Podcasts about Jimi Hendrix

We kick things off with Rep. Hank Johnson butchering Jimi Hendrix and Rep. Jasmine Crockett becoming a meme again. Then it's on to President Trump's explosive posts about Africa treaties, Jessica Tarlov, and a clear message to Iran: no war—but don't test us.Also in this episode:*JD Vance destroys Sen. Padilla with a savage nickname and zero remorse*Mayor Karen Bass and CNN analysts defend the indefensible*The DNC is broke, again—what's new?*Mahmoud Khalil gets released and immediately returns to protesting*Kamala Harris reportedly asked Mark Cuban to be VP (yes, seriously)*Tulsi Gabbard exposes the media's spin on Iran*Trump's world address sends the internet into meltdown*Thomas Massie and Dave Smith pick fights with Trump*Bernie Sanders crowd chants “no more war”*The Hodge twins are under fire, and Caitlin Clark gets support from Sophie CunninghamPlus: CNN flips on Newsom, JD Vance shows how it's done, and Trump reminds Iran who's boss.SUPPORT OUR SPONSORS TO SUPPORT OUR SHOW!Keep your pets clean and fresh this summer with Coat Defense shampoo—save 15% at https://CoatDefense.com with code CHICKS!Try Lean for weight loss, formulated with a natural appetite suppressant cactus from India. Use code Chicks20 at https://Takelean.com for 20% off your first order!Luxury isn't out of reach with Cozy Earth.  Go to https://CozyEarth.com and use code CHICKS for up to 40% off their best-selling luxury sheets, apparel, and more.Get ready for beach season with a great selection of beach towels from MyPillow! Visit https://MyPillow.com/Chicks and use promo code CHICKS at checkout to save.Don't wait!  Visit  https://KnowYourRiskPodcast.com to schedule your free Know Your Risk Portfolio Review with Bulwark Capital.

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

When the world shakes, can you stay anchored? In this episode, Raghunath and Kaustubha unpack how deep spiritual clarity allows one to remain peaceful—even when chaos reigns. Inspired by a lyric from Jimi Hendrix, they explore lessons from the Śrīmad Bhāgavatam and the film The Fog of War to reveal how fear collapses when we root our peace in truth. It's not apathy—it's clarity. It's not withdrawal—it's preparation for wise engagement. Tune in for stories, insights, and unexpected humor on the path to unshakable peace. SB 10.3.23-27 ********************************************************************* LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108

We kick things off with Rep. Hank Johnson butchering Jimi Hendrix and Rep. Jasmine Crockett becoming a meme again. Then it's on to President Trump's explosive posts about Africa treaties, Jessica Tarlov, and a clear message to Iran: no war—but don't test us. Also in this episode: *JD Vance destroys Sen. Padilla with a savage […]

Episode 156: Get More From Your Guitar Pedals (Without Buying New Ones) Welcome to the Chairmen of the Boards Podcast! The ultimate pedalboard podcast with the foremost rig builders in the world: Grant Klassen (Goodwood Audio), Brian Omilion (Omilion Audio), and Mason Marangella (Vertex Effects/The Rig Doctor). We've teamed up to democratize great tone and provide you with our best tricks, tips, resources and hacks so you can build the pedalboard of your dreams!   //SPONSORS// The Guitar Sanctuary - https://theguitarsanctuary.com Neural DSP - https://www.neuraldsp.com (use discount code "chairmen" for 30% off) Best-Tronics - https://btpa.com (use code "dachairs" for 10% off) GB Music & Sound - https://www.gbmusicandsound.com/?ref=Chairmen   //HOSTS// Grant Klassen (Goodwood Audio) YT - ‪@GoodwoodAudio‬ IG - https://instagram.com/goodwoodaudio   Brian Omilion (Omilion Audio) YT - ‪@omilionaudio‬ IG - https://instagram.com/omilionaudio   Mason Marangella (Vertex Effects) YT - ‪@VertexEffectsInc‬ IG - https://instagram.com/vertexeffects   //YOUTUBE// Watch COTB Podcast live: @chairmenoftheboards

The 9th Circuit Court of Appeals ruled that Trump can maintain control of the National Guard in California. The King County Housing Authority could be facing cuts from the federal government. Democrat Congressman Hank Johnson performed a shockingly bad anti-Trump version of Jimi Hendrix’s song “Hey Joe.” // Jason made a guest appearance on CNN and lived to tell the tale. The world waits to see if the United States will get involved in Iran. // The Oregon legislature invited a black drag show to perform at the opening ceremony of the legislative session. ‘The View’ is blaming Sunny Hostin for Kamala Harris’s election loss.

