities within the UK. But, as Iram Ramzan writes in the magazine this week, marriage between cousins has been legal in the UK stretching back to Henry VIII. The dictator Saddam Hussein, the musician Jerry Lee Lewis and even the father of evolution Charles Darwin are surprising examples of people who married their first cousins. Iram writes that it was to her horror that her family suggested she marry her second cousin. To what extent is the law the right recourse to deter cousin marriage? And what are the cultural, ethical, as well as genetic, considerations? Iram joined the podcast alongside Dominic Wilkinson, professor of medical ethics at the University of Oxford. (18:09) And finally: restaurant thefts are rising – why? The Spectator's food columnist Olivia Potts explores how restaurants are facing a rising problem of theft. Gordon Ramsay's latest restaurant suffered a £2,000 loss in one week for example. from theft. And, as many as 17 million Britons say they have stolen from a pub or restaurant. Why do they do it? And why is restaurant theft a particular problem now? Liv joined us to discuss further, alongside an anonymous contributor who agreed to share their own experience of stealing from restaurants. (29:57) Presented by William Moore and Lara Prendergast. Produced by Patrick Gibbons and Oscar Edmondson.

This week: Trump's tariffs – madness or mastermind? ‘Shock tactics' is the headline of our cover article this week, as deputy editor Freddy Gray reflects on a week that has seen the US President upend the global economic order, with back and forth announcements on reciprocal and retaliatory tariffs. At the time of writing, a baseline 10% on imports stands – with higher tariffs remaining for China, Mexico and Canada. The initial announcement last week had led to the biggest global market decline since the start of the pandemic, and left countries scrambling to react, whether through negotiation or retaliation. China announced a second wave of retaliatory tariffs – to 84% – and Trump, while softening his stance towards other countries, appeared to lean in to a trade war with China by announcing a further hike to 125%. As Freddy writes, for Trump and his supporters ‘China is America's chief enemy.' ‘President Trump just took a massive punch at Xi, right in the chops,' said Steve Bannon. ‘The overlords of easy money, the sociopathic overlords that run Wall Street, the globalist corporatists and the apartheid state of Silicon Valley – all of them combined are the partners of the Chinese Communist party.' But, as Freddy asks in the magazine, is there method in the madness? Freddy joined the podcast to discuss alongside the financial journalist and Spectator contributor Michael Lynn. (1:35) Next: should cousin marriages be banned? Cousin marriage has been back in the news since the Conservative MP Richard Holden proposed banning the practice. Much of the debate has focused on the British Pakistani community where marriage between cousins is less taboo than other communities within the UK. But, as Iram Ramzan writes in the magazine this week, marriage between cousins has been legal in the UK stretching back to Henry VIII. The dictator Saddam Hussein, the musician Jerry Lee Lewis and even the father of evolution Charles Darwin are surprising examples of people who married their first cousins. Iram writes that it was to her horror that her family suggested she marry her second cousin. To what extent is the law the right recourse to deter cousin marriage? And what are the cultural, ethical, as well as genetic, considerations? Iram joined the podcast alongside Dominic Wilkinson, professor of medical ethics at the University of Oxford. (18:09) And finally: restaurant thefts are rising – why? The Spectator's food columnist Olivia Potts explores how restaurants are facing a rising problem of theft. Gordon Ramsay's latest restaurant suffered a £2,000 loss in one week for example. from theft. And, as many as 17 million Britons say they have stolen from a pub or restaurant. Why do they do it? And why is restaurant theft a particular problem now? Liv joined us to discuss further, alongside an anonymous contributor who agreed to share their own experience of stealing from restaurants. (29:57) Presented by William Moore and Lara Prendergast. Produced by Patrick Gibbons and Oscar Edmondson.

Brady Goss used to be the kid Boogie-Woogie piano player. He isn't a kid anymore but in addition to pounding out the Jerry Lee Lewis sound, he's added other genres and techniques. He's playing with Curtis Salgado and also is a part of an Allman Brothers tribute band. His journey has been an interesting one. Paul K Ward recorded and produced from his studio blue. Brady was there and I was at my desk in NW Portland.

