Podcasts about Jethro Tull

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

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

For this month's (not that we're on any kind of schedule anymore, hehe) Four-Color Flashback, Paul, Arlo, and Eric are scurrying over to the first three volumes of David Petersen's Mouse Guard. Published from 2006-13 by BOOM! Studios, Petersen's medieval epic takes place in a world devoid of humans, where a civilization of mice attempt to survive harsh weather, even harsher predators, and each other. The gang discusses the many, gloriously illustrated sequences of absolutely brutal animal-on-animal violence; Petersen's awe-inspiring attention to detail, including a number of songs and poems that enrich the culture of his world; and Paul's newfound obsession with the series and its many ancillary offshoots.   NEXT: we're going back…to That Was Then! We're celebrating the 40th anniversary of Robert Zemeckis' classic blockbuster Back to the Future.     BREAKDOWN 00:00:48  -  Intro / Banter 00:28:13  -  Mouse Guard 01:41:54  -  Outro / Next   LINKS David Petersen's Mouse Guard “Creator Commentary” videos   MUSIC “One Brown Mouse” by Jethro Tull, Heavy Horses (1978) “…And the Mouse Police Never Sleeps” by Jethro Tull, Heavy Horses (1978)

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

S8E25 went out live from the TSORR Studio on Myoli Beach on 19 June 2025 at 19h00 on Rebel Rock Radio.    Running order of artists featured: Smith/Kotzen, Judas Priest, Megadeth, Michael Schenker Group, Pantera, Buckcherry, Volbeat, Rammstein, Five Finger Death Punch, Chris Cornell, Dan Patlansky, Thin Lizzy, The Knack, Disturbed, Girish and the Chronicles, The Quierboys, Iron Maiden, ACDC, Jethro Tull, Ozzy Osbourne, Led Zeppelin, The Killers, Slayer, David Bowie. Airbourne, Foo Fighters, Pixies, Depeche Mode, David Bowie. U2, In Flames, Warrant, We Are Harlot, Tom Petty, Bleeds From Within, Arch Enemy, Amon Amarth The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

This week on Classic Vinyl Podcast, Justin and Tyler listen to and review Jethro Tull and their 1969 UK song Living In The Past. Not released in the United States until 1972, and the band's first major hit in the states, how do you think it still holds up today?  Give it a listen and let us know what you think.

Percussion Discussion Podcast - Episode 164 - Dave Mattacks. Joining me today is the wonderful Dave Mattacks. Dave is a british drummer ( now living in Boston ) with a quite remarkable career under his belt - he is known as the Folk Drummer (much to his occasional chargrin) Having played for Fairport Convention for a long time, however he has a lot more up his sleeve, check this out for a recording and live CV.......... Paul McCartney, Elton John, XTC, George Harrison, Chris Rea, Jethro Tull, The Proclaimers, Joan Armatrading, Mary Chapin Carpenter, Richard Thompson, Steeleye Span and many many more! We had the most wonderful conversation about his career including the moment he went from trying to impress, with flashy, busy drum parts to stripping it back and playing for the song, something that is now synonymous with Dave's name. Huge thanks to our mutual pal Nigel Constable for connecting us up! Many thanks of course for giving up his valuable time to do this! www.davemattacks.com

"Just a perfect dayDrink sangria in the parkAnd then later, when it gets darkWe go homeOh, it's such a perfect dayI'm glad I spent it with you" Please make our day perfect and spend 2 hours of your Sunday with me on this week's Super Sounds Of the 70's. I've invited Nick Drake, Laura Nyro, Dire Straits, Bob Dylan, Emerson Lake & Palmer, Chicago Transit Authority, Minnie Riperton, Love, Judy Collins, Allman Brothers, Orleans, George Harrison, Led Zeppelin, Ambrosia,  Pink Floyd, Yes, Humble Pie, Traffic, Jethro Tull and Lou Reed...

Lunes con mucho frío, pero de calor enNOCHES DE VINILO, con mucho rock y blues.

In 1988 at the 31st annual Grammy Awards, a new category was introduced: Best Hard Rock/Metal Performance Vocal or Instrumental. That night, Metallica's '...And Justice For All' famously lost to Jethro Tull's 'Crest of a Knave', but another album was also nominated that evening: 'Nothing's Shocking', the debut studio album by Los Angeles band Jane's Addiction. Love them or hate them, there's no denying the impact JA had on 90s alternative music moving forward, and this week's guest, Reno, Nevada musician, actor and artist Nick Ramirez (Worst Little Podcast in the World), is comin' down the mountain to talk about it... Songs discussed in this episode: Jane Says - Jane's Addiction (Live Roxy Theater, Los Angeles 1987); Worst Little Podcast Intro - Worst Little Podcast in the World; Dumped In Tokyo - Cori Elba (recorded live on the Worst Little Podcast - Reno, NV, March 2025); Pigs In Zen (Live Roxy Theater, Los Angeles 1987) - Jane's Addiction; Nobody's Fool - Cinderella; Walk Together, Rock Together - 7 Seconds; Love Removal Machine - The Cult; Nausea (X cover, recorded live in Los Angeles, 1989), Ripple (Grateful Dead cover), Up The Beach, Ocean Size, Had A Dad, Been Caught Stealing - Jane's Addiction; Ringfinger - Nine Inch Nails; Serve The Servants - Nirvana; Ted, Just Admit It - Jane's Addiction; Everything Zen - Bush; Standing In The Shower...Thinking, Summertime Rolls, Mountain Song, Idiots Rule, I Would For You (Live Roxy Theater, Los Angeles 1987), Jane Says, Thank You Boys, Pig's In Zen - Jane's Addiction; Stranglevine - Roxxy Collie  