This week I'm joined by Australian musician Gareth Liddiard (Tropical Fuck Storm, The Drones) who chose to discuss one of the greatest concert films of all time,  EINSTÜRZENDE NEUBAUTEN:HALBER MENSCH.We talk about how Tropical Fuck Storm made their own film (Goody Goody Gumdrops) during the pandemic lockdown, Gareth playing shows with Neubauten, how TFS writes their brain-melting songs and how Neubauten's influence crept into their work, TFS having to leave Melbourne due to economics, making their music using equipment they didn't know how to use, how not to be too good at guitar, the influence of Greg Ginn, John Coltrane & Jimi Hendrix, Thrasher magazine, the current difficulties of touring the States, blowing things up in music videos, industrial high-school study music, Neubauten playing inside an actual freeway, how Neubauten are The Beatles of the industrial world in terms of charisma, how the film transcends pretension, Butoh dancers, Tarkovsky's Stalker, the microphoned shopping cart, Blixa's take on The Police, how the film is so well scripted and shot by filmmaker Gakuryū Ishii, how the legendary music producer Gareth Jones recorded one of the most expensive industrial records of all time and more. So let's set our instruments on fire and the music to stun on this week's episode of Revolutions Per Movie!TROPICAL FUCK STORM:https://usa.firerecords.com/products/tropical-f-storm-fairyland-codexhttps://tropicalfstorm.bandcamp.com/album/fairyland-codexREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Captivating audiences since his teenage years, Eric Travers has solidified his status as a seasoned musician in the vibrant Asheville music scene. Hailing from the mountains of Black Mountain, NC, Travers first made his mark as the heartbeat behind an acclaimed Rock n Roll, Jam Band, Travers Brothership, which he co-founded with his brother Kyle at just 13 years old. Over the past 15+ years, the group has amassed an impressive catalog of 35+ published tracks and extensive touring experience. Now 31, Travers has reached new heights in 2024 with the release of his latest single, "Dead End Street," and his new role as Owner and CEO of the All Aboard Records label. Drawing from his diverse musical background in rock, Americana, and blues, Travers' emotive performances and melodic sensibilities have earned him a dedicated following across Western North Carolina and beyond, cementing his role in the local music scene. With the launch of his latest project, the Eric Travers Band, this versatile multi-instrumentalist is primed to take his artistry to thrilling new levels.1. Background and Music CareerHow did you get started in music? What inspired you to pursue it as a career?My father was a career musician who always had instruments and fellow musicians around. My first "real" drumset was gifted to me when I was 8-9 years old. It became a dream of mine when I received praise and applause from my cousins playing air guitar at the age of 3 and 4. I was inspired to start a career in music because I made enough money to barely get by as a musician and this was my end goal. All or none. I sought out a living and a labor of love.When did you first start performing and touring?My first performance was for my school, performing an Elvis Christmas song with my twin brother and father. Performing regularly started when I was 15, with my brother, playing shows from Brevard, NC all the way to Marion, NC as "Travers Brothers Band / Caution Tape", a four piece Rock n' Roll outfit with a 2010, 10 track LP. Our bandmate's father helped us with transportation for 3 years. Touring started after my time freed up, at the age of 17. (When we could drive). I made the choice to leave college for the career in music. Now the band was performing for only $200 every Thursday in Greensboro, NC. A 2 1/2 hour drive from our hometown, Black Mountain, NC.How would you describe your musical style, and how has it evolved over time?My music style is American roots music. When I was 11-13 my band "The Predatorz" played strictly Rock n' Roll like Jimi Hendrix and ZZ Top. I started playing piano and acoustic guitar at this time which was strictly music by The Beatles. "Caution Tape--> Travers Brothers Band" then came along at 14-17. And the Rock n Roll became more jam band oriented with extended guitar solos influenced by The Allman Brothers Band. Then, groove oriented funk music became a thing.My brother and I founded a very successful touring band at the age of 18 called Travers Brothership. In 2012 our debut release was very progressive, soulful, funk and rock group. For the next 4 years we toured with 7 members performing what we called "funkadelic" music. Our 3 piece horn (brass) section helped color this genre.In 2016 the lineup changed back to the original 4 members of the band including my twin brother. We had no choice but to return to a jammy, Rock n' Roll vibe to keep audiences on their toes. We had to stick to our guns and give the audience a powerful sound to make up for 3 lost players in the band.2. The Traveling ExperienceWhat is the most exciting part about traveling for your music?The most exciting part is seeing landmarks, going to new places, seeing national parks and observing the different arts and cultures.How do you typically prepare for a tour? Does your preparation change depending on where you're performing?When preparing for tour I have to make sure my drumset is ready for performance. All items must be accounted for in our vehicle and/or trailer. In the beginning I required everyone to have foodstamps. We got by with very little. When we were traveling for longer lengths of time we brought more clothes and made sure our vehicle was in proper condition. Eating nutriously required extra