165 - A.J. Croce In episode 165 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with guitarist, pianist and bandleader A.J. Croce. In their conversation A.J. tells us about his current tour schedule and his new album “Heart of the Eternal” and the personnel on the album. He also talks about the vintage gear he used to record the album. A.J. then tells us about his guitar and amp collection which is impressive. A.J. talks about his shows and how much of his dad's (Jim Croce) he plays vs his own and he takes requests! A.J. talks about growing up with his dad's record collection (his dad passed away when he was two). A.J. discusses moving from keyboard to guitar and his successes after doing that and he also describes losing his sight at age four and how that impacted his musical skills. A.J. talks about how Mae Axton introduced him to Cowboy Jack Clement and how his first session with Cowboy Jack used him to replace Jerry Lee Lewis. A.J. shares the gear he's searching for.. To find out more about A.J. and where he's playing you can go to his website: ajcrocemusic.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #AJCroce #JimCroce #HeartoftheEternal #MartinGuitars #CowboyJack #VintageGuitar #VintageGibson #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

In 1958, my sister took me to a Jerry Lee Lewis concert. The next day, we visited a record shop, where she bought Great Balls of Fire for $0.67—my first encounter with physical media. Over time, I collected albums, read liner notes, and embraced VHS, CDs, and tapes. Now, we stream everything, but we don't own it. Music is compressed, manipulated, and auto-tuned. I sold my vinyl but kept my CDs—and I cherish them. Frank Sinatra's Strangers in the Night was auto-tuned. What the hell? I'll stick to my originals. #PhysicalMedia #MusicLover #Vinyl #CDs #StreamingDilemma

Episode 185: Jerry Lee W/E Street Band, Leeds Music, Blue Jays, Fogelberg March 31, 2025 Going back to the first airing of episode 30 on RadioFreeNashville.org and November 2022, we'll play Jerry Lee Lewis and Springsteen's Band at the opening of the Rock n Roll Hall of Fame, which, looking at recent inductees, should be remarqueed Hall of Music (Pop). Live at Leeds was regarded by some as one of the, if not THE best recorded live albums, along with The Allmans at Fillmore East. There's some shakin' going on there too. The entire hour is filled with a lot of the great LP cuts that made the 60s & 70s music so important. I want to say thank you to all the financial supporters of Tales Vinyl Tells. Whether a small amount monthly or a very generous donation, each of you listeners are very appreciated and if you can and do give monthly, my deepest gratitude goes to you. If you're not a patron yet and want to know more about becoming a patron of this music program you can go Patron.podbean.com/talesvinyltellssupport. Thank you and rock on! And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, Apple podcasts, iHeart podcasts, Player FM podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

Send us a textWhat makes a two-person band sound like a full ensemble? We dive deep into the world of Sirsy, a remarkable musical duo where the vocalist plays drums standing while singing, and the bassist creates rhythm with foot pedals. Tiffany shares her experience seeing them live in Daytona Beach during Bike Week, while Jay reveals his personal connection to the band from their early days.Music history takes center stage as Jay recounts a fascinating story of uncovering thousands of rare recordings stored in a Pennsylvania barn, including performances by Jerry Lee Lewis, Johnny Cash, and Dolly Parton. The careful process of preserving these musical artifacts offers a glimpse into the dedication required to maintain our cultural heritage.Our lively "Question of the Day" sparks nostalgia as we explore which departed musicians we'd bring back for one more performance. From the pure voice of Karen Carpenter to the raw energy of Janis Joplin, we celebrate artists who left us too soon but whose music continues to resonate.We break down entertainment headlines, including Randy Travis's upcoming biopic, Carrie Underwood's American Idol judging debut, and the Grand Ole Opry's centennial celebration. Plus, we share coffee preferences, adventures at the TPC golf tournament, and thoughts on podcasting habits that reveal our personalities beyond the microphone.Ready for your backstage pass to the entertainment industry? Join our community at jayfranze.com where the conversation continues with insights you can't get anywhere else!LinksJay Franze: https://JayFranze.comVirtually You: https://www.virtuallyyouva.com/ Support the show

SPONSORS: FACTOR - Support the show and get 50% off your 1st Factor box, plus free shipping. Use code FACTORPODCAST at https://www.factormeals.com/FACTORPODCAST   HIMS - Support the show and start your free online Hims visit today. Head to https://www.hims.com/chubby   BONUS EPISODES: https://www.Patreon.com/chubbybehemoth   This week the boys are in Cleveland! Sam taught everyone a Jerry Lee Lewis fact, didn't like Nathan keeping his room number a secret, and didn't even biff. Nathan wonders about freeing up some space on the body, doesn't think he wants to be scattered or sprinkled, and learned all about Doc Pomus at the Rock And Roll Hall of Fame.   Nathan Lund and Sam Tallent are Chubby Behemoth   Mutiny Coffee: mutinyonmainstreet@gmail.com

