Podcasts about Jethro Tull

En 1977, deux potes quelques peu accrocs se soutiennent mutuellement et artistiquement. Ainsi David Bowie va produire au célèbre château d'Hérouville et à Berlin un IGGY POP qui vient de quitter les Stooges. C'est la fameuse période de la trilogie berlinoise pour le premier et une émancipation réussie pour le second dont le premier album "The Idiot" sera à juste titre bien accueilli, comme le beau bébé en ouverture de ce numéro !  Retour en 2026 (merci au Kid de m'avoir prêté sa Dolorean ! ) pour la sortie d'un album "évènement" comme on dit, puisqu'il s'agit du 2ème album solo du guitariste et membre fondateur des Spock's Beard, j'ai nommé ALAN MORSE. En Solo donc mais fort bien accompagné, par exemple par son frère Neal, ou encore Simon Phillips,Tony Levin (qui fait un joli doublé dans ce numéro ! ).  En France aussi on peut se réjouir de talents actifs, pour preuve je vous emmène dans le Jura découvrir le nouvel album de MESSALINE, groupe réputé et à juste titre,  qui (sous leur ancienne dénomination "Absurds") a eu l'honneur de faire des 1ère parties prestigieuses comme Ange ou encore Porcupine Tree... "Alias Lilith", tel est le nom du nouvel album....indispensable !  Depuis le décès du batteur et parolier Neil Peart en 2020, il semblait à priori évident que le trio canadien de RUSH mettent un point final à une déjà bien belle carrière...Mais c'était sans compter sur la détermination du duo Lee - Lifeson qui a finalement décidé de partir en tournée refaire vivre la légende, aidé par la talentueuse batteuse allemande Anika Nilles. Selon le communiqué de la formation, il s'agit de rendre hommage à Neil mais aussi d'ouvrir une nouvelle voie rythmique pour le groupe, alors comment ? Lives, nouvel album ? Comptez sur moi pour vous tenir au courant et en attendant vous pourrez les voir sur scène à Paris le 19 février 2027, on en reparlera forcément d'ici là. Retour dans cette émission sur l'album "Test For Echo" de 1996...tiens l'année de naissance de votre radio préférée !! Un autre artiste qui nous manque et qui a toujours une place de choix dans mes cages à miel, pour son talent, sa sensibilité et disons le, pour avoir mis le pied à l'étrier d'un certain Mike Oldfield, le fondateur des Soft Machine KEVIN AYERS. Ici sur son 5ème album depuis son départ de la Machine (qui sort un nouvel album le mois prochain, on y reviendra vous pensez bien ! ), "The Confusion Of Doctor Dream And Other Stories" en 1974. J'évoquais la participation de Tony Levin pour sa participation au nouvel album d' Alan Morse, le revoici, certes un peu plus jeune (en 1981) au sein de sa formation d'emploi, KING CRIMSON, alors réactivée après un silence radio de quelques années. Le retour du patron Robert Fripp et ses amis se fera sous le sceau... de la "Discipline" !  Retour dans l'hexagone, plus précisément du côté de Surgères, on est pas très loin de La Rochelle et surtout de St Palais, haut lieu de rencontre annuelle du rock progressif ! Et d'ailleurs on aimerait bien y retrouver un jour ces talentueux amis d'enfance : TOM BENARD ET ANTO. Je dis duo mais Tom Bénard et Anthony Machet ont su aussi s'entourer de musiciens expérimentés pour les soutenir et le résultat est une franche réussite ! POLARIS est un album pour les aficionados de fusion mais qui reste accessible à tous (évidemment pour peu qu'on écoute autre chose que de la variété ! ) et j'espère que l'extrait diffusé dans ce numéro vous donnera l'envie de les découvrir et de le faire savoir autour de vous : oui nos régions ont du talent !! Direction la Suède. A l'instar d'Alan Morse, HASSE FRÖBERG est lui aussi guitariste et membre fondateur d'une institution du prog (en l'occurrence les Flowers Kings) et je vous offre une tranche de son 2ème projet solo connu sous le nom raccourci de HFMC (pour Hasse Fröberg & Musical Companion) " et son album "Powerplay" initialement paru en 2012. Depuis d'autres productions sont parues mais celle-ci vient tout juste de faire l'objet d'une réédition (son remasterisé et titres live en bonus) alors ne boudons pas notre plaisir de revisiter cet opus !      Une petite touche folk anglaise avec JETHRO TULL et son éternel joueur de flute Ian Anderson qui en 2017 a réactivé la formation après quelques productions solo. Je dis réactivé mais il s'agit plus de redonner le nom de cette prestigieuse entité à une nouvelle formation, ce qui n'enlève rien à la qualité du dernier album "Curious Ruminant" sorti il y a un an. Mais dans ce numéro je vous propose de faire plus "vintage" et d'évoquer "Stormwatch" sorti en 1979, un petit joyau !  Malgré un "hit" archi diffusé ("Sympathy" en 1970), RARE BIRD n'est pas le groupe de rock progressif le plus souvent évoqué alors que leur son en était parfaitement représentatif dans cette décennie glorieuse pour ce genre musical... Sans doute ce titre fut trop "réducteur", ne laissant pas imaginer au "progueux" ce qu'il y avait derrière et inversement, les amateurs de pop et variété ont peut-être été déstabilisés en voulant creuser la production de ce groupe... Toujours est-il qu'écouter par exemple l'extrait de l'album "As Your Mind Flie By", permet de se faire quand même une bonne idée du son rock prog des 70's ! Réhabilitons ce groupe nom de Zeus ! Et pour clôturer en beauté ce 256ème épisode en direct d'Amarok, retour sur le dernier album en date du groupe ARENA, "The Theory Of Molecular Inheritance", sorti il y a déjà 4 ans. Profitons encore de la voix de Damian Wilson car ce dernier rend son tablier et quittera la formation après une série de concerts qui seront donnés en fin d'année, cédant ensuite le micro à son prédécesseur de retour au bercail Paul Manzi... vous suivez ? Et si on se mettait à espérer un nouvel album d'ici l'année prochaine ? En attendant, live long and prosper !!  Thierry Joigny Chaque jeudi, à 20h  

On today's show, a singer survives a plane crash & MTV revives The Monkees.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayChapters: 00:00 Intro 00:32 What happened on this date in music history03:18 Music award ceremonies that were held on this date in music history04:47 Albums released on this date in music history 05:28 Singles released on this date in music history 06:22 Birthdays of music artists on this date in music history 07:12 Passings of music artists on this date in music history 08:59 What's on tomorrow's episode

Max Pradera parte de la falsa obertura renacentista que Rod Stewart coló en “Maggie May” para demostrar que el pop siempre ha bebido de la Edad Media y el Renacimiento. De “Scarborough Fair”, rescatada por Martin Carthy y popularizada por Simon & Garfunkel, a “The House of the Rising Sun”, electrificada por The Animals; pasando por la falsa antigüedad de Maria del Mar Bonet y el medievalismo progresivo de Jethro Tull. 