packing which was always tough because everyone's priorities are different. Our preparation will change if we are traveling further, flying or if we need our clothes to be nicer. Dressing accordingly is just one step "above" the audience - say, if the audience has T-shirts, we wear button downs.How do you stay grounded and connected to home while you're on the road?Staying connected to home always came with forfeiting home for the road. My dog traveled with me everywhere. The road and music were my home and a way of life.Have you ever had a surprising or unexpected cultural experience while performing in a different country or city?New Orleans, LA was a culture shock. The large but small music community was humbling. The experience of spending time in Hamburg, Germany was unexpected because some tour dates were canceled. I spent 1 week here. This atmosphere was very interesting and intimidating. 3. Life on the RoadCan you walk us through a typical day on the road for you? What's the routine like?Our road life followed a minimalist lifestyle. The band had to be weekend warriors. Days on the road started by waking up in someone else's house either on the floor or a random bed. We would normally sleep in as late as possible. We would take turns showering and get on the road asap. Play time was hard because a 4 person vote to do something is really annoying. In the van we mainly slept. There are a lot of road rules. We'd show up at a show, perform and hopefully rely on night life to prepare us for a place to crash. Hotels were hardly an option until we became established enough for a living wage. The routine followed Day of Show instructions but life on the road followed lifestyle. We all had our own lifestyle. I am epileptic so staying healthy was my main goal.What are some of the most challenging aspects of life as a touring musician?Musicians don't get paid much. This is a challenge and hard to keep a band together because of this. When keeping track of your tour dates you can see that you've played 300 shows but only once in a certain market, so they're not paying you. The hardest part is the time spent between the stage and the bus. The culture, nightlife and fun is the biggest challenge. You would believe that not getting paid is worth it, for site seeing and a good time; however, all time must be spent with comradery and focus.How do you manage the physical and mental toll of constant travel, late nights, and performing?Our band couldn't manage the physical and mental toll. We broke up after 10 years due to a mental health crisis. Alcohol was introduced to us whenever we were 14 and 15. Everyone wants to party with the artist. If you don't become part of the culture you're not doing your job. Or are you? My job was to network and find our next opportunity until and we were more established. I wrecked two vans on tour having a seizure, due to poor health. Our backs started to hurt. We didn't take care of ourselves or know how to. It can be a really hard life and managing everything is very challenging.4. Performing to Different AudiencesWhat's it like performing in new cities or countries where the audience may not know your music?The band and I stick to our guns. When you're playing original music confidently with passion and love, everyone reacts the same way. We would change our set for different audiences, though. Europe liked blues and rock. Frat parties liked dance music. Local bars liked cover songs.How do you adapt your performance for different audiences and cultures?I personally liked changing outfits and/or suggesting different songs. Say, in the south we would cover an Allman Brothers Song or play my country influenced original. Or, in a Latin culture like Spain we would cover Santana.Do you notice any commonalities in the energy or reaction of audiences around the world, or does it vary a lot?There are a few different types of shows and audiences: one is the crowd that is there for the culture, and not the music, while another is strictly listening, and then a fully supported original crowd that is mainly family/friends. A festival and jam band community always followed us. Our crowds can always mingle. Our "family". Music is a universal language. All in all our band found it's way in to a "jam band" grateful dead scene.5. Connection with FansHow do you build a connection with your fans when you're on the road?Building connection comes with personal experience or online presence. Do you have any memorable stories about a fan encounter or a meaningful moment with someone in the crowd?I remember performing on stage in front of the biggest crowd I have ever played in front of and locking eyes with my dad, who was in "awe". Also, moments in which I've inspired other musicians to pursue a career. I remember a time setting up a fans drumset for his son.What role do social media and online engagement play in connecting with your audience while traveling?These play the largest roles. Keeping fans interested can be challenging. There's only so much you can do. If you're not a strong personality then you will struggle in this business.6. Challenges of TouringWhat has been one of your biggest challenges while touring, and how did you overcome it?Getting along and my seizures. Mental health is the biggest challenge for every musician. Saying no to drugs and alcohol.Have you ever had a tour or performance go completely wrong? How did you handle it?Things have gone completely wrong before. Sometimes, admitting defeat is the best option if things are failing. But at the end of the day, if the show must go on, then it must go on. You can follow Eric on instagram @allaboardrecords and Facebook, and find his music on Apple Music, Spotify, or anywhere you like to stream!!