This week, we conclude Jarvis's two-part interview with Russ Tippins and Cindy Maynard of Brooklyn-based classic hard rock revelations Tanith.  The conversation continues to flow easily, with topics ranging from England versus U.S. scene differences and similarities, the recording of the "Citadel" single as the first time the four members of Tanith played together, the affinity of underground metalheads for classic rock stylings, the challenges of starting a band and following your passion, the pros and cons of tour bus life versus van life, and the ongoing writing sessions for Tanith's third album. It's an enlightening and entertaining chat that covers a lot of ground effortlessly. Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

Mark Farner was co-founder/singer/guitarist for Grand Funk Railroad who were founded in 1969.  With Grand Funk he had 6 Platinum and 3 Gold records from 1969 to 1975.  In 1976, Mark went on to release 7 solo albums including his latest Closer To My Home that dropped in 2024.  In our May of 2025 interview with Mark, multi-award winning program director Ray White delves into many of his career highlights going back to his breakthrough in the music industry, up to talking about his latest album release.  In our showcase segment we also feature a band that launched their career in the late 1960's...Jethro Tull whose brand new project is titled Curious Remnant.  Don't miss this special "Back From The 1960's" episode brought to you by your friends at Classic Artists Today!

Nueva entrega dede Música de Contrabando, semanario de actualidad musical (29/05/2025)Entrevista: - Kiblason toda una institución en el pop rock murciano; celebran más de 30 años de rock y amistad, que ha mantenido encendida la ilusión por continuar.- A Mares.Patricia Zamora es A Mares, que se mueve entre la fragilidad y la fuerza lírica del indie folk. Estrena “Estación del Norte, producida por Tono Hurtado, que forma parte de su primer EP. El jueves 6 lo presenta en el Palacio Almudí. Noticias: U2 han recibio el premio Fellowship Of The Ivors Academy, y Bono ha tenido unas palabras sobre lo que está sucedió en Gaza. Falle el guitarrista y productor Rick Derriger, fue lider de los McCoys, y colaboró con Steely Dan, Cindy Lauper, Ringo Starr o Alice Cooper.. John Fogerty ha regranado los clásicos de Creedence Clearwater Revival. Recopilados los primeros discos de Dionne Warwick. Living in the past de Jethro Tull tendrá una edición ampliada a 6 cd's denominada Still living in the past. Kinks of Leon cancelan toda su gira europea ( en Mad Cool les sustituyen Muse). Kalorama desvela horarios de su edición de 2025. Kevin patjer pone a la venta más unidades de The Orchid, su primer instrumento musical junto a su compañía Telepathic Instruments. . Gorillaz celebrará su 25 aniversario con una experiencia única. Marilyn Manso aparece como invitado en God Is A Weapon de Falling In Reverse. Dave Rowtree repasa los inicios de Blur en un libro fotográfico. Beach House esperan lanzar nuevo álbum en 2026. El mundo de la cultura se rebela contra Trump. Novedades musicales: Wet Leg, Kaiser Chief, Green Day, Saint Etienne, St Vincent & Mon Laferte, White Lies, Sen Senra, The Spitfires, The Sand, Mrcy, Mark Williams Lewis, María de Juan, Los Recortables, Durand Jones & The Indications, Unknow Mortal Orchestra, Wednesday, Benét, Marisa Valle Roso, Germán Salto, Helio, Semifinalistas CreaMurcia Pop Rock: Katarsia, Wakame, Hay Un Loco Suelto, Querido Diablo, Norte Perdido, Trepacerros, Anastasia General, Cletus, Piso Piloto, Palomo Palomo, Sueño Xanadú, Mursia. Ruth Lorenzo, madrina del CreaMurcia en la final de Pop Rock. La agenda de conciertos.Morgan, The New Raemon, Piezas & Jayder, Leo Jiménez, Huda, Diversos, Shoda Monkas, Kibla, Chema Espejo, Bucero and Shaddy López, Orquesta Nacional de Barbés, Maka, Semifinales CreaMurcia Otras Tendencias, Pecos...

AMAZING VIDEO VERSION: https://www.youtube.com/watch?v=yWvaQ1duFhE HAPPY SUMMER KICK-OFF everyone! After the half-year we've all had, you all definitely deserve some time off... and a few laughs to boot. We have your new favorite – and funniest - beach listen right here. How does one of the cheapest, ultra-low budget comedy movies of all time become a billion-dollar franchise? We're gonna tell you! As every movie studio in the world refused to finance this movie in 1974, the 6 young (then) Monty Python boys turned to top English rock/pop acts for seemingly hopeless angel investments. These bands essentially financed most of the film's tiny budget. The investors included: Elton John, members of Led Zepplin, Pink Floyd, and Jethro Tull. Who knew in 1975 that all these folks would eventually receive tens of $$millions in royalty checks? While “Holy Grail's” ridiculously short 5 week production was extremely unlikely for a feature film, it went onto shape what we think of as comedy in 2025. So, slather on the sunscreen, feel the wet sand on your toes, the warm gamma rays on your face, and prepare to be entertained by your friends at Scandal Sheet. Find co-host, Anuradha's Instagram accounts: @anuradhaduz_food and @artist_anuradhachhibber. We are joined by returning movie expert guest, Joseph Long. Check out Joe's YouTube channel: https://www.youtube.com/@cruiseonloc. Find us on Patreon at patreon.com/ScandalSheet with bonus content for premium subscribers. We'd love to have your generous support for only the price of one Starbuck's coffee per month. Please reach out to us at scandalsheetpod@gmail.com, find us on Facebook as 'Scandal Sheet' or on X at @scandal_sheet. We'd love to hear from you!