Aujourd'hui une émission encadrée par le bon son analogique des 70' mais avec aussi  pas mal de nouveautés notamment "made in France"  !  Mais d'abord la Suède et l'un de ses groupes majeurs, j'ai nommé KAIPA, à une époque où la formation dont le membre le plus représentatif (même s'il n'en est pas fondateur), le guitariste et chanteur Roine Stolt , s'exprimait dans sa langue maternelle. Le groupe a depuis adopté le langage universel anglais mais peu importe puisque je vous ai choisi un petit instrumental extrait de l'album "Solo" paru  en 1978... En revanche et pour la première nouveauté de l'émission, voici une formation qui s'exprime en langue maternelle mais rencontre un meilleur succès à l'étranger. Nul n'est prophète dans son pays, en l'occurrence le nôtre puisqu'il s'agit de LAZULI. C'est étonnant car les frères Léonetti et leurs amis produisent régulièrement de véritables perles tout à  fait accessible avec des textes magnifiques et in french in the texte, please !!…. Alors pour les voir en concert, mieux vaut aimer voyager… Ah si tout de même, j'ai une date en France : "Chez Paulette" à Pagney (54) le 03 avril prochain ! Dans ce numéro un extrait d' "Etre ou Ne Plus Etre", le tout nouvel album ! Pseudo nouvelle sortie avec YES… Je m'explique : l'album mythique "Tales From Topographic Ocean" est daté de 1973. Mais à l'instar des productions précédentes, Steve Howe (seul rescapé de cette époque bénie) fait recettes en ressortant ces grands albums du groupe en éditions "Super Deluxe"... Et pour le dernier qui vient de se voir offrir une cure de jeunesse, ce n'est pas rien : 4 vinyles - 12CD - 1 blu-ray audio (dont un mixage 5.1). Le tout livré dans un somptueux coffret avec un joli livret et plein de photos...Il faut dire qu'à sa sortie originelle, l'album faisait déjà parler de lui…. Mais pour ceux qui n'aimaient pas le rock progressif (et oui il yen avait déjà

La Diputación de Córdoba colaborará con el Ayuntamiento en el refuerzo del talud del Cerro de los Poetas, una actuación anunciada tras la visita del presidente de la institución provincial, Salvador Fuentes, a las viviendas de las familias que continúan desalojadas por los desprendimientos de tierra; hablaremos de ello en la primera parte del programa junto a un nuevo balance de las consecuencias del temporal en Puente Genil ofrecido por el alcalde, Sergio Velasco. En la segunda parte tendremos una nueva entrega de Más de Una Canción con Kike Urdiales y Manolo Márquez para recordar la música de la legendaria banda británica Jethro Tull, además de los consejos de salud y dermocosmética de Farmacia Europa con María José Cejas y Ana Rodríguez.

Joe Escalante's weekly poking of the business end of the showbiz bear... This week: The Grammy's are happening as we do the show live, and Joe is confused... How is it that the Sublime (the band Joe manages) had the biggest song of the year, yet not get any Grammy love? Joe explains the impact of being an independent band on getting Grammy consideration. Joe also explains why he is puzzled by the fact that a punk rock band won the award for best Metal act. Punk is not metal, but it's not like the Grammy's actually care about accurate musical categories... just ask Jethro Tull! Also, Joe complains about AI getting everything wrong (again), and then he goes into the laws surrounding the use of the term Super Bowl, discussing when you can and when you can't use the term... Hey, the NFL sued a church over the use of the term, I'm guessing we're gonna need to change the name of this podcast at some point... Consider this a legal experiment.See omnystudio.com/listener for privacy information.

Time Arist Title Duration Album Year Composer Label Listeners 0:00:00 Public Service Broadcasting Go! 4:02 The Race for Space 28 0:04:01 1127 1:10 34 0:05:11 Renaissance Forever Changing (2022 Remix) 4:33 Azure D’Or (2022 Remix) 2022 Esoteric Recordings 37 0:07:01 Renaissance Forever Changing (2022 Remix) 4:33 Azure D’Or (2022 Remix) 2022 Esoteric Recordings 40 0:11:35 Fearful Symmetry I_ve Started So I_ll Finish – 6. The Dance of the Ghillie Dhu 5:35 36 0:17:10 GALAHAD Seize the Day 7:05 Alive at Loreley 2025 36 0:27:54 Soen Primal 4:28 Reliance 2026 36 0:32:22 Shadow Gallery Alaska 5:12 Carved in Stone 1995 Carl Cadden-James Magna Carta 36 0:37:34 Oddleaf Life 11:09 Where Ideal and Denial Collide 2024 37 0:51:30 Rush Lakeside Park 5:03 All the World’s a Stage (1997 Remaster) 1976 34 0:56:33 Soen Unbound 4:33 Reliance 2026 34 1:00:59 Leprous From the Flame 3:46 Malina 31 1:04:45 Soen Discordia 3:55 Reliance 2026 32 1:08:15 Soen Discordia 3:49 Reliance 2026 33 1:12:04 Within Temptation Caged 5:19 An Acoustic Night At The Theatre 2009 Sharon den Adel Sony Bmg European Services 34 1:17:23 The Blackheart Orchestra 13. The Flood 8:57 Hotel Utopia 2022 36 1:28:46 Sonus Umbra Blood and Diamonds 8:52 Beyond the Panopticon 2015 32 1:37:38 Jethro Tull 08 – JETHRO TULL – Hymn 43 (2025 Remaster) 4:18 Aqualung Live (Remaster 2025) 34 1:44:56 Galahad Omega Lights 9:58 The Last Great Adventurer 2022 33 1:54:54 Soen Indifferent 3:24 Reliance 2026 37 1:58:18 OSTURA Duality 12:02 The Room 37 2:10:19 OSTURA Exit the Room 1:42 The Room 2018 29 2:12:01 Pure Reason Revolution New Obsession 5:07 Eupnea 2020 29 2:12:03 Pure Reason Revolution Silent Genesis 10:13 Eupnea 2020 29 2:13:29 Pure Reason Revolution New Obsession 5:07 Eupnea 2020 29 2:18:36 Pure Reason Revolution Silent Genesis 10:13 Eupnea 2020 33 2:28:50 Soen Draconian 4:29 Reliance 2026 28 2:33:19 Tribe3 Last Encore 6:40 Life Amongst Strangers 29 2:43:35 Lesoir Modern Goddess 4:12 Latitude 2017 29 2:47:48 The Gentle Storm Endless Sea (Storm) 5:45 The Diary 28 2:53:33 Soen Vellichor 4:27 Reliance 2026 30

Christopher Isherwood's own stories of pre-War Berlin; remembering Renee Nicole Good; U.S. top court hears trans student sports ban cases, a new survey confirms pediatric transgender healthcare can be life-saving, Malaysian authorities shut down an empty “gay friendly” hotel, the latest Human Rights Campaign U.S. queer quality of life poll finds deterioration under Trump, and billionaire philanthropist MacKenzie Scott donates 45 million dollars to the queer youth crisis intervention and suicide prevention group The Trevor Project. All that and more this week when you discover “This Way Out”. Hosted this week by Lucia Chappelle and produced with Greg Gordon. “NewsWrap” reported this week by Michael Taylor Gray and Nico Raquel and produced by Brian DeShazor. Christopher Isherwood feature produced by Brian DeShazor with thanks to the Pacifica Radio Archives. Thanks also to Ann Northrup and Andy Humm of GayUSATV.org. Theme music: Kim Wilson. Additional music: Jethro Tull; Joel Grey; Bronski Beat. In our 38th year satisfying your weekly minimum requirement of LGBTQ news and culture!