El pasado 22 de abril, Carlos Santana se desmayó en la prueba de sonido previa a un concierto en San Antonio, Texas. La gira The Oneness Tour se vio pospuesta de inmediato. Un episodio parecido ocurrió en julio de 2022 en Clarkston, Michigan. Ambos se produjeron por deshidratación y un golpe de calor, y asustaron a sus fans, ya que el guitarrista había sufrido un procedimiento cardíaco no programado luego de una caída, lo que provocó la cancelación de fechas en Las Vegas. En esta conversación, Santana habla con honestidad y emoción sobre su nueva colaboración con Grupo Frontera en la canción “Me Retiro” -producida y compuesta por el brillante músico Edgar Barrera -, recuerda sus inicios en la música con el violín, su entrenamiento como guitarrista en clubes de dudosa reputación en Tijuana, compara de manera divertida y gastronómica su estilo con “saber hacer bien unos huevos revueltos”,  recuerda su primer encuentro con Jimi Hendrix, y revela quién es, según para él,  el guitarrista más poderoso del planeta.  

Buzz Me In: Inside The Record Plant Studio chronicles how two men (with a little help from Hendrix) built the go-to recording hub of the decade. Over-the-top partying, tight deadlines, all-night sessions, and egos the size of hotel suites — this is the 1970s music scene in full throttle. *This episode is sponsored by Thames & Hudson - the world's great publisher of illustrated books on Art, Architecture, Design, Photography, Fashion, Lifestyle, Music, History. *Authors David Goggin and Martin Porter created a Spotify playlist to go with every chapter— Listen here *Want the latest in Rock N Roll Book and Documentaries news sent to your inbox? Sign up for the Monthly BLAST!! the newsletter that comes out on the last Friday of the month that features book buzz and doc news, recently released titles, top 5 lists, and more. Just shoot me over an email at the address below and say Big Rick, send me over that Blast!Support the showemail Big Rick at:info@rocktalkstudio.com

This week, tune in for a very special retrospective that not only celebrates the legendary status of Electric Lady Studios, but also serves as a window into the broader cultural shifts of the 1960s and 70s. Jay Jay is joined by legendary guests Eddie Kramer and John Storyk, who engage in a lively dialogue that traverses personal history, technical advancements, and the evolution of music production as a whole. The conversation delves into the role of Electric Lady Studios (which was designed by Storyk & Kramer) as a space that fostered experimentation and artistic expression. Jay Jay's perspective as a musician who experienced this era firsthand complements the insights of Kramer and Storyk, who both played pivotal roles in shaping the sound of a generation. The conversation ends with discussing Jimi Hendrix, his vision for the studio, and how his creative ethos continues to inspire artists to this day. This episode not only offers a first hand lens into a vibrant moment in music history, but offers listeners a profound understanding of the intricate interplay between art, technology, and human connection that defines the spirit of Electric Lady Studios.Don't miss this conversation, only on The Jay Jay French Connection: Beyond the Music!Produced & Edited by Matthew Mallinger

"And the cat's in the cradle and the silver spoonLittle boy blue and the man on the moonWhen you comin' home sonI don't know when, but we'll get together then, DadWe're gonna have a good time then"Miss my Dad every day, lets celebrate Fatherhood together on this week's Super Sounds Of The 70's. Joining us are Joe Walsh, Joni Mitchell, Buddy Miles, Cat Stevens, Elton John, Jackson Browne, Lee Michaels, Stephen Stills, Lenny Kravitz, Chewy Marble, Paul  Simon, Jimi Hendrix, David Crosby, Graham Nash, The Kinks and Neil Young. We'll also pay tribute to two key contributors to the "Soundtrack Of Our Lives", Brian Wilson and Sly Stone.

Loren Rhoads, author of the superb book "222 Cemeteries to See Before You Die" was the guest on this episode, discussing dolmens in Ireland's Burren region, Jimi Hendrix' grave, the Church of the Holy Sepulcher in Jerusalem, and much more.