AMAZING VIDEO VERSION: https://www.youtube.com/watch?v=yWvaQ1duFhE HAPPY SUMMER KICK-OFF everyone! After the half-year we've all had, you all definitely deserve some time off ... and a few laughs to boot. We have your new favorite – and funniest - beach listen right here. How does one of the cheapest, ultra-low budget comedy movies of all time become a billion-dollar franchise? We're gonna tell you! As every movie studio in the world refused to finance this movie in 1974, the 6 young (then) Monty Python boys turned to top English rock/pop acts for seemingly hopeless angel investments. These bands essentially financed most of the film's tiny budget. The investors included: Elton John, members of Led Zepplin, Pink Floyd, and Jethro Tull. Who knew in 1975 that all these folks would eventually receive tens of $$millions in royalty checks? While “Holy Grail's” ridiculously short 5 week production was extremely unlikely for a feature film, it went onto shape what we think of as comedy in 2025. So, slather on the sunscreen, feel the wet sand on your toes, the warm gamma rays on your face, and prepare to be entertained by your friends at Scandal Sheet. Find co-host, Anuradha's Instagram accounts: @anuradhaduz_food and @artist_anuradhachhibber. We are joined by returning movie expert guest, Joseph Long. Check out Joe's YouTube channel: https://www.youtube.com/@cruiseonloc. Find us on Patreon at patreon.com/ScandalSheet with bonus content for premium subscribers. We'd love to have your generous support for only the price of one Starbuck's coffee per month. Please reach out to us at scandalsheetpod@gmail.com, find us on Facebook as 'Scandal Sheet' or on X at @scandal_sheet. We'd love to hear from you!

Bradley Fish - Bradley Fish Guitar On a Being the Guy That Helps the Guy: "I remember at one point, he was like, dude, do you wanna do some more loops? I'm the number two producer in the world." There are two levels of cool: Those that know how to play guitar and everyone else below them. Playing guitar is a skill that many want, some achieve and a few master.  But how do you learn how to play a guitar? Bradley Fish knows how to play guitar and has been doing it for decades.  He has travelled the world and played instruments in all corners of the globe.  On top of that, he has trained hundreds of students to play guitar. But what is your goal with learning how to play guitar.  As a professional musician, the business can be tough. Bradley opens up about the realities of making it in the music business, the changing landscape for artists, and why so few bands ever achieve major label success. He dives into his teaching philosophy, the evolution of technology in music education, and how he's adapted his business to offer one-on-one guitar lessons both in person and online. Plus, Bradley gives us an exclusive peek inside his state-of-the-art music studio filled with unique instruments from around the world, and talks about his innovative approach to connecting with students. Listen as Brad details how he trains people to play guitar, and what he has learned in the 40 plus years of teaching people the fine art of guitar playing. Enjoy! Visit Bradley at: https://bradleyfish.com/     Podcast Overview: 00:00 High School Audiophile Nostalgia 09:19 Unexpected Discoveries in Madison Clubs 11:31 Odds of Band Success 15:45 Simple Songs, Complex Insecurities 25:21 "Unexpected Gig Opportunity" 29:01 Experience Quality, Higher Cost 34:45 "Exploring Diverse String Instruments" 37:22 Music Recomposition and Innovation 43:37 Affordable Home Recording Revolution 48:43 Music Lessons: No Judgments 54:38 "Musician's Improvised Summer Journey" 57:45 Bicycle-Powered Musical Setup 01:05:17 Interactive Online Music Lessons Podcast Transcription: Bradley Fish [00:00:00]: One in 40,000 bands will get a major label deal, and of the one in 40,000, one in 12 will actually make money at it. James Kademan [00:00:08]: So how long have you been in the music game? Bradley Fish [00:00:10]: Thirty years ago. And I started teaching guitar when I was 16. I saw Jethro Tull. I love them as a teenager. Yeah. I love them. And when I saw them live, it was like, like, they're really human. It wasn't that great. Bradley Fish [00:00:24]: It was okay. A lot of these bands, they're spending so much to promote, to produce, all that stuff that they're not really making up with. James Kademan [00:00:31]: You've seen so much of different people with finger styles, different guitars, different likes as far as music and stuff like that. So, you know, like, oh, you wanna play this? This is what you gotta do. Bradley Fish [00:00:41]: So much of the stuff, the instrument makes a big difference. Alright. You know? You play the sitar and it sounds like Indian music just right off the bat. James Kademan [00:00:49]: So from a business point of view with you teaching, how long have you been doing this? Bradley Fish [00:00:53]: It's my fortieth year. Fortieth year, dude. Yeah. James Kademan [00:00:57]: You have found Authentic Business Adventures, the business program that brings you the struggle stories and triumphant successes of business owners across the land. We are locally and written by the Bank of Sun Prairie, Calls on call extraordinary answering service, as well as the bold business book. And today, we're welcoming slash preparing to learn from Bradley Fish of Bradley Fish Music. So, Bradley, how Fish it going today? Bradley Fish [00:01:19]: Awesome. Thanks for having me. James Kademan [00:01:20]: Man, we are in your studio, and holy cow. We got all kinds of stuff going on.