A mix of songs about the cold weather we are having! Artists include Foreigner, The Rolling Stones, Jethro Tull, Rainbow, The Who, Vanilla Ice and more! (R)

This week we're sharing a series of episodes that capture one of our favorite themes on Second Act Stories: the moment when life changes key. These Key Changes episodes feature people whose lives have been shaped by music: some who left it behind for something new; others who found their way to it later than expected. Together, they're the stories we return to when we want to show how reinvention really works, not as a clean break, but as a shift in rhythm, perspective, and purpose. Whether you're a longtime listener or just discovering the show, these episodes reflect the heart of the podcast: bold pivots, unexpected harmony, and second acts that still have plenty to say. Tom Forst was 57 years old. He was a regional vice president with Cox Media, a huge communications company. He was jetting around the country on private planes. He had an army of people reporting to him. He was making a hefty salary. That was 10 years ago. He decided to quit his corporate gig to pursue a life-long passion – music. He put out his first blues-rock album as Tom "The Suit" Forst. He did a month-long tour of China as the headlining act. And now he's back in the studio now working on his next album. You can check out his music at www.TomTheSuitForst.com. He also launched the "Chasing The Blues" podcast which is well worth a listen. As the Jethro Tull song concludes, "You're never too old to rock n' roll." ******* If you enjoy Second Act Stories, please leave us a review here. We may read your review on a future episode! Subscribe to the Second Act stories Substack. Check out the Second Act Stories YouTube channel. Follow Second Act Stories on social media: Facebook LinkedIn Instagram Second Act Stories theme music: "Between 1 and 3 am" by Echoes.

The CAT Club presentsAn Audience with Jethro Tull guitaristMARTIN BARRE – A Life In MusicHis iconic riff in Jethro Tull's 'Aqualung' is widely recognised as one of the best in rock history and was also voted as one of the top rock guitar solos of all time by Guitar Player magazine readers.From 1968 to 2014, his guitar work defined much of the band's sound, contributing to their success and enduring popularity. Martin played on all of Jethro Tull's studio albums.Beyond his time with Jethro Tull, Martin Barre has pursued a successful solo career, releasing albums that showcase his versatility across rock, blues, and acoustic music genres.Martin Barre's contributions to music have been recognised with numerous accolades, including a Grammy Award for Best Hard Rock/Metal Performance in 1989. His innovative guitar playing has inspired countless musicians across various genres, cementing his influence in the music industry.He talked and entertained a sold-out audience about his extraordinary life and of his new book, 'A Trick of Memory: The Autobiography of Jethro Tull's Guitarist.' Jason Barnard in the interviewer's chair had to be on top form to keep the great man on track, which he did admirably.This event took place on 11 December 2025 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire.This podcast has been edited for content and for copyright reasons.To find out more about the CAT Club please visit: www.thecatclub.co.ukHappy Trails.

Time Arist Title Duration Album Year Composer Label Listeners 0:00:00 Airbag Dysphoria 10:53 Dysphoria (Live in the Netherlands) 2025 41 0:10:54 1126 1:10 39 0:16:49 Discipline When She Dreams She Dreams in Color 12:11 This One’s For England 2014 39 0:29:00 Valerie Gracious, Steve Unruh, Phideaux Xavier One Star 5:25 71319 (Live At Monforti Manor) 2020 Bloodfish Music 38 0:34:25 Airbag Dysphoria 10:53 Dysphoria (Live in the Netherlands) 2025 36 0:38:06 Echolyn Water in Our Hands, Pts. 1-4 28:39:00 Time Silent Radio II 2025 36 1:09:13 Gazpacho 8-Ball 3:03 Magic 8-Ball 2025 35 1:13:27 Bader Nana Star Born 5:34 Wormwood 2 2021 35 1:19:01 Echolyn Boulders on Hills 6:38 Time Silent Radio VII 2025 36 1:25:39 IAmTheMorning Sleeping Pills 3:24 Live at St. Matthias 2025 36 1:29:03 IQ Far from Here 12:38 Dominion 2025 35 1:43:52 Echolyn Radio Waves 6:58 Time Silent Radio VII 2025 36 1:50:50 Chroma Key Astronaut Down 4:51 You Go Now 2000 Kevin Moore Fight Evil 37 1:55:41 Planet P Project Saw a Satellite 4:06 Levittown 2008 Tony Carey Renaissance Records 36 1:59:47 Anima Mundi Sanctuary 5:10 Jagannath Orbit 2000 33 2:04:57 ‘Pure Reason Revolution’ ‘2. New Kind Of Evil’ 8:29 ‘Above Cirrus’ 33 2:15:36 Echolyn Tiny Star 8:23 Time Silent Radio VII 2025 33 2:23:59 Bullet Height No Atonement 3:35 No Atonement 2017 Superball 37 2:27:34 Henning Pauly Radio Sucks 5:26 Credit Where Credit Is Due 2006 T. Woolfolk Prog Rock Records 37 2:35:46 Jethro Tull 10 – JETHRO TULL – Locomotive Breath (2025 Remaster) 5:14 Aqualung Live (Remaster 2025) 31 2:41:00 Project Creation The Floating World 7:09 Floating World 2006 Prog Rock Records 28 2:51:38 Echolyn As The World 4:46 As The World 1994 Brett Kull/Echolyn/Raymond Weston echolyn 27

S9E2 went out live from the TSORR Studio on Myoli Beach on 8 January 2026 at 19h00 on Bulldogs Radio.  It's the first anniversary to the day of the opening of the studio in Myoli Beach. What a ride it's been. The New Year is kicking in, there's chaos around the world, and we're trying to make sense of it all by just playing the best music in the world.  In this episode, check out brand new releases from Alter Bridge and Megadeth.  We had a great Rock and Metal Time Machine, from Bowie to Newsted, ACDC to Mott the Hoople, all sorts to keep you entertained.  In The Diabolical Challenge, we looked at the 4 greatest grunge albums ever released.  Pearl Jam went through and will meet up with last week's winner, Black Sabbath's Heaven and Hell. Please do feel free to vote on the Diabolical Challenge every week on The Story of Rock and Roll Facebook page. It makes it much more interesting if we get a representative sample. Also check out the website: www.storyofrockandroll.com  and join TSORR Central https://chat.whatsapp.com/LQFVLqOUIpR0ArBarIAQEu The Running Order of Artists: Kim Mitchell, Junkyard, Rainbow, Clutch, Audioslave, Alter Bridge, Cold Chisel, Airbourne, Scorpions, Mother Love Bone, Judas Priest, Iron Maiden, Mott the Hoople, Rammstein, ACDC, David Bowie, Newsted, The Doors, The Clash, Queen, Rush, Twisted Sister, Def Leopard, Whitesnake, Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Jethro Tull, Joel Hoekstra's 13, Badlands, Circus of Power, Tesla, Bullet for my Valentine.The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

Happy 2026! Join us and start the year off right with some of the best progressive rock produced last year, as we begin our Prog-Watch and The Progressive Aspect collaboration on the Best of 2025! This year's contributors include Alex Driessen, David Edwards, Rob Fisher, John Giordano, Jane Lee, Magnus Moar, Rick Peuser, Ian Paul Sharp, Graham Thomas, and Leo Trimming! In this first part of our collaboration we will hear fabulous music from Rick Wakeman, The Wood Demons, Whispers of Granite, Steven Wilson, IQ, Jethro Tull, Jakko M. Jakszyk, Spriggan Mist, Nick Fletcher, Lunatic Soul, and Dave Bainbridge! Part 2 will follow in two weeks!  