Nothing can beat a charismatic frontman. Then again, there are some Side Players that give them a run for their money. I mean… who is Bono without Edge? Freddie Mercury without Brian May? Roth or Haggar without Eddie Van Halen? Robert Plant without Jimmy Page? Anthony Kiedis without John Frusciante? Bon Scott or Brian Johnson without Angus & Malcolm? Or Mick Jagger without Keith Richards.Of course I would be remiss not to mention the few charismatic Frontmen that are also ripping guitarists. Like Brad Paisley, Keith Urban, John Mayer, Jimi Hendrix, Either of the Vaughn Brothers, Derek Trucks, Prince, Eric Clapton, Chet Atkins, Mark Knopfler, Vince Gill… and lets just say ALL of the Kings.But which is it better to be, a Frontman or a Side Player? Can you be both? Which carries more stress? Which carries more fame? Does one roll have more significance than the other? Who has the bigger influence on the sound? If we could give some advice, what would it be? When I think of a band, which member  comes to mind? And… job security… did I just get fired?Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.

(Episode 337) The Blueberry Chicks come to the studio to talk about the popularity of Blueberries and the Blueberry Store in South Haven. They also brought in some Blueberry Silk Pie from the Grand Traverse Pie Company that you can find at the Blueberry Store. After that, Amanda Jones and Mason Dixon join Rob in the studio to talk to Scott Spears from the Wild Woody's and Scott Spears Trio. Scott tells us about performing on County Road 689 and his upcoming Jimi Hendrix tribute on June 28th. The gang talks a little about the riots and protesters before we have Racin' Mason Dixon's Front Porch Stomp. Mason invites Alex Clubb from Alex Clubb Racing, LLC. He tells us about his racing life, a run for Mayor in Morris, Illinois and his savage high school wrestling days. It's all here, right now and so much more on the Moondog Show.

Author and long-time Grateful Dead publicist, Dennis McNally, joins us to discuss the iconic San Francisco Haight-Ashbury counterculture movement of the 60s. How it began, the many whose belief built it, and its lasting impact almost six decades later.Purchase a copy of The Last Great Dream: How Bohemians Became Hippies and Created the Sixties Visit Dennis McNally's website ---------- 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

The music of Taj Mahal, Sue Foley, Bobby Blue Bland, Jimi Hendrix, ZZ Top and more is included in this music show from June 12, 2025. Click on the picture/link and enjoy. See you on the radio next week Thursday 7-9 PM on KMRE 88.3 FM. Art of Billy Gibbons of ZZ Top by artist extraordinaire Brian Kramer

A l'occasion de la fête de la musique, l'équipe Bababam a sélectionné quatre histoires retraçant les destins tragiques de personnalités ayant marqué d'un fer rouge le monde de la musique.   Connu pour ses prestations électrisantes et incontrôlables, il a révolutionné le monde de la musique en 4 ans, laissant derrière lui une foule de guitaristes qui l'adulent. Son nom : Jimi Hendrix. De l'interprète de génie à la carrière fulgurante découvrez son histoire. Un artiste sans limite L'horizon du petit Johnny Allen Hendrix, né le 27 novembre 1942, est terne et inquiétant. Ballotté entre des parents alcooliques et séparés et les services sociaux, il trouve quelques moments de réconfort lorsqu'il est seul dans la petite maison de Seattle. Pourquoi ? Parce qu'il écoute de la musique le plus fort possible, et qu'il joue de la guitare avec… un balai ! Comment est-il devenu l'un des meilleurs guitaristes du monde entier ? Et qu'est-ce qui l'a amené à sa perte ? Ecriture : Hélène Vézier Réalisation : Célia Brondeau, Antoine Berry Roger Voix : Andréa Brusque Première diffusion le 14 juin 2022. Learn more about your ad choices. Visit megaphone.fm/adchoices

Every once in a while, you get the honor of doing a podcast with someone who you know is an important part of history. That's what I got to do today with Abe Jacob. Now, Abe is a sound designer. If you don't know what that is, well, I didn't really know either, but he's actually known as "The Godfather of Sound."He's had this remarkable life and career starting with his first gig that he did when he's right out of college at 22 years old in that 1966-1967 timeframe. This job ends up being The Beatles' last live concert. Shortly after he gets a job working with a band called The Mamas and the Papas. He tours with them and Peter, Paul and Mary, even winding up at the Capitol during a huge Vietnam protest concert. His list of accomplishments just goes on and on and on, having worked intimately with Jimi Hendrix until his death.What's so interesting is that Abe works with all of these legends, but he doesn't earn his nickname until he moves to theater. He is critically important to all the major plays of this time, including  Hair, Jesus Christ Superstar, Pippin', and he does A Chorus Line and Chicago at the same time. I mean, he works with legendary choreographer Bob Fosse. He becomes great friends with legendary actress Lauren Bacall. He has had an amazing and very interesting life. You can see why I'm excited having Abe do my podcast. It's exactly what I'm looking to accomplish. To document these important voices in art and Abe is most definitely an artist. Quite frankly, I would pay to interview Abe. He was that good. So I hope you enjoy. This is the Godfather of Sound, Abe Jacob, on Art Dealer Diaries Podcast episode 350.