This episode contains: Daylight savings hit, and we're all just trying to cope.   Real Life (or Whatever That Is)   Devon Saw Apocalyptica in Dallas—three cellists and a drummer, blasting Metallica covers. It was energetic, intense, and apparently, the drums were a standout. Nita Strauss opened, because Devon only goes to shows with legendary guitarists involved. Also, he went to a production of Cheaper by the Dozen, which was… a different vibe entirely. Steven got into Marvel Crisis Protocol, which he describes as similar to Shatterpoint. More importantly, he won his first game against his friend Greg, which obviously means he's an expert now. Devon saw Wicked and was deeply underwhelmed. (Expect fan outrage.) Ben went to a production of Million Dollar Quartet, which tells the story of a legendary jam session between Elvis, Johnny Cash, Jerry Lee Lewis, and Carl Perkins. If you don't know what that is, here's a Wikipedia link: Million Dollar Quartet.   Future or Now (Depends on Your Perspective)   Remember Me!  Steven presents a real-life prequel to Fallout. Sweden is burying its radioactive nuclear waste in sealed bedrock for 100,000 years. The challenge? How do we make sure future generations don't dig it up and think, “Oh cool, ancient glowing rocks!” Scientists have some ideas, and they range from the practical to the deeply sci-fi.   Check it out:  Science Daily | Highly radioactive nuclear waste: how to keep it from oblivion A PDF of the actual Key Information File   CALM DOWN, JEEZ  Ben brings us a podcast from NPR and the TED Radio Hour about how we handle emotions, featuring insights from neuroscientist Ethan Kross on managing emotional overwhelm. Science-backed coping mechanisms? Yes, please. An example: talking to yourself in the second person to coach yourself.   Listen here: NPR - Ethan Kross on Managing Emotions   Also, Ben's dog has got Diabetes insipidus, which, despite the name, has nothing to do with regular diabetes. More on that here: Diabetes Insipidus   Book Club:  Continuing coverage of the novella To Be Taught, If Fortunate by Becky Chambers. This week, our crew traveled to Mirabilis (also the name of the chapter we read)—a planet of ice, deep-sea creatures, and they brought with them some existential dread. Some key themes:   Survival of the fittest (but at what cost?) The emotional toll of killing an animal for survival Missing communications from Earth  The sheer terror of the unknown   Devon asked, “Are they vegan?”—a question inspired by his recent reading of Animal Liberation Now. Also, sometimes Devon's not in the mood for fiction, but Becky Chambers' writing is worth it.   Next week: the chapter “Opera” (same book, different planet).

Cuti Vericad pasa consulta y ofrece antídotos con sonido a piano. Suenan Billy Joel, Little Richard, Jerry Lee Lewis, Scott Joplin, Tom Waits o Elton John, entre otros.

Send us a textHow many of us remember SPADE COOLEY and his famous murder trial. He was a big name until then. Hey , remember rocker JERRY LEE LEWIS, when he started in to country. Lucky me, one of my sogs was on his first country album. Lots for ya here my friends. RAY PRICE, LEFTY FRIZZELL, RANDY TRAVIS and CHARLIE LOUVIN  are al here plus a TAKE CHARGE  episode. Please share.

Nos adentramos en Sun Records, el estudio en Memphis que se convirtió en una fábrica de estrellas como Johnny Cash, Roy Orbison, y Jerry Lee Lewis, y transformó las barreras sociales y culturales a través de la música.

Viajamos a Memphis, Tennessee. Estaremos junto a Elvis Presley, Jerry Lee Lewis y quienes protagonizaron el nacimiento del Rock 'n' Roll. Hoy, iniciamos un viaje que nos llevará a conocer los lugares y los artistas más importantes de las últimas décadas.

A Life in Music: The Extraordinary Journey of a Multi-Talented MusicianMy guest this time started his musical journey at age 7. From early lessons in saxophone, drums, and piano, he honed his craft in Buffalo before landing a life-changing gig with a Motown-signed band in Detroit. With chart-topping hits like Here Come Da Judge and Soul Clappin', he toured North America, later recording with members of Billy Joel's Band, Blood, Sweat & Tears, and more.His career highlights include 11 tours with Rock & Roll Hall of Famer Dion DiMucci, and performances with legends like Jerry Lee Lewis, and  Frankie Valli. With seven albums, 35 instruments mastered, and global recognition, he continues to shape the music world. Whether on stage, in the studio, or scoring films, his passion for music remains unstoppable. Please welcome King Colton, Someone, You Should Know. Click here to buy the Rik Anthony a cold one.Show Links:Click here to go to King Colton's  WebsiteClick here to go to King Colton's  FacebookClick here to go to King Colton's YouTube ChannelClick here to check out Bad Actress movie on IMDBClick here to check out Rock and a Hard Place movie on IMDBEmail King Colton = kingcolton@comcast.netVideos from this Episode (click the song title to see the video)"Serious Love" "Makin Me Crazy"All music used with permission from the artistSomeone You Should Know 2025 // CatGotYourTongueStudios 2025Feedback: Send us a text.How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