Ever wanted to see Jean-Luc rock a flute like he was the lead singer in Jethro Tull? Well good news for you then because that's exactly what happens in “The Inner Light”! It's an all-new episode of ST:TNGeez, Not Another Star Trek Podcast, and it's coming at you right about . . . NOW!We've spent the last four seasons of Star Trek the Next Generation watching our intrepid crew get there asses zapped and this time it's John Luc Picard's turn! Seems the Enterprise is connected with a mysterious satellite or probe or object thingy that sends a ray of blip-blab right into our Captain, knocking his ass out! Picard wakes up on a planet where he's known as Kamen. Seems Kamen is an every man in the village of Ressik and he has a wife! At first JLP believes he's a prisoner -- This is not my beautiful house, this is not my beautiful wife! Same as it ever was, same as it ever was… Oh, sorry. After some exploring, and questioning, and trying to escape he eventually, eventually (after five years) accepts his wife, his new community, and his new self as Kamen, but uh oh, Kaman's Planet, Kataan is dying and as Jean Luc-Kamen gets older, he has to come to terms with all that this life has to offer including, raising children, the death of his beloved wife, and the knowledge that his grandchild won't get to live a full life -- Kaman's doomed and this whole thing is a simulation, man! And in this life, you're on your own -- and when the elevator tries to break you down, go crazy… Wait, where was I? Will Picard find a way back to his U.S.S. Enterprise -- does he even want to return? Will the Crew of the Enterprise be able to un zap there Captain's zapped ass? IS this the greatest episode of Trek, ever? Find out on this all new re-watch episode of STTNGeeeeeeeeez! Not another Star Trek Podcast!Even more available at: https://tngeez.com

On this episode of Reelin' In The Years... The Featured Five Theme is "Goals": Songs that mention some sort of Goal in the lyrics... A Beatles song that's essentially a reworking of Del Shannon's "Runaway"... A song written for Aretha Franklin, but first recorded by Dusty Springfield... The lead single from Chuck Berry's twentieth and final studio album... Robert Plant talks about playing in Iceland in 1970 and how it inspired "Immigrant Song"... New music from John Butler, Spoon, and Los Straitjackets. Plus deep tracks from Jethro Tull,My Morning Jacket, CCR, Albert King, Procol Harum, and much more! For more info on the show, visit reelinwithryan.com

”Progemetallin kantaisien kantaisä”. 1983 Iron Maiden julkaisi progevaikutteisen albuminsa Piece of Mind, jolla mukana oli uusi rumpali Nicko McBrain. Heviasiantuntija Matti Ruotsalalle se on albumi, jonka ansiosta Iron Maiden on hänelle erityinen bändi, jonka perässä hän on matkustellut ympäri maailmaa. Piece Of Mind meni Suomessa listakärkeen, mutta tuolloinen Helsingin keikka ei myynyt loppuun, vaan bändi esiintyi vajaalle hallille. Sami Ruokangas ja Matti Ruotsala puivat Iron Maidenin tyylimuutosta ja Suomen keikkahistoriaa Piece Of Mind -albumin kautta. Kuuntele, viihdy ja sivisty. Jakson soittolista: https://open.spotify.com/playlist/6y03rlmDcL4GdXN1FBxjKe?si=6259c6c80e70454f Maidenin menossa ovat mukana Rush, Motörhead, AC/DC, Ozzy Osbourne, Judas Priest, Def Leppard, Whitesnake, Saxon, Michael Schenker Group, UFO, Martin Birch, NWOBHM, Steve Harris, Eddie, Nassau Compass Point Studios, Bruce Dickinson, Adrian Smith, Dave Murray, Jethro Tull, Nicko McBrain, Dream Theater, Blaze Bayley, Dyyni, Kotkat kuuntelevat, Alistair MacLean, Clint Eastwood, Rainbow, UKK-Halli. Levyraati, Klaus Järvinen, Pirkko Liinamaa, Kari Suomalainen, Blue Öyster Cult, Smith/Kotzen, Pink Floyd, Thin Lizzy, Queensrÿche, Richie Kotzen, Poison ja Mr. Big. www.facebook.com/RockAroundTheBlogFinland www.instagram.com/samiruokangas

This week, part 2 of our celebration of 2025 releases! It's been another amazing year for new music from legacy artists, current artists, and new artists. Join Kevin as he's on his own once again for our end-of-year celebration and recognition of all of the awesome, recorded output in rock n' punk n' metal during 2025! What is it we do here at InObscuria? Every show, Kevin opens the crypt to exhume and dissect from his personal collection; an artist, album, or grouping of tunes from the broad spectrum of rock, punk, and metal. This week, we look back on another amazing year for the world of rock n' punk n' metal. In celebration of the New Year, we wanted to find some nuggets of joy from the last 12-months. We hope everyone enjoyed the holidays and that you can take some time to kick back and rock with us! Happy New Year, everyone!Songs this week include:Danko Jones - “Everyday Is Saturday Night” from Leo Rising (2025)Howling Giant - “Hunter's Mark” from Crucible & Ruin (2025)Propaghandi - “Rented P.a.” from At Peace (2025)The Elven - “Far Beyond” from Solstice (2025)Castle Rat - “SERPENT” from The Beastiary (2025)Witchrider - “Sound Of The Presidents” from Metamorph - EP (2025)Inglorious - “Say What You Wanna Say” from V (2025)Paralyzed - “Railroad” from Rumble & Roar (2025)Jason Bieler & The Baron Von Bielski Orchestra - “Violent Creatures” from The Escapologist (2025)Seikima II - “老害ロック” from Season II (2025)Girlschool - “Auld Lang Syne” from We Wish You A Metal Xmas And A Headbanging New Year (2008)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it: InObscuria StoreIf you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Morse code transcription: vvv vvv Eleven arrested over mass shooting in South Africa tavern Catherine and Charlotte perform Christmas carol service piano duet US denies visas to ex EU commissioner and others over social media rules Why Ill need earplugs to get through Christmas dinner Latest peace plan offers possible Ukrainian withdrawal from east, Zelensky says British boy, 13, fatally stabbed in central Portugal Officials discover a million more documents potentially related to Epstein case Boat stranded on edge of giant hole in Whitchurch canal pulled to safety Jethro Tull founding member Mick Abrahams dies aged 82 Some South West festive swims cancelled due to wind warning

Morse code transcription: vvv vvv Boat stranded on edge of giant hole in Whitchurch canal pulled to safety Why Ill need earplugs to get through Christmas dinner British boy, 13, fatally stabbed in central Portugal Catherine and Charlotte perform Christmas carol service piano duet Some South West festive swims cancelled due to wind warning Eleven arrested over mass shooting in South Africa tavern Latest peace plan offers possible Ukrainian withdrawal from east, Zelensky says Officials discover a million more documents potentially related to Epstein case Jethro Tull founding member Mick Abrahams dies aged 82 US denies visas to ex EU commissioner and others over social media rules

Morse code transcription: vvv vvv British boy, 13, fatally stabbed in central Portugal Some South West festive swims cancelled due to wind warning Catherine and Charlotte perform Christmas carol service piano duet Why Ill need earplugs to get through Christmas dinner Eleven arrested over mass shooting in South Africa tavern Jethro Tull founding member Mick Abrahams dies aged 82 Officials discover a million more documents potentially related to Epstein case Boat stranded on edge of giant hole in Whitchurch canal pulled to safety US denies visas to ex EU commissioner and others over social media rules Latest peace plan offers possible Ukrainian withdrawal from east, Zelensky says

Morse code transcription: vvv vvv Latest peace plan offers possible Ukrainian withdrawal from east, Zelensky says US denies visas to ex EU commissioner and others over social media rules British boy, 13, fatally stabbed in central Portugal Why Ill need earplugs to get through Christmas dinner Eleven arrested over mass shooting in South Africa tavern Jethro Tull founding member Mick Abrahams dies aged 82 Some South West festive swims cancelled due to wind warning Boat stranded on edge of giant hole in Whitchurch canal pulled to safety Officials discover a million more documents potentially related to Epstein case Catherine and Charlotte perform Christmas carol service piano duet