Join me for an inspiring conversation with beauty industry pioneer Kim Wileman, co-founder of No Makeup Makeup and founder of Gala Beauty. Kim takes us on her unconventional journey from growing up with rock musician parents who toured with Led Zeppelin and Jimi Hendrix, to discovering her passion for beauty at a Lord & Taylor counter. Kim shares how she built a successful career without finishing college, why no executive has ever asked about her education, and how following her heart to Hawaii opened doors she never expected. We dive deep into her philosophy of walking away from opportunities that aren't in alignment, even when money is tight, and how that approach has consistently led to better outcomes. From her early days making $5.80 an hour as a buyer to consulting for billionaires and now co-owning a revolutionary beauty brand, Kim's story is a masterclass in trusting your instincts, building expertise through experience, and creating wealth with purpose. She reveals her approach to risk management as an entrepreneur and shares her vision for using future success to invest in and mentor the next generation of founders. Key Topics: How growing up with parents who followed their dreams despite uncertainty shapes your relationship with risk and possibility Why she never finished college but built a successful career anyway - and why no executive has ever asked about her education How to recognize when opportunities aren't in alignment with your values and have the courage to walk away Building industry expertise and authority through hands-on experience rather than formal credentials The transition from employee to consultant to business owner - and how to manage financial risk at each stage Why following your heart (like moving to Hawaii for love) can open unexpected professional doors Her approach to building wealth for legacy - planning to invest in others rather than accumulating for herself Connect with Kim online: Website: https://nomakeupmakeup.com/ Instagram: https://www.instagram.com/kimmykimkimkim/?hl=en LinkedIn: https://www.linkedin.com/in/kimwileman/   Find more from Syama Bunten: Instagram: @syama.co, @gettingrichpod Website: https://syamabunten.com/ Download Syama's Guide to Getting Rich: www.syamabunten.com Big Delta Capital: www.bigdeltacapital.com      

Ben raves about Garmin Smart Charts as a potential ForeFlight killer, while the gang shares their biggest radio pet peeves - from the dreaded "with you" to "fish finder." Brian explains why his ignition wires "date back to when Jimi Hendrix was an unknown rising guitarist," and they dive into listener feedback about check ride prep (spoiler: don't get "tuned up" the day before). Plus, discussions of "meat missiles" falling from the sky at skydiving operations, whether Florida counts as the Southeast, and why we all struggle with remembering which runway we just landed on.Mentioned on the show:* "Polish doctor" with a CTLS, video 1, pilot hypoxic at 25k feet: https://www.youtube.com/watch?v=Xym_ADvX_2o:* "Polish doctor" video 2, SP-SMED gets banned from airspace: https://www.youtube.com/watch?v=lToh07ov5hQ* Checkmate Aviation, passenger briefing: https://www.checkmateaviation.com/products/checkmate-crew-and-passenger-briefing-card* Is pitot heat required to fly IFR? https://aviation.stackexchange.com/questions/100892/is-pitot-heat-required-for-ifr* Happy Fun Ball disclaimers: https://www.youtube.com/watch?v=GmqeZl8OI2M* Angel Flight Southeast: https://angelflightse.org/* Garmin Pilot Smart Charts: https://www.garmin.com/en-US/aviation/garminpilot/smartcharts/* Aviation101 promoting Smart Charts: https://www.youtube.com/watch?v=IKoEfHCn9ZA* PilotEdge: https://www.pilotedge.net/* VATSIM: https://vatsim.net/* LiveATC: https://www.liveatc.net/* Bill Dance (fishing): https://en.wikipedia.org/wiki/Bill_Dance_(television_host)* CMD - Cullman, Alabama: https://www.airnav.com/airport/CMD* Dublin, Georgia: https://en.wikipedia.org/wiki/Dublin,_Georgia* Dublin's Redneck Games: https://en.wikipedia.org/wiki/Redneck_Games* Vidalia Georgia: https://en.wikipedia.org/wiki/Vidalia,_Georgia* Woodstock movie (1970): https://en.wikipedia.org/wiki/Woodstock_(film)Support Midlife Pilot Podcast on Patreon, get merch, join our Discord community, and more at www.midlifepilotpodcast.com