The Rock And Roll Hall of Fame welcomed its first inductees in a star-studded event at the Waldorf Astoria, New York on 23rd January, 1986. But the ceremony was not the glamorous HBO spectacular we have come to expect today: the audience was mostly music executives, and it was not filmed for television. Conceived by Atlantic Records chairman Ahmet Ertegun, the nonprofit foundation initially had lofty ambitions of recognising unsung heroes of the genre, and redressing racial injustice. In this episode, Arion, Rebecca and Olly explain how the Rock Hall came to be located in Cleveland, of all places; investigate the claims of sexism that have plagued the institution; and recall the phenomenal rejection issued by Axl Rose following an invitation to perform…  Further Reading: • ‘The Rock And Roll Hall Of Fame: From An Idea, To  A Labor Of Love, To A Spectacular Event' (Billboard, 2004): https://books.google.co.uk/books?id=0A8EAAAAMBAJ&pg=PA17&dq=ertegun+rock+and+roll+hall+of+fame&hl=en&sa=X&ved=2ahUKEwi3os-Fr7r8AhWQaMAKHZc8AzoQ6AF6BAgEEAI#v=onepage&q=ertegun%20rock%20and%20roll%20hall%20of%20fame&f=false • ‘Why the Rock & Roll Hall of Fame should be put out of its misery' (The Guardian, 2016): https://www.theguardian.com/music/2016/apr/04/rock-and-roll-hall-of-fame-should-be-destroyed • ‘Chuck Berry, Keith Richards, Jerry Lee Lewis, Neil Young – "Roll Over Beethoven"' (Rock And Roll Hall Of Fame, 1986):  https://www.youtube.com/watch?v=mM_1eDzWYzI&list=PLuYH1Vrzl1TMtAjBPm80j0EGOT0FL8Uc4&index=2 Love the show? Support us!  Join 

Episode 319, More Signature Songs, presents the most-remembered recordings by iconic mid-century performers including Elvis Presley, The Ink Spots, Kitty Wells, Jerry Lee Lewis, Frank Sinatra, Johnny Mathis, Fats Domino, Perry Como, Dean Martin, and... Read More The post Episode 319, More Signature Songs appeared first on Sam Waldron.

The night before Jerry Lee Lewis' fifth wife died, she made a phone call to her mother. She told her that she was thinking of leaving the rock ‘n' roll pioneer, but that he wouldn't let her. She also made a second call—this one to the sister of her high school sweetheart, making plans for the sister to come take her away from Jerry Lee later that month. Then … in mid-sentence the phone went dead. The next day, Mrs. Jerry Lee Lewis was found dead. Placed nearly on top of a perfectly made bed in the newlywed couple's guest room. Despite the bruises on her body, the blood under her fingernails, the scratches on her husband's hands, and the mountain of other physical and anecdotal evidence, the death was ruled an accident. Did Jerry Lee Lewis kill his wife and get away with murder? To see the full list of contributors, see the show notes at www.disgracelandpod.com. This episode was originally published on February 13, 2018. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Sun Records in Memphis, Tennessee claims to be the birthplace of Rock and Roll.But just what does it mean to be “The Birthplace of Rock and Roll”? Can we accept such a claim without first diving even deep into the murky depths of American musical history. Noodles and I head to Memphis to find out … (Beneath the shadow of Graceland and within earshot of the blues of Beale street - the small label hosted musical greats like Howlin' Wolf, B. B. King,  Jerry Lee Lewis, Johnny Adams , Carl Perkins, Johnny Cash and a young Elvis Presley.)Works Cited:Great book:The Birth of Rock 'n' Roll: The Illustrated Story of Sun Records and the 70 Recordings That Changed the WorldFantastic documentary produced by Quincy Jones:The History of Rock 'n' Roll - TV Mini Series (1995) - https://www.youtube.com/watch?v=U2Ptv_7VqO4&list=PLIhBC_-F81kxTgSYJUMVXmjPwrLf8aXTPAdditional articles and references: https://www.jstor.org/stable/30003142?read-now=1&seq=7#page_scan_tab_contentshttps://www.jstor.org/stable/1214792?read-now=1&seq=17#page_scan_tab_contentshttps://www.jstor.org/stable/494739?read-now=1&seq=2#page_scan_tab_contentshttps://www.newyorker.com/magazine/2015/11/16/the-elvic-oraclehttps://sunrecords.com/history/https://www.youtube.com/watch?v=YXGubLQcnAghttps://wearememphis.com/play/music/brief-history-memphis-music/https://musicmecca.org/a-brief-history-of-memphis-music/https://timeline.carnegiehall.org/genres/rock-n-rollhttps://timeline.carnegiehall.org/genres/boogie-woogiehttps://www.classical-music.com/articles/blues-musichttps://www.masterclass.com/articles/blues-music-guidehttps://www.strathmore.org/community-education/public-education/shades-of-blues/blues-clues/https://www.masterclass.com/articles/gospel-music-guidehttps://thegoldenageofrock.com/rock/the-influence-of-gospel/https://www.history.com/news/race-records-bessie-smith-big-bill-broonzy-music-businesshttps://www.rollingstone.com/music/music-features/500-greatest-songs-podcast-hound-dog-elvis-presley-1234998378/https://faroutmagazine.co.uk/the-whitewashing-of-black-music-five-singles-mNoah and Noodles here! We want to extend a heartfelt thanks to every listener of Backroad Odyssey. Your support fuels our passion and inspires us to keep sharing stories and discover overlooked locations. Follow each adventure visually at:https://www.instagram.com/backroadsodyssey/