On the December 20 edition of the Music History Today podcast, Elvis gets his draft notice, Jethro Tull forms, Dreamgirls premieres, & happy birthday to Alan Parsons & JoJo For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Chapters: 00:00 Intro 00:16 What happened on this date in music history02:24 Albums released on this date in music history 03:09 Singles released on this date in music history 03:24 Podcast advertisement 03:43 Birthdays of music artists on this date in music history 04:34 Passings of music artists on this date in music history 05:33 What's on tomorrow's episode

On this week's episode, we look at the case for putting Mariah Carey into next year's class of the Rock & Roll Hall of Fame.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayChapters:00:00 Intro 00:17 Jethro Tull History02:09 Jethro Tull Commercial Success03:27 Jethro Tull Awards04:30 Who Jethro Tull Influenced05:05 Why Jethro Tull Should Be Inducted05:40 Why Jethro Tull Shouldn't Be Inducted07:34 Would You Want Jethro Tull To Come Back07:49 Outro

“I don't think I'm smart enough to listen to this…”   As with the many legendary concept albums that have come before, masterpieces such as King Diamond's Abigail, Queensryche's Operation: Mindcrime, and Dream Theater's Scenes From A Memory, THE LAST WILL AND TESTAMENT, the latest offering from OPETH, is one of the finest examples of storytelling ever captured in audio form and is their first proper “concept album” to date.    “They cram so much into such a small space…”   Chronicling the reading of the will of a wealthy patriarch (and featuring Ian Anderson of Jethro Tull as the patriarch in question), THE LAST WILL AND TESTAMENT perfectly represents the culmination of the various components that have established OPETH as a progressive metal force to be reckoned with for more than 30 years.    “I realize this is not y'all's favorite flavor of the month…”   With a seamless blending of their early progressive and melodic death metal period through their more eclectic, 70's prog rock infused progressive metal period of the 2010's, OPETH is akin to a “haunted house version of Dream Theater”, loaded with a wide  variety of sonic textures, top tier instrumental prowess, and vivid lyrical imagery, all of which are covered in a thin drapery of darkness.    “Have they ever done anything ‘hooky'?”   JOIN US as we take on what is arguably one of the finest progressive metal concept albums in existence (and most certainly a top contender for “Album Of The Year”) and quite possibly the greatest OPETH album of all time, THE LAST WILL AND TESTAMENT.   Visit www.metalnerdery.com/podcast for more on this episode Help Support Metal Nerdery https://www.patreon.com/metalnerderypodcast Leave us a Voicemail to be played on a future episode: 980-666-8182 Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on your favorite Podcast app Follow us on the Socials: Facebook - Instagram - TikTok Email: metalnerdery@gmail.com Can't be LOUD Enough Playlist on Spotify Metal Nerdery Munchies on YouTube @metalnerderypodcast Show Notes: (00:01): “I would like to take this moment to say…AND…” / #GeorgiaBulldogs / “Dangole sports ball dawgs…” / #Natty / “Speaking of Athens…my only thought was…R.E.M. must have written this song…”/ #WeBuiltThisCityASMR / “That's when they dropped the Jefferson…”/ “As long as there's a bend in the wrist, you're fine…”/ #markthetime / ***WARNING: #listenerdiscretionisadvised *** / #waitforit #markthetime / “And I screamed like a little girl…not one footstep did I hear…”/ ***WELCOME BACK TO THE METAL NERDERY PODCAST!!!*** / #strangerinthetub #jackoffhand / “Like a chimpanzee?”    (06:06): PATREON US at www.patreon.com/metalnerderypodcast  / “Who knows? Santa might bring a shirt…” / MERCH US at www.metalnerdery.com/merch / SOCIAL MEDIA US at #FaceBook #InstaGram #YouTube #TikTok at #metalnerderypodcast / EMAIL US at metalnerdery@gmail.com / VOICEMAIL US AT 980-666-8182!!! / CASTLE RAT –WIZARD (The Bestiary – 2025) / “It's like Pat Benatar in a stoner band…she's got swords dude!” / “That dude's hard to look at…his mouth is weird…”/ #markthetime / “That'll be the shittah not that other shittah…”   (12:50): #TheDocket METAL NERDERY PODCAST PRESENTS: OPETH – THE LAST WILL AND TESTAMENT / “It's an oopsie that's a fun oopsie…”/ #educationalpodcast / #Opeth #TheLastWillAndTestament / “It's their very first concept album…” / “I like to think of them like haunted house #DreamTheater …”/ “The first album with the return of the death growl vocals (aka ‘screams') in 13 years…”/ “I've got room now, dude…”/ Released November 22, 2024 / “This is cool because it's new and it's old at the same time…”/ Featuring Ian Anderson from Jethro Tull / “Subsection…not SS…in case you're wondering…”   (17:00): §1 / “Is this good with relaxers?” / “Draped in death…the howl of lore…” / “Let's do backroads…maybe some dirt roads…” / §2 / “Isn't that a creepy, haunted sound?”/ “Until his return…” / #useyourheadphones / “It's kinda not necessarily all over the place but it's all over the place…”/ “It's got a weird, haunted 70's feel to it for the modern age…”/ “Every album is different but they're all uniquely different…”/ #Oldpeth / “Have they ever done anything ‘hooky'?”   (26:47): §3 / “Reminds me of #Rush …”/ #onmicburp / “He's looking for the big hit single…” / “He's talking about…the hook…”/ §4 / “No! No! No!” / #harpsolo / “This is music nerd music…” / §5 / “He does that one vocal part that sounds like #Forbidden to me…”/ “It's all head…”/ #markthetime / “Where'd that come from?”/  Death growls vs Screams / “I realize this is probably not y'all's favorite flavor of the month…this is right up there with #Coroner for #AOTY …”/ “They cram so much into such a small space…” / “There's tons of coke lines…”   (39:17): §6 / “He's an octopus genius…” / #drumvirtuoso / “This is like #Rainbow on steroids…70's prog…” / “It's almost comical it's so awesome…”/ “Is this one all in 7's?” / #towardsthelater / §7 / “I like the flute, I do…I never thought I'd say that…”/ “They should get the guy who made #HeavyMetal (the movie) …animate this album…like a concept album movie…but with a lot of tits” / “It's hereditary ropes, bruh…”/ A STORY NEVER TOLD / “This is the most consistent…”/ “Bless y'all for at least giving it a shot…”/ #urgent / #moodmusic / “I got into them when the #Damnation album came out (2003)…you might like that…it's more like #PinkFloyd …”/ THANK YOU FOR JOINING US!!! / #untilthenext #outroreel 

“Who headlined a 2012 show in France with The Darkness and Lady Starlight as openers?” That's just one of the brain-busting questions in this unforgettable episode of The Ben and Skin Show, featuring hosts Ben Rogers, Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina Ray.The crew dives headfirst into Name That Headliner, a fast-paced, hilarious music trivia game that spans decades—from the Motown magic of the '60s to the indie anthems of the 2010s. Expect wild guesses, shocking reveals, and plenty of laugh-out-loud banter.Key Highlights:KT introduces the game and immediately sparks chaos with rules no one can agree on.Skin dominates early, but not before Krystina nails a surprise Coldplay clue.Legendary lineups revealed: Jethro Tull at Red Rocks, Jay-Z with DMX and Method Man, and the jaw-dropping Whitesnake show that had ZZ Top opening.Plus, the crew reminisces about concerts they'd kill to attend and drops some killer music knowledge along the way.

https://www.skool.com/gmp-vips-1236/the-portugal-playlist-a-thread?p=9ffdfab1Become a supporter of this podcast: https://www.spreaker.com/podcast/the-good-morning-portugal-podcast-with-carl-munson--2903992/support.Need help in Portugal? Contact Carl by phone/WhatsApp on (00 351) 913 590 303, email carl@carlmunson.com or join the Portugal Club community here - www.theportugalclub.com