Hey Rock Campers, get ready to go ape as Rock Camp The Podcast unearths the real story of The Monkees! David Fishof drops exclusive, untold stories from managing their massive 80s MTV comeback (including a wild Super Bowl party moment!). Plus, special guest Aviva Maloney, who toured with the band, spills the tea on their incredible dynamics, the truth about Jimi Hendrix opening for them, and so much more. From their TV revolution to the Rock Hall debate and legendary songwriters, this is a no-holds-barred Monkees deep dive packed with behind-the-music secrets you absolutely can't miss! Learn more about your ad choices. Visit megaphone.fm/adchoices

185 - Chico Pinheiro In episode 185 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with Brazilian guitar master Chico Pinheiro. In their conversation Chico tells us about his location during the interview, his home in Sau Paulo, Brazil, and that accounts for a bit of delay at times in our conversation. Chico tells us about traveling with his guitars internationally using Calton cases, Delta airlines and air tags and Chico tells us about the guitars he's traveling with, Benedetto's, check out episode 48 for a little more history of Benedetto guitars with Dave Miner. Chico tells us about graduating from Berklee in Boston in just a year and Chico tells us about turning professional at age 12 and his musical upbringing listening to his mom's Jimi Hendrix records… and he tells us about how Brazilian music is in his soul. Chico describes how collaborating helped his career internationally and how those collaborations came about. Chico tells us about his guitar techs around the world and Echizen in Japan who makes his nylon string guitars and he tells us about his his amp choices and his Klon pedal. Finally Chico talks about what he does in his down time: coffee and biking. To find out more about Chico and see his tour dates you can visit his website: chicopinheiro.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #ChicoPinheiro #BrazilianGuitar #BenedettoGuitars #DaveMiner #Benedetto #Echizen #Klon #theDeadlies #haveguitarwilltravelpodcast #HGWT

Episode 153: Are Tariffs Tanking Pedal Makers? Welcome to the Chairmen of the Boards Podcast! The ultimate pedalboard podcast with the foremost rig builders in the world: Grant Klassen (Goodwood Audio), Brian Omilion (Omilion Audio), and Mason Marangella (Vertex Effects/The Rig Doctor). We've teamed up to democratize great tone and provide you with our best tricks, tips, resources and hacks so you can build the pedalboard of your dreams!   //SPONSORS// The Guitar Sanctuary - https://theguitarsanctuary.com Neural DSP - https://www.neuraldsp.com (use discount code "chairmen" for 30% off) Best-Tronics - https://btpa.com (use code "dachairs" for 10% off) GB Music & Sound - https://www.gbmusicandsound.com/?ref=Chairmen   //HOSTS// Grant Klassen (Goodwood Audio) YT - ‪@GoodwoodAudio‬ IG - https://instagram.com/goodwoodaudio   Brian Omilion (Omilion Audio) YT - ‪@omilionaudio‬ IG - https://instagram.com/omilionaudio   Mason Marangella (Vertex Effects) YT - ‪@VertexEffectsInc‬ IG - https://instagram.com/vertexeffects   //YOUTUBE// Watch COTB Podcast live: @chairmenoftheboards

The multi-talented NJ singer/songwriter Lisa Kovacs (withproducer Arnie Brown) returns with her latest including her new album release“Bluebird” plus the new song “Fallin' Away” and the new book release “Lisa M.Kovacs Book 1-Poems From a Singer/Songwriter”! Lisa began her career at 7writing her first song and playing piano, wrote first composition at 14 andbegan recording in '03, toured throughout the tri-state area, and working withproducer Arnie Brown at the Jam Room Recording Studio in New Jersey as learnedfrom legends mentoring with people who worked alongside John Lennon and JimiHendrix and the musicians who played on Lisa's record shared the stage with BonJovi, Chicago, Nile Rodgers and The Temptations! Lisa has also released a newbook of poems taking you on a journey written from the heart through personalexperiences and currently in a contest who will appear in Rolling Stonemagazine and to perform at the Global Citizen Festival! Check out the amazingLisa Kovacs on all major platforms and www.facebook.com/LisaKovacsMusictoday! #lisakovacs #arniebrown #newjersey #singersongwriter #bluebird#fallingaway #bookofpoems #jamrecordingstudio #johnlennon #jimihendrix #bonjovi#chicago #nilerodgers #thetemptations #contest #rollingstonemagazine #spreaker#iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble#mikewagner #themikewagnershow #mikewagnerlisakovacs #themikewagnershowlisakovacs#mikewagnerarniebrown #themikewagnershowarniebrown   