Get every episode of The Dumb Zone by subscribing at DumbZone.com or Patreon.com/TheDumbZoneDan's dream of Bill Belichick coaching the Cowboys is over. The Mavs are done in the NBA Cup tournament. Jake victim blames a little bit and Dan's sweet Jerry Lee Lewis punchline is ruined by fake teeth (00:00) - Open: Cowboys Belichick dream over (21:56) - Today in Twitter: Dan quoted in gay magazine (36:41) - Cowboys: Dan listens to Micah's podcast (59:39) - Mavs: Eliminated from NBA Cup (01:13:22) - Big Viewer Mail Bag (01:47:30) - News: Movie jerking (02:09:20) - Today in History: Dan ruined punch line ★ Support this podcast on Patreon ★

When actor Dennis Quaid was approached to play Ronald Reagan in the new movie "Reagan," he almost didn't take the role. "Fear went up my spine," he tells Glenn on a special episode of "The Glenn Beck Podcast." "He's probably my biggest hero, in a way." As the two sit surrounded by beautiful mountains at Glenn's ranch in Idaho, Quaid explains how a visit to Reagan's own ranch property was what finally convinced him to accept the part. "I GOT Reagan there. You can feel him." Quaid reveals what made Reagan such a formidable — yet loved — president and whether or not America will ever see a similar leader again. They dive into Quaid's past struggles with addiction, the dangers of fame, and how he eventually developed a personal relationship with Jesus Christ that pulled him through it all. Plus, Quaid provides hope for our nation's future, from the ability of RFK Jr. to bridge Democrat and Republican Party lines and signs the world is "turning right side up again" to his belief that mending America starts with one small step at a time: "I think it starts at home, in our relationships with our friend [and] local community." They discuss how COVID replicated a kind of "spiritual revolution," the spread of communism, and how Quaid learned piano from Jerry Lee Lewis himself — which Quaid then demonstrates in an impromptu performance. So is Quaid concerned for the nation's future? Or is he steadfast — like Reagan — in his belief in the American people? He tells Glenn that he's an optimist and that "people are yearning for a return to common sense and decency."   Special thank-you to the Ronald Reagan Presidential Library for helping to provide footage of the 40th president.    Note: The new movie "Reagan" is a sponsor of "The Glenn Beck Program."   Sponsors:     Relief Factor    Relief Factor can help you live pain-free!    Visit https://www.relieffactor.com/ or call 800-4-RELIEF to save on your first order.      PreBorn   By introducing an expecting mother to her unborn baby through a free ultrasound, PreBorn doubles the chances that she will choose life. One lifesaving ultrasound is just $28. To donate securely, dial #250 and say the keyword “Baby,” or visit http://preborn.com/glenn.     Byrna  Byrna is the best alternative to deadly force. Visit https://byrna.com/pages/glenn-beck-landing for a 10% discount.  Learn more about your ad choices. Visit megaphone.fm/adchoices