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: 21st Century Schizoid Man by King Crimson (1969)Song 1: Thick as a Brick (Pt. 1) by Jethro Tull (1972)Song 2: The Miracle (of Joey Ramone) by U2 (2014)Song 3: More Bounce to the Ounce by Zapp & Roger (1980)Song 4: Suburban Home by Descendants (1982)Song 5: Miracles by Jefferson Starship (1975)Song 6: Overture - The Phantom of the Opera by Andrew Lloyd Webber (1986/2004)Song 7: Raid by MF Doom (feat. MED) (2004)Song 8: Miracle Drug by A.C. Newman (2004)Song 9: The Next Episode by Dr. Dre (feat. Snoop Dogg) (1999)Song 10: Parkbench Chameleon by Cat's Pajamas (2024)

In this episode, retail strategist Leon Nicholas—VP of Retail Insights & Solutions at Smurfit WestRock—breaks down the forces reshaping modern commerce. Leon explains why smart packaging, AI, automation, and shifting consumer behavior are transforming everything from supply chains to in-store experiences. He reveals how retailers can stay relevant, why “everything will be tagged,” and how small chains can now punch above their weight. A fast, insightful look at retail's future.Leon's Top 3 Songs:“Aqualung” by Jethro Tull: https://www.youtube.com/watch?v=N4zPu3ISCGs“Copacabana” by Barry Manilow: https://www.youtube.com/watch?v=GYvyzg3KtpY“Endless Love” by Diana Ross: https://www.youtube.com/watch?v=ubrfaD9DIusMister Beacon is hosted by Steve Statler, CEO of ambientChat.ai — Using AI to connect people with places and products with an app that puts you in control of YOUR data.Our sponsor is Identiv https://www.identiv.com, whose IoT solutions create digital identities for physical objects, enhancing global connectivity for businesses, people, and the planet. We are also sponsored by Blecon http://www.blecon.net. Blecon enables physical products to communicate with cloud applications using Bluetooth Low Energy. Hosted on Acast. See acast.com/privacy for more information.

Hello there everyone and welcome to another episode of "The A to Z of Rock with Matt and Brian"  We are featuring the Letter J  this week !!!!! Expect tunes from JAYLER, James Gang, Jethro Tull and the MIGHTY Judas Priest  We have our usual features of "Double Live", "Shredder of the Week"  and "Song of Epic Proportions" as well  Hope you enjoy The Show Playlist Invisible Enemy - JOANovARC Funk#49 - James Gang We Share the Same Sun - Stereophonics Hot Blooded - Foreigner Hardship - Untamed Silence All I Really Want - Alanis Morissette Judas- Fozzy No Woman - JAYLER When the Music Played - Thunder Jamie's Cryin' - Van Halen Jet City Woman - Queensryche Cliffs of Dover - Eric Johnson Metal Gods - Judas Priest The Mob Rules - Jorn Jane - Jefferson Starship Just Got Lucky - Dokken No Lullaby - Jethro Tull Line of Fire - Journey Jungleland - 21 Guns Johnny 99 - Bruce Springsteen Flick of the Switch - AC/DC Junior's Eyes - Black Sabbath   Rock On !!!! Matt and Brian. 

ANNE LEIGHTON RETURNS (WITH MORE ROCK LEGENDS) She's back! After an incredible conversation in Episode 90, newly minted "Honorary Derringer" Anne Leighton rejoins Team Derringer at the table for Part 2. As a veteran music publicist, artist representative, poet, and public speaker, Anne (of Leighton Media, Music Services, Motivation) has championed some of the most respected names in music. In this episode, Anne pulls the curtain back even further, sharing insights and personal stories about three more artists from her rock and roll stable... including the namesake of this very podcast! IN THIS EPISODE, YOU'LL HEAR: Rick Derringer: The Namesake | We finally do it. We're talking about the man himself, the namesake for Team Derringer, the legendary Rick Derringer. While Anne didn't formally publicize Rick, she shares her notable personal connection to the rock icon who gave us "Rock and Roll, Hoochie Koo." We trace his career from the #1 hit "Hang On Sloopy" with The McCoys to his production work for Edgar Winter ("Frankenstein") and even "Weird Al" Yankovic's Grammy-winning hits. Renaissance: The Annie Haslam Era | Next, Anne discusses the symphonic-rock legends Renaissance. We clarify the connection to the original Yardbirds-era lineup (featuring Jim McCarty) and dive into the iconic version of the band fronted by the ethereal vocals of Annie Haslam. Anne shares her work with the group responsible for prog-rock classic "Carpet of the Sun." Joe Deninzon & Stratospheerius: The Future of Prog | To cap it off, Anne introduces us to an artist who has been called "The Jimi Hendrix of the electric violin." Joe Deninzon is a force of nature who leads the progressive rock quartet Stratospheerius. We discuss his incredible journey, which has recently led him to his biggest gig yet: joining the legendary rock band Kansas as their new violinist, bringing his energy to timeless classics like "Carry on Wayward Son" and "Dust in the Wind." DON'T MISS ANNE LEIGHTON'S FREE MUSIC & CATS SYMPOSIUM Anne invites listeners to her two-day online symposium that explores the melodic and mysterious bond between musicians and cats. The event features segments on Jethro Tull, Renaissance, and Grand Funk Railroad's cat rescue projects. Register for free at: www.eventbrite.de/e/music-and-cats-online-symposium-tickets-1595714708649?aff=oddtdtcreator PLAYLISTS As promised: Spotify's Billons Club playist! Check out the Derringer Discoveries playlist for this episode: Anne Leighton Rocks. WHERE TO LISTEN & CONNECT More info & show notes: www.derringerdiscoveries.com/091 Website: www.derringerdiscoveries.com Theme Song: Your Sister's Room by Ho Jo Fro. Episodes: www.derringerdiscoveries.com/episodes. Social Media: Instagram, Facebook, Threads, X, and BlueSky. Newsletter: Stay up to date by signing up for our newsletter.  Thank you for listening to Derringer Discoveries! 

ANNE LEIGHTON RETURNS (WITH MORE ROCK LEGENDS) She's back! After an incredible conversation in Episode 90, newly minted "Honorary Derringer" Anne Leighton rejoins Team Derringer at the table for Part 2. As a veteran music publicist, artist representative, poet, and public speaker, Anne (of Leighton Media, Music Services, Motivation) has championed some of the most respected names in music. In this episode, Anne pulls the curtain back even further, sharing insights and personal stories about three more artists from her rock and roll stable... including the namesake of this very podcast! IN THIS EPISODE, YOU'LL HEAR: Rick Derringer: The Namesake | We finally do it. We're talking about the man himself, the namesake for Team Derringer, the legendary Rick Derringer. While Anne didn't formally publicize Rick, she shares her notable personal connection to the rock icon who gave us "Rock and Roll, Hoochie Koo." We trace his career from the #1 hit "Hang On Sloopy" with The McCoys to his production work for Edgar Winter ("Frankenstein") and even "Weird Al" Yankovic's Grammy-winning hits. Renaissance: The Annie Haslam Era | Next, Anne discusses the symphonic-rock legends Renaissance. We clarify the connection to the original Yardbirds-era lineup (featuring Jim McCarty) and dive into the iconic version of the band fronted by the ethereal vocals of Annie Haslam. Anne shares her work with the group responsible for prog-rock classic "Carpet of the Sun." Joe Deninzon & Stratospheerius: The Future of Prog | To cap it off, Anne introduces us to an artist who has been called "The Jimi Hendrix of the electric violin." Joe Deninzon is a force of nature who leads the progressive rock quartet Stratospheerius. We discuss his incredible journey, which has recently led him to his biggest gig yet: joining the legendary rock band Kansas as their new violinist, bringing his energy to timeless classics like "Carry on Wayward Son" and "Dust in the Wind." DON'T MISS ANNE LEIGHTON'S FREE MUSIC & CATS SYMPOSIUM Anne invites listeners to her two-day online symposium that explores the melodic and mysterious bond between musicians and cats. The event features segments on Jethro Tull, Renaissance, and Grand Funk Railroad's cat rescue projects. Register for free at: www.eventbrite.de/e/music-and-cats-online-symposium-tickets-1595714708649?aff=oddtdtcreator PLAYLISTS As promised: Spotify's Billons Club playist! Check out the Derringer Discoveries playlist for this episode: Anne Leighton Rocks. WHERE TO LISTEN & CONNECT More info & show notes: www.derringerdiscoveries.com/091 Website: www.derringerdiscoveries.com Theme Song: Your Sister's Room by Ho Jo Fro. Episodes: www.derringerdiscoveries.com/episodes. Social Media: Instagram, Facebook, Threads, X, and BlueSky. Newsletter: Stay up to date by signing up for our newsletter.  Thank you for listening to Derringer Discoveries! 