Rock News P.ta 113 Nuovo episodio de “Lo Strillone Rock” l'appuntamento settimanale (Podcast Rock) con le notizie dal mondo della musica Internazionale e Nazionale. In questo episodio l'appuntamento con il “Disco Italia” si triplica: di fatto in play list ascolteremo gli Hämärä, Sebastiano D'amato e Valema. Ai microfoni di rock & wow, Ark. LA PLAY LIST The Black Keys – No Rain, No Flowers Bruce Springsteen – Repo Man Gregg Allman Band – Dreams (Live Concert Recording The Bayou, Washington, DC 5-15-84) Jethro Tull – Aqualung (Live) Hämärä – Neve Sebastiano D'Amato – Libera Valema – Uno sguardo ancora Gianna Nannini – America Eugenio Finardi – Extraterrestre The Pogues – A Rainy Night In Soho Oasis – Rock ‘n' Roll Star LE NOTIZIE DA ASCOLTARE Black Keys, il nuovo album ha una data di uscita; Bruce Springsteen: dall'album country perduto, ecco “Repo man”; Gregg Allman, in arrivo l'album “One Night In DC, May 15 1984″; Jethro Tull: il concerto di Basilea del 2008 diventa un album; Finardi: la nuova musica “non è per la nostra generazione”; Bob Dylan suona i Pogues; Oasis: sì al tour, no a un nuovo album. DISCO ITALIA: HÄMÄRÄ Hämärä è un progetto musicale nato nel 2018 come cover band pop-rock, che ha rapidamente trovato la sua strada verso una produzione originale e personale. Tra le loro esperienze live più rilevanti, l'apertura al chitarrista americano Adam Bomb. Dal 2019 il gruppo si dedica a brani inediti, caratterizzati da una profonda introspezione emotiva e da un sound che unisce alternative rock, atmosfere oscure e testi intensi. “Neve” è il quarto singolo della band. Prodotto da Andrea Torretta, il brano è una ballata elettrica e tormentata che racconta la dipendenza affettiva, mascherata da una metafora potente: la cocaina, la “neve”.

HPR All Things Considered host Dave Lawrence welcomes back Deep Purple's talented keyboardist, Don Airey, who has a new solo album, "Pushed to the Edge." Don has a wild history, with experience in Ozzy Osbourne's band, Rainbow, Whitesnake, Jethro Tull and many other projects over the years. He's been with Deep Purple for over two decades now. The chat takes us back to Don's classical inspirations, organ heroes like Booker T and Jimmy Smith, heartwarming encounters between his parents and Ozzy Osbourne, and lots more!

Called "the Wizard of Vinyl" by the New York Times, Chad Kassem has devoted his professional life to the cause of great-sounding records. In addition to running Acoustic Sounds, a go-to mail-order company for audiophile albums and equipment, the outspoken Kassem oversees the specialty label Analogue Productions, the Mastering Lab, Quality Record Pressings (QRP) and other related businesses, all based in Salina, Kansas. In this freewheeling conversation, Kassem discusses how Analogue Productions has been able to obtain and execute such projects as the Atlantic 75 Series and Steely Dan UHQR releases. He previews upcoming releases from Jethro Tull, Robert Flack and Bob Marley and the Wailers. And he gets into the joys of early recordings, the evils of compression, the market manipulations of record labels, his take on the One Step controversy and the reason a CD has never made him cry.

Send us a message, so we know what you're thinking!Back in Season 1, we talked at length about Warren Zevon, one of the great American songwriters and one of our idols.  So, this year Warren Zevon has been inducted into the Rock'n'Roll Hall of Fame, along with Bad Company and Cyndi Lauper, and we thought that was a perfect excuse to close the loop on our coverage of his career.  It's all here – his later career, final album, appearances on Letterman.  We loved doing it, and we know that you will love listening to this one! Our “Album You Must Listen to Before You Die” is John Lennon's 1980 hit, “Imagine”.  As usual with Lennon's solo albums, it's more (and less) than it seems on the face of it, containing some of Lennon's best work along with some filler.  But, hey, it's a strong album and gave Roxy Music their worst-ever cover (FYI - “Jealous Guy”). We also venture into the world of ChatGPT to find out the Best Albums of 1972.  Fairly strong list – Jethro Tull, Deep Purple, Lou Reed and..............................Wishbone Ash!  Who?    References – Globite Travel Bag, Warren Zevon, Rock and Roll Hall of Fame, “The Wind”, Zach Starkey, The Who, Bad Company, Paul Rodgers, Cyndi Lauper, Jordon Zevon, CHAT GPT, 1972, Letterman, alcoholism, Rolling Stone magazine, Jann Wenner, Zevon Live in Australia, The Bridge Hotel, St Mary's Band Club, The Hilton Sydney, Little River Band, Linda Ronstadt, pleural mesothelioma, Enjoy Every Sandwich, “Sentimental Hygiene”, Neil Young, “Detox Mansion”, “Splendid Isolation”, “Heartache Spoken Here”, “Searching For a Heart”, “The Indifference of Heaven”, Life'll Kill Ya, My Ride's Here, “Hit Somebody”, Tony Levin, “Basket Case”, Carl Hiassen, “Bad Monkey”, “The Wind”, Crystal Zevon, Springsteen, “Knockin' on Heaven's Door”, Dylan, Grammy Award,  “Keep Me in Your Heart", “Enjoy Every Sandwich”, Jackson Browne, Billy Bob Thornton, David Lindley and Ry Cooder, Pixies, Jorge Calderón  Playlist – Music from the episode Enjoy every sandwich The Wind 