The multi-talented NJ singer/songwriter Lisa Kovacs (withproducer Arnie Brown) returns with her latest including her new album release“Bluebird” plus the new song “Fallin' Away” and the new book release “Lisa M.Kovacs Book 1-Poems From a Singer/Songwriter”! Lisa began her career at 7writing her first song and playing piano, wrote first composition at 14 andbegan recording in '03, toured throughout the tri-state area, and working withproducer Arnie Brown at the Jam Room Recording Studio in New Jersey as learnedfrom legends mentoring with people who worked alongside John Lennon and JimiHendrix and the musicians who played on Lisa's record shared the stage with BonJovi, Chicago, Nile Rodgers and The Temptations! Lisa has also released a newbook of poems taking you on a journey written from the heart through personalexperiences and currently in a contest who will appear in Rolling Stonemagazine and to perform at the Global Citizen Festival! Check out the amazingLisa Kovacs on all major platforms and www.facebook.com/LisaKovacsMusictoday! #lisakovacs #arniebrown #newjersey #singersongwriter #bluebird#fallingaway #bookofpoems #jamrecordingstudio #johnlennon #jimihendrix #bonjovi#chicago #nilerodgers #thetemptations #contest #rollingstonemagazine #spreaker#iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble#mikewagner #themikewagnershow #mikewagnerlisakovacs #themikewagnershowlisakovacs#mikewagnerarniebrown #themikewagnershowarniebrown  

The multi-talented NJ singer/songwriter Lisa Kovacs (with producer Arnie Brown) returns with her latest including her new album release “Bluebird” plus the new song “Fallin' Away” and the new book release “Lisa M. Kovacs Book 1-Poems From a Singer/Songwriter”! Lisa began her career at 7 writing her first song and playing piano, wrote first composition at 14 and began recording in '03, toured throughout the tri-state area, and working with producer Arnie Brown at the Jam Room Recording Studio in New Jersey as learned from legends mentoring with people who worked alongside John Lennon and Jimi Hendrix and the musicians who played on Lisa's record shared the stage with Bon Jovi, Chicago, Nile Rodgers and The Temptations! Lisa has also released a new book of poems taking you on a journey written from the heart through personal experiences and currently in a contest who will appear in Rolling Stone magazine and to perform at the Global Citizen Festival! Check out the amazing Lisa Kovacs on all major platforms and www.facebook.com/LisaKovacsMusic today! #lisakovacs #arniebrown #newjersey #singersongwriter #bluebird #fallingaway #bookofpoems #jamrecordingstudio #johnlennon #jimihendrix #bonjovi #chicago #nilerodgers #thetemptations #contest #rollingstonemagazine #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerlisakovacs #themikewagnershowlisakovacs #mikewagnerarniebrown #themikewagnershowarniebrown  Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.

Join Opie and the crew for a hilarious and unfiltered episode of the Opie Radio podcast, broadcast live from Gebhards Beer Culture on Manhattan's Upper West Side.VIDEO VERSION here https://youtube.com/live/nzqHgbbuLuw?feature=shareSip along as they dive into a wild mix of topics, from motorcycle mayhem and New York City gripes to debunking Jimi Hendrix myths and uncovering Freddie Mercury's rumored daughter. Expect plenty of laughs, craft beer cheers, and street cam shenanigans in this lively, no-holds-barred session. Tune in for the chaos and stay for the iHeart Radio announcement! Like, share and SUBSCRIBE!

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

Nel 162° episodio di Illuminismo Psichedelico torna a grande richiesta il critico musicale Demented Burrocacao, con cui abbiamo divagato per tutto la puntata tra miti e leggende del rock psichedelico, partendo dall'opera e dalla mitologica biografia di alcuni personaggi chiave degli anni '60 e '70, tra cui Syd Barret, Skip Spence, Grace Slick, Romina Power, Janis Joplin, Brian Wilson e Jimi Hendrix. Non abbiamo alcuna pretesa di esaustività (sarebbe impossibile in così poco tempo), e anzi rivendichiamo il diritto a questo detour intessuto sin dal titolo nella "leggenda". In questa puntata mi sono finalmente ricordato di annunciare che quest'anno è possibile aiutare Illuminismo Psichedelico destinandogli il 5 x 1000. Il Codice Fiscale da indicare per sostenere Illuminismo Psichedelico è: 90072400477

As The Wolf & Action Jackson grew up throughout the 1980s and their taste for guitar driven rock music grew, the legend of Jimi Hendrix always loomed large. A left-handed virtuoso who