Today's program features tuneage from Boz Scaggs, Quicksilver Messenger Service, Jethro Tull, Dire Straits, The Doobie Brothers, Steve Miller Band, REM, Rush, The Kinks, Hollies, Doors, Steppenwolf, Spirit, Steely Dan, It's A Beautiful Day, Dave Mason, Savoy Brown, Janis Joplin, Fleetwood Mac and Lou Reed.

Double, double, toil and trouble… This week, we put a spell on you and invite you to participate in our craft. On this 3rd week of Gothtober, we bring you witches from the world of rock n' punk n' metal. These are bands named after broomstick ridin', pointy hat wearin', green-skinned cacklin' ladies of the coven. Step up to our cauldron and have some brew!What is it we do here at InObscuria? Every show, Kevin opens the crypt to exhume and dissect from his personal collection, an artist, album, or collection of tunes from the broad spectrum of rock, punk, and metal. Robert is forced to test his endurance and provide feedback, as he has no idea what he will be subjected to every week. Our hope is that we turn you on to something that was lost on your ears, or something you've simply forgotten about, or that (in our opinion) should have been the next big thing. Oh, and we also want your soul.Songs this week include:All Them Witches – “Heavy / Like A Witch” from Our Mother Electricity (2012)Margarita Witch Cult – “Crawl Home To Your Coffin” from Strung Out In Hell (2025) Wytch Hazel – “The Demon Within” from V:Lamentations (2025)Two Witches – “The Angel Of Pain” from Bites (1995)Witchrider – “Wake Me Up” from Metamorph - EP (2025)Witch – “Soul Of Fire” from Witch (2006)Angel Witch – “Straight From Hell” from Frontal Assault (1986)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://www.instagram.com/inobscuria/https://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it: InObscuria StoreIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Escucha el episodio de esta semana con Alfonso Cardenal y Fernando Neira. 

Ever wonder who helps legendary musicians share their stories with the world? In this episode, Team Derringer (Laura, Alton, and Paul) chats with the incredible Anne Leighton, a top-tier music publicist, artist representative, poet, and public speaker from NYC. Anne pulls back the curtain on her fascinating career and gives us the inside scoop on what it's like to work with some of the biggest names in music. She also shares tales of writing for top music mags and the art -- and heart -- of championing artists from every corner of rock and pop.  The group unpacks what a publicist actually does (think equal parts strategist, storyteller, and stubbornness), how long promoter-artist relationships can last, and why publicity is marathon work dressed up like a sprint. The hosts keep it snappy with playful banter and music snippets that prove the point. Get ready for a walk through rock and roll history! Anne shares stories about her work with the iconic Jethro Tull and its flute-wielding frontman, Ian Anderson, the masterminds behind classics like "Aqualung" and the jaw-droppingly long 43-minute song, "Thick as a Brick." Then we groove to the 70s with tales of the band Orleans, who gave us the timeless hits "Dance with Me" and "Still the One." Plus, you'll hear some amazing trivia, like how Orleans' leader, John Hall, took a detour from music to serve in the U.S. Congress. We cap it off with the brilliant, Grammy-winning trio, The String Revolution, and discuss their stunning instrumental covers of hits like Michael Jackson's "Billy Jean" and Ozzy Osbourne's "Crazy Train." This conversation was so good, we had to make it a two-parter! After accepting the title of Honorary Derringer, Anne agreed to come back in a few weeks to talk about three more amazing artists! WHERE TO LISTEN & CONNECT More info & show notes: www.derringerdiscoveries.com/090 Website: www.derringerdiscoveries.com Theme Song: Your Sister's Room by Ho Jo Fro. Episodes: www.derringerdiscoveries.com/episodes. Social Media: Instagram, Facebook, Threads, X, and BlueSky. Newsletter: Stay up to date by signing up for our newsletter.  Thank you for listening to Derringer Discoveries!   

Ever wonder who helps legendary musicians share their stories with the world? In this episode, Team Derringer (Laura, Alton, and Paul) chats with the incredible Anne Leighton, a top-tier music publicist, artist representative, poet, and public speaker from NYC. Anne pulls back the curtain on her fascinating career and gives us the inside scoop on what it's like to work with some of the biggest names in music. She also shares tales of writing for top music mags and the art -- and heart -- of championing artists from every corner of rock and pop.  The group unpacks what a publicist actually does (think equal parts strategist, storyteller, and stubbornness), how long promoter-artist relationships can last, and why publicity is marathon work dressed up like a sprint. The hosts keep it snappy with playful banter and music snippets that prove the point. Get ready for a walk through rock and roll history! Anne shares stories about her work with the iconic Jethro Tull and its flute-wielding frontman, Ian Anderson, the masterminds behind classics like "Aqualung" and the jaw-droppingly long 43-minute song, "Thick as a Brick." Then we groove to the 70s with tales of the band Orleans, who gave us the timeless hits "Dance with Me" and "Still the One." Plus, you'll hear some amazing trivia, like how Orleans' leader, John Hall, took a detour from music to serve in the U.S. Congress. We cap it off with the brilliant, Grammy-winning trio, The String Revolution, and discuss their stunning instrumental covers of hits like Michael Jackson's "Billy Jean" and Ozzy Osbourne's "Crazy Train." This conversation was so good, we had to make it a two-parter! After accepting the title of Honorary Derringer, Anne agreed to come back in a few weeks to talk about three more amazing artists! WHERE TO LISTEN & CONNECT More info & show notes: www.derringerdiscoveries.com/090 Website: www.derringerdiscoveries.com Theme Song: Your Sister's Room by Ho Jo Fro. Episodes: www.derringerdiscoveries.com/episodes. Social Media: Instagram, Facebook, Threads, X, and BlueSky. Newsletter: Stay up to date by signing up for our newsletter.  Thank you for listening to Derringer Discoveries!   