ABOUT ​DON AIREY: Don has been a player on the rock scene for over 50 years, notching up almost 200 album credits & associations with major bands including Cozy Powell's Hammer, Colosseum II, Andrew Lloyd Webber, Ritchie Blackmore's Rainbow, Ozzy Osbourne, Whitesnake, Jethro Tull, ELO & has been in Deep Purple since 2001​. His latest solo album is out now called, "Pushed To The Edge". ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

ABOUT ​DON AIREY: Don has been a player on the rock scene for over 50 years, notching up almost 200 album credits & associations with major bands including Cozy Powell's Hammer, Colosseum II, Andrew Lloyd Webber, Ritchie Blackmore's Rainbow, Ozzy Osbourne, Whitesnake, Jethro Tull, ELO & has been in Deep Purple since 2001​. His latest solo album is out now called, "Pushed To The Edge". ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Madman drummers bummers and Indians in the summer with a teenage diplomat, In the dumps with the mumps as the adolescent pumps his way into his hat, With a boulder on my shoulder feelin' kinda older I tripped the Merry-go-round, With this very unpleasing sneezing and wheezing the calliope crashed to the groundAnd she was blinded by the lightOh, cut loose like a deuce another runner in the nightBlinded by the lightShe got down but she never got tight, but she'll make it alright"Don't be blinded or get distracted, please join me on this week's Super Sounds Of The 70's for 2 hours of clarity via Music.Joining us are Lee Michaels, Gerry Rafferty, Tower Of power, Van Morrison, Jimi Hendrix, Todd Rundgren, Supertramp, Jeff Beck, Peter Frampton, Fleetwood Mac, The Moody Blues, America, Steely Dan, Jethro Tull, ZZ Top, Meat Loaf, Bruce Springsteen, Mahavishnu Orchestra, Chicago and Manfred Mann's Earth Band.

Lots of fantastic contemporary stuff this week from Jethro Tull, Karmakanic, Brass Camel, Brendan Perkins, Red Bazar, Chakra Vimana, IQ, and Magic Pie! Also, I have four more artists featured in the latest edition of PROG Magazine...Clarissa Connelly, Devrev, Leoni Jane Kennedy, and Venamoris!  

Time Artist Title Duration Album Year 0:00:00 ProgPhonic 178 Intro 0:43 0:00:39 The Moody Blues Nights In White Satin 7:09 Days Of Future Passed 0:09:36 Delirium Villaggio 5:11 Lo Scemo e il Villaggio 1972 0:14:47 Blodwyn Pig Variations on Nainos 3:43 Getting to This 1970 0:18:30 Traffic Forty Thousand Headmen 3:11 Traffic 1968 0:24:40 Jethro […]

There were a lot of long answers in this crossword, but fortunately they were also very common phrases. Otherwise, this would've been a Saturday or perhaps an Impossiday™️ crossword. As it stands, this puzzle was a terrific Friday, and the reason why is no mystery: Karen Steinberg wrote it and Will Shortz edited it.Show note imagery: JETHRO Tull (the band, not the agriculturalistWe love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Subterranea mainstream, o casi mainstream, un programa con algunos de los discos más comentados del momento: Jethro Tull, Mostly Autumn, Krokofant (What?), IQ y Steven Wilson. Ricardo Hernández, Juan Francisco Díaz, Fernando Pastor, Carlos Romeo, Carles Pinós y David Pintos; además de un invitado especial, José Luis Burgos Fresno. Sí, lo has leído bien, hablaremos del nuevo disco de Steven Wilson, así que…, dale a play y disfruta. Edición: David Pintos www.subterranea.com www.davidpintos.com

Hook https://media24.fireside.fm/file/fireside-uploads-2024/images/c/c7e7a43b-5714-4470-a244-6aa82c1dceff/L0YILHJj.jpg I wanna bust all your balloons What we're listening to: Jake: Deep Sea Diver, Billboard Heart (https://open.spotify.com/album/7n8ZhTHwFTpKF5u584a53t?si=c8fe4d43928e4319) Father John Misty, Mahashmashana (https://open.spotify.com/album/2oJHtuXrCJ0KMH5GrC6Qdw?si=50dbe56028fe4421) Matthew: Margarget Cho, Lucky Gift (https://open.spotify.com/album/3X29MQKIEwUC9kZEgU8Iu5?si=ca475204c1104d12) The Chills, Spring Board (https://open.spotify.com/album/7AKflhK90ck3bjy37oYUeC?si=5056df902bef47b4) Ian Anderson unboxing Jethro Tull's Curious Ruminant (https://www.youtube.com/watch?v=oMD_03tKIdo&t=1s&pp=ygUVaWFuIGFuZGVyc29uIHVuYm94aW5n)

Jethro Tull's Ian Anderson (3/26/25) by 96.5 WKLH

"The percentage you're paying is too high pricedWhile you're living beyond all your meansAnd the man in the suit has just bought a new carFrom the profit he's made on your dreams"Sound familiar, please join me for the ultimate distraction, Music. Joiniing us on this week's 2 hour musical journey are Warren Zevon, Zephyr, ZZ Top, Genesis, Joe Cocker, Janis Joplin, King Crimson, The Rolling Stones, Kinks, Velvet Underground, Knack, Grand Funk Railroad, Porcupine Tree, Humble Pie, Jethro Tull, Led Zeppelin, Robin Trower and Traffic. 

ABOUT IAN ANDERSON: Ian Anderson MBE is a British musician best known for being the chief vocalist, flautist, and acoustic guitarist of the British rock band Jethro Tull. He is a multi-instrumentalist who also plays harmonica, keyboard, bass guitar, bouzouki, balalaika, saxophone and a variety of whistles.  ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

ABOUT IAN ANDERSON: Ian Anderson MBE is a British musician best known for being the chief vocalist, flautist, and acoustic guitarist of the British rock band Jethro Tull. He is a multi-instrumentalist who also plays harmonica, keyboard, bass guitar, bouzouki, balalaika, saxophone and a variety of whistles.  ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although it was a parody of progressive rock (Ian Anderson wasn't too happy about Aqualung being lumped in with such,) Thick As a Brick reached number one on the Billboard 200 despite the fact the album was one song that took up two sides of the record. Efforts to do a follow-up at the Château d'Hérouville in rural France proved fruitless, being renamed by Anderson and crew "Château d'Isaster" and the entire album they had planned abandoned. Returning to the UK they quickly recorded A Passion Play. What was supposed to be a concept album of mini-suites following a man's journey through the afterlife was released, like Thick As a Brick, as one complete work.  While it again reached the top of the charts it was hated by critics and the band itself, although it has developed a following over the years.

A special episode where I showcase my favorite bands in extended sets. In this episode, hear At Vance, Enchant, Heart, Jethro Tull, Moonrise, and Triumph. Do you enjoy Prog-Scure? If so, perhaps you might consider helping me to keep this show afloat by contributing a few dollars at https://patreon.com/zapniles. Any donations very much appreciated.

Originally founded by current members Singer and Rhythm Guitarist James Hetfiled and Drummer Lars Ulrich, alongside Bassist Ron McGovney and Lead Guitarist Dave Mustaine, Metallica actually parted ways with both McGovney and Mustaine due to various personal and professional conflicts before recording and releasing their 1983 debut album, controversially titled ‘Kill ‘Em All’. McGovney was quickly replaced by revered Bassist, the now-late Cliff Burton, while Mustaine was replaced by legendary member-to-this-day, solo-master Kirk Hammett. Still an incredibly rough-around-the-edges Thrash Metal band, Cliff Burton would have a massive influence on the maturing of Metallica for their second album, Ride The Lightning. Metallica would follow Ride The Lightning up with 1986’s Master of Puppets No longer just making music for the underground metalheads of the world, ‘Puppets’ marked Metallica’s Major Label debut with Elektra Records. The album was roundly received as one of - if not the greatest metal album of the time, with critics noting how much Burton’s influence in particular had progressed the band’s sound. Tragedy would strike Metallica in September of 1986 - mere months after MOP’s release, as Cliff Burton would die in a bus accident in Sweden, while on tour promoting the record. By 1987, Metallica would find their necessary replacement for Burton - Bassist Jason Newsted. With Newsted in the band - Metallica geared up to release their final album of the 80s, called …And Justice For All. Tragedy would strike Metallica in September of 1986 - mere months after MOP’s release, as Cliff Burton would die in a bus accident in Sweden, while on tour promoting the record. Burton was only 24 years old when he was ejected from the window of Metallica’s tour bus as it skidded off the road suddenly, while the band members slept. The bus would land on top of him, killing him instantly. While the fault of the crash was hotly (and legally) debated at the time, ultimately Metallica’s tour bus driver was found not to be at fault for the freak accident. By 1987, Metallica would find their necessary replacement for Burton - Bassist Jason Newsted. Years later, Newsted would tell VH1’s That Metal Show that he secured the gig by stealthily finding a Metallica setlist, learning all the songs on it to note perfection, and demo-ing them out for Ulrich, who hired him two days later. YOUTUBE CLIP VH1 1 With Newsted in the band - Metallica geared up to release their final album of the 80s, called …And Justice For All. By this point, Metallica had very much made a name for themselves as the premiere Metal band, and Justice would prove it; peaking at number 6 on the Billboard album charts, going double platinum across its album cycle. Mainstream critical success would also soon follow for the band; although they would lose out on winning the first (and only) ever Best Hard Rock/Metal Performance Vocal or Instrumental GRAMMY Award to very-much-not-a-metal-band Jethro Tull’s very-much-not-a-metal album Crest of a Knave in 1989, Metallica’s song One would snag them the inaugural Best Metal Performance award in retribution at the following year’s ceremony. Eventually - …And Justice For All would follow in the footsteps of its pivotal predecessor, going more than 8x platinum to date. Now, you may be thinking by this point that this is truly unprecedented success for a metal band. Of course, there’s always a place in music for aggressive, heavy tunes, but as the 80s turned to the 90s - you would be forgiven for assuming that the roughly 4 to 5 million records sold in America across 4 monster albums, was about as good as it could get for any metal band, and perhaps they’d finally hit their glass ceiling. But Metallica, simply put - were not just any metal band, and were ready to change the way the world perceived heavy metal forever. For the first time ever, the band understood that they didn’t know everything there was about not only composing music - but producing it, and they were going to need someone to help guide them through the process, if they were going to do it right. So what did they do, you ask? Call in a Canadian, Naturally. This is the story of Metallica's Epic -' Nothing Else Matters' with newly unearthed footage from the band themselves - including interviews live from the studio while recording the iconic Metallica (Black Album).