El artista gallego comenzó su carrera en su tierra natal, pero en 2014 se mudó a Londres en 2014, donde tocó con varias bandas antes de emprender su carrera en solitario. Su habilidad con la técnica del “fingerstyle” es deslumbrante, y destaca por su versatilidad: su guitarra acústica cuenta historias cautivadoras en todo tipo de estilos, como el gypsy jazz, el blues, el country, el swing, el pop o el folk. Sus referentes son figuras como Merle Travis, Chet Atkins y Tommy Emmanuel y entre sus últimos hitos está el haber actuado como artista invitado para bandas como Jethro Tull.Escuchar audio

1975 Jethro Tull

referencesExp Mol Med. 2024 Apr 1;56(4):946–958 J Cell Physiol.. 2024 May;239(5):e31230Guerra, DJ. 2025.Unpublished LecturesTownsend, P. 1971 Wont Get Fooled Again. From Who's Next The Whohttps://music.youtube.com/watch?v=Jtb10ZwbReY&si=jiRwoTM70ibkbAHdTownsend, P .1969 Pinball Wizard from Tommy lp.https://music.youtube.com/watch?v=3xZzGtDW2p4&si=7EROWKQO7DreWHHJAnderson, I. 1969. We Used to Know from Stand Up lp.Jethro Tull.https://music.youtube.com/watch?v=oGvux7w1Ea4&si=s8rzKSAvM4aQSahZMozart WA 1788. Symphony 41 in C Major K. 551https://music.youtube.com/watch?v=0VuSqLbFwXM&si=J4tvwnIBGUMbGlFL

Why didn't engineer Alan Parsons get rich off of Dark Side Of The Moon? Is Bruce Kulick responsible for the reunion of KISS in 1996? What band fired members of their crew for requesting too much chocolate on their tour rider? All that plus, former Ozzy Osbourne bassist Bob Daisley comments on the passing of Ozzy. All that and much more with Australian podcaster Michael Pursche!Purchase a copy of Sitting in a Bar in Adelaide (15 Years Of Podcasting)Listen to the Sitting in a Bar in Adelaide podcast---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:BLUESKYFACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Classic Hawk: Val Verde Pet Rescue with John GemberlingOriginally Aired: 7/11/22Whisp Turlington and Geoff “The Angry Man” Garlock welcome a very special guest: Simon Corunne, the frazzled owner of Val Verde Pet Rescue (played by John Gemberling). Simon's got some big problems on his hands—and he's hoping The Hawk can help.Meanwhile, Jason Gore checks in live from the grand opening of Buster Poindexter's Hot Hot Hot Springs. Keanu Reeves swings by to promote his latest romantic comedy, Hey Girl, It's Me. And yes, Jethro Tull's Ian Anderson treats listeners to a preview of brand-new Tull material.But that's not all—because we've got one burning question for you: Who is Mark Davidson, and who hit him? Hit play and FIND OUT.Guest StarringJohn Gemberling (Broad City, Fat Guy Stuck In Internet, The Phoney and Call-y Show) Support Val Verde's Second Choice for Rock – 108.9 The HawkSubscribe to the podcast on Apple, Spotify, YouTube, or wherever you get your shows.Visit our website & join the mailing list: 1089thehawk.comGet early access & bonus shows on Patreon: patreon.com/1089thehawkSubscribe to our YouTube Channel: youtube.com/@1089thehawkFollow us on social: Instagram, TikTok, Bluesky, Facebook, Threads Hosted on Acast. See acast.com/privacy for more information.

A record with their heaviest song to date! This week's guest on Discover New Music is Eric Vanlerberghe of I Prevail. Their fourth studio record "Violent Nature" is a 10-track power house and one that brings in old and new elements of the band and their sound. Vanlerberghealso notes how each song has it's own strong identity. Long story short, the band is beyond excited to finally have this new piece of work out to the fans. As always, a quick round of Rapid Fire is played...with a mutual love of Jethro Tull! See omnystudio.com/listener for privacy information.

Join Scott Kummer, Josh Hohbein, Kevin Emmonds, Andrew Robot-Dinosaur and Tom Berry for a discussion of Jethro Tull - Aqualung and Leftfield - Leftism. Fill out the Poll for this show.  Remember....its never too late: https://docs.google.com/forms/d/e/1FAIpQLSclFiWJ1ZDzOIhlWsE7SIS_BG5Qh1SAboTHM5GSVQ9E-3wpZw/viewform All the other shows and forms can also be filled out on our website: https://igtov.com/vote-here Or just view the chart: https://igtov.com/chart-of-essentiality Get on the mailing list my emailing: igtovpod@gmail.com JoIn the "I've Got That On Vinyl" Facebook Group: https://www.facebook.com/groups/684186180585840 On Twitter: @IGTOVPodcast On Instagram: https://www.instagram.com/igtovpodcast/ Or email us anytime at IGTOVpod@gmail.com Intro and Outtro music by Mishka Shubaly: http://www.mishkashubaly.com

Lots of great, contemporary progressive sounds await on this week’s Prog-Watch! PROG Mag artists Grace Hayhurst, Hiroe, and Huis, plus The Foundation, Jethro Tull, and Steve Hackett! And our friend and resident reviewer, Dr. Rob Fisher, returns to take us on a voyage of Progressive Discovery with the debut album by an exciting new project […]

Esta semana en Islas de Robinson, retomamos nuestra senda de clásicos, que ya tocaba. Lo hacemos a lo grande, por supuesto. Suenan: NEIL YOUNG & CRAZY HORSE - "COWGIRL IN THE SAND" ("EVERYBODY KNOWS THIS IS NOWHERE" / LOVE - "AUGUST" ("FOUR SAIL", 1969) / JETHRO TULL - "FOR A THOUSAND MOTHERS" ("STAND UP", 1969) / MIGHTY BABY - "I'VE BEEN DOWN SO LONG" ("MIGHTY BABY", 1969) / MOBY GRAPE - "SEEING" ("MOBY GRAPE'69", 1969) / JEFFERSON AIRPLANE - "ESKIMO BLUE DAY" ("VOLUNTEERS", 1969) / TASTE - "BORN ON THE WRONG SIDE OF TIME" ("TASTE", 1969) / FREE - "SWEET TOOTH" ("TONS OF SOBS", 1969) / CREEDENCE CLEARWATER REVIVAL - "EFFIGY" ("WILLY AND THE POOR BOYS", 1969)Escuchar audio

Lots of great, contemporary progressive sounds await on this week's Prog-Watch! PROG Mag artists Grace Hayhurst, Hiroe, and Huis, plus The Foundation, Jethro Tull, and Steve Hackett! And our friend and resident reviewer, Dr. Rob Fisher, returns to take us on a voyage of Progressive Discovery with the debut album by an exciting new project called Whispers Of Granite!  

This episode is part of Pledge Week 2025. For five days this week, I will be posting old Patreon bonus episodes to the main feed to encourage people to subscribe to my Patreon. If you want more of these, and only if you can afford it, subscribe for $1 a month at patreon.com/andrewhickey . Whether you do or not, I hope you enjoy this one. (more…)

Un concierto de bandas tributo y justo tocan a mi banda favorita ECDQEMSD podcast episodio 6093 No Son Los Deftones Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias del Mundo: Acuerdo con Japón - Revuelta científica contra Trump - Ranking de inflación - Peligro IA - La humildad de Monreal - Pagar para ver al Presidente - Radio pública en USA Historias Desintegradas: Salida con amigos - Tributos a bandas y solistas - Nuevo trabajo de Deftones - Aquí si juzgamos - Recuperé canciones - Recuperar los Rolling Stones - El Rollinga - La historia de Black Sabbath - Robo a la verdulerías - Jethro Tull no va a llegar - Cruce de caminos - Malcom es todo bueno - Mi nick ancestral - Tequila para todos y más... En Caso De Que El Mundo Se Desintegre - Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados!! NO AI: ECDQEMSD Podcast no utiliza ninguna inteligencia artificial de manera directa para su realización. Diseño, guionado, música, edición y voces son de  nuestra completa intervención humana.

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