an Anderson Talks New Jethro Tull Album Curious Ruminant And Band's Legacy On The Loaded Radio Podcast TL;DR Jethro Tull frontman Ian Anderson joins The Loaded Radio Podcast to discuss the band's latest album Curious Ruminant, which arrived on March 7, 2025. Anderson shares insights into the songwriting process, the return of former keyboardist Andrew Giddings, and how the band's sound continues to evolve. He also reflects on Jethro Tull's historic Grammy win over Metallica, their legacy in progressive rock, and more. Listen to the full episode at the bottom of this article or wherever you get your podcasts. Ian Anderson Discusses Curious Ruminant And Jethro Tull's Everlasting Influence Few bands in rock history have maintained the creative energy and musical sophistication of Jethro Tull. With a career spanning over five decades, the British progressive rock icons are set to return with their latest studio album, Curious Ruminant. This marks their third album in just four years, following the success of The Zealot Gene (2022) and RökFlöte (2023). Ian Anderson, the band's founder, flutist, and frontman, joined The Loaded Radio Podcast to discuss the new record, the creative process behind it, and Tull's enduring legacy in the world of progressive and folk rock. Curious Ruminant: A Deep Dive Into The New Album The album consists of nine tracks, ranging from short two-and-a-half-minute compositions to a near seventeen-minute epic. The LP features a mix of full-band performances and intricate acoustic arrangements, staying true to Tull's signature blend of progressive rock, folk, and classical influences. Notably, the album sees the return of former keyboardist Andrew Giddings, alongside longtime members David Goodier (bass), John O'Hara (piano, keyboards, accordion), and Scott Hammond (drums). Newcomer Jack Clark makes his Jethro Tull recording debut on electric guitar, while James Duncan (drums, cajón, percussion) also contributes to the recording. Anderson revealed that some of the compositions stem from unfinished instrumental demos recorded years ago, yet they blend seamlessly with the newly crafted material. The album's sonic palette includes not only his signature flute solos and melodies but also accordion, mandolin, acoustic and tenor guitars, evoking the spirit of Jethro Tull's 1970s folk-prog era. Ian Anderson On The Writing Process The creative process for Curious Ruminant began shortly after the release of RökFlöte in 2023. Anderson started conceptualizing the album in late 2023, with the first musical ideas taking shape by May 2024. By June, lyrics and melodies were flowing effortlessly, creating a natural synergy between the new and previously recorded material. Unlike many of Tull's past releases, Curious Ruminant features more personal, introspective lyrics. Anderson, known for his sharp observational songwriting, balances his trademark wit with moments of deep self-reflection. However, as he humorously points out, fans shouldn't expect the typical “I-me” lyricism found in mainstream rock and pop. Jethro Tull's Historic Grammy Win Over Metallica In addition to discussing the new album, Anderson reflects on one of the most controversial moments in Grammy history—Jethro Tull's victory over Metallica in the Best Hard Rock/Metal Performance category in 1989. At the time, Metallica was widely expected to win for …And Justice for All, but the award instead went to Tull's Crest of a Knave, sparking outrage among metal fans. While Anderson has addressed the incident numerous times over the years, he still finds humor in the situation. The band didn't even attend the ceremony, assuming they had no chance of winning. However, the moment has since become an infamous chapter in both Jethro Tull's and Metallica's histories. An Enduring Legacy Formed in 1967, Jethro Tull carved a unique path in rock music by incorporating progressive rock, folk, blues, and classical elements into their sound. Led by Anderson's unmistakable flute playing and poetic lyricism, the band has released 23 studio albums, including landmark records like Aqualung (1971), Thick as a Brick (1972), and Songs from the Wood (1977). Even after decades in the industry, Anderson remains committed to crafting thought-provoking, musically rich compositions. With Curious Ruminant, he continues to push the boundaries of Tull's sound while honoring its rich legacy.

This week's Prog-Watch is a straight-up variety program full of great contemporary progressive rock, some from artists featured in the 158th edition of Prog Magazine! I've got fantastic stuff from Sykofant, Jethro Tull, Red Bazar, Tribe3, The Aurora Project, Tiberius, Godsticks, Seventh Station, Flor de Loto, Imaginaerium, iCobbles, and Dream Theater! I hope you will join me!

Welcome to Live From Progzilla Towers Edition 554. In this edition, we heard music by Guthrie Govan, Amplifier, Caio Claro, Ambassadors Of Doubt, Cosmograf, Custard Flux, Pallas, The Swan Chorus, Halloween, Jethro Tull, Codes In The Clouds, Cloud Over Jupiter, The Moons Of Jupiter, Dominic Sanderson, Sykofant, Tiberius, Peter Hammill, Raha Project, The Far Cry & Dorie Jackson.

Time Travelin' Top 40 E177 BV with Ian Anderson of Jethro Tull on the new album "Curious Ruminant" and the bands legendary career See omnystudio.com/listener for privacy information.

This week, hosts Reggie Worth and Jason Jefferies discuss the new releases of 3/7/25, including albums by Jason Isbell, Jethro Tull, Bob Mould, Neil Young, Hamilton Leithauser, Fust, Star 99 and Horse Vision.  Happy listening, friends!

Don Airey is metal royalty. He has played with some of the greatest artists ever and on songs you've heard thousands of times. With his newest solo record Pushed to the Edge, Don gathered some of his incredibly talented friends to make a real blast of a record that shows his great skill as a writer and, most importantly, as a musician.Pushed to the Edge comes out March 28th. For more information and to find out where to get a copy, check out Don's Facebook page.

There's no half-way on Prog-Watch this week, as we get ALL OR NOTHING! With tons of tasty, themed tunes from Starcastle, UK, Traffic, Gentle Giant, David Gilmour, Jethro Tull, George Harrison, Unitopia, Steve Howe, Lobate Scarp, The Cars, Rush, Blind Faith, Kevin Gilbert, Arc Of Life, Peter Banks, Mott The Hoople, and The Alan Parsons Project!  

We share our thoughts on the upcoming Jethro Tull album Curious Ruminant, which you can pre-order ahead of its March 7th release: https://jethrotullband.lnk.to/CuriousRuminant-AlbumID

Rock icon Ian Anderson joins Roie and Geoff to talk about the new Jethro Tull album 'Curious Ruminant', songwriting, reissues, his views on social media, and more. Curious Ruminant is out on March 7th.

For more than 15 years, Sharon Van Etten has worn her heart on her sleeve. Over 7 albums she's processed the raw emotions of life through some incredible songs, and continued to evolve her sound with every album.From early days playing indie folk and Americana, to big anthems, incorporating synths, and now collaborating with her band for the first time on the writing of an album. With The Attachment Theory on deck for her latest, I invited her to Take 5 with her songs of metamorphosis, and what she revealed was the very blueprint of her musical heart.Jethro Tull - 'We Used To Know' Mary Chapin Carpenter - 'Passionate Kisses'The Lemonheads - 'Ever' Nine Inch Nails - 'Terrible Lie' Portishead - 'Only You'

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: The Beatles by Daniel Johnston (2006)Song 1: Ruby Soho by Rancid (1995)Song 2: Picture Perfect by The Regrettes (2017)Song 3: Dance For Me by Queen Latifah (1989)Song 4: Heavy is the Crown by Linkin Park (2024)Song 5: Downtown Train by Tom Waits (1985)Song 6: The Logical Song by Supertramp (1979)Song 7: A Kiss to Build a Dream On by Louis Armstrong (1951)Song 8: Roadrunner by The Modern Lovers (1976)Song 9: Living in the Past by Jethro Tull (1969)Song 10: Boulevard of Broken Dreams by Green Day (2004)

Salty Dog's RUMBLE Podcast, January 2025 Welcome to the RUMBLE where we track down some mighty fine tunes for ya. The show is dedicated to the late ANDREW KRUGER who recently passed. RIP mate. Andrew was an internationally respected journalist and innovator. In addition he was one of the first subscribers to the Salty Dog Blues N Roots podcast back in 2005/6 and supported the show for just on twenty years. He rode a Ducati, and took the podcast in his headphones right across Australia and Europe many times. Miss the lunch and your wisdom. Love ya man and rest easy. Stack of cuts from Reckoners, Cruel Sea, Vic Polyik, TK Reeve, La Garage, Joe Bonamassa, Humble Pie, CW Ayon, Gretta Ziller, Pieta Brown, Stompy and the Heat, Pete Cornelius, Ange Boxall, Rag N Bone Man, Woodland Hunters, Wren Bellette, Bruce Cockburn, Mark Nesmith, Colin James, Jethro Tull, Muireann Bradley, Jerron Paxton, Hat Fitz N Cara, Neil Young. ARTIST / TRACK / ALBUM ** Australia 1. Reckoners w. Susan Tedeschi / Looking For A Reason / Looking For A Reason 2. ** The Cruel Sea / Waste Your Time / Straight Into The Sun 3. ** Vic Polyik / North Straight Love Kit / Zero Gravity Swing 4. ** T.K. Reeve / Panhandler / Panhandler 5. La Garage / No Patience / No Patience 6. Joe Bonamassa / Little Girl / British Blues Explosion 7. Humble Pie / The Sad Bag of Shaky Jake / Town and Country 8. CW Ayon / Nothin' To Do With You / Bounce, Boogie and Bump 9. ** Gretta Ziller / Your Heart's Got Wheels / The Miles 10. Pieta Brown / Butterfly Blues / Mercury 11. ** Stompy And The Heat / Don't Tell Me / Stompy And The Heat 12. ** Pete Cornelius / Cruickshank / Southern 13. ** Ange Boxall / Thank You Yes Please / Skipping Stone 14. Rag N Bone Man / Wolves / Wolves 15. ** The Woodland Hunters / Enough Damage / Small Mercies 16. ** Wren Bellette / Road Less Travelled / This Love Will Die 17. Bruce Cockburn / Strange Waters / Charity of Night 18. Mark Nessie Nesmith / Stoner On My Soul / A Sinner's Prayer 19. Colin James N Charlie Musselwhite / Devilment / Chasing The Sun 20. Jethro Tull / Locomotive Breath / Aqualung 21. Muireann Bradley / Candy Man / I Keep These Old Blues 22. Jerron Paxton / So Much Weed / Things Done Changed 23. ** Hat Fitz N Cara / These Times / These Times 24. Neil Young / Danger Bird / Zuma

We're back with our regular audio installment which covers the past, present, and future of the genre we love with the Decibel Geek Times! Aaron Camaro has compiled a thorough list of artists and albums to remember as well as a look to the future with exciting upcoming rock releases! Artists lost that we're remembering this time include Dimebag Darrell, John Lennon, Tom Higgins, Razzle, and more. A number of albums are celebrating anniversaries including The Clash's 'London Calling,' The Rolling Stones - 'Let it Bleed,' Foreigner's 'Agent Provocateur,' and a bunch more. Looking ahead, there are great new and upcoming releases by Jethro Tull, Helloween, Violet, and more. It's a bunch of fun rock talk from your favorite geeks. We hope you enjoy the latest edition of the Decibel Geek Times and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download Learn more about your ad choices. Visit megaphone.fm/adchoices

Holmberg's Morning Sickness - Tuesday December 3, 2024 Learn more about your ad choices. Visit podcastchoices.com/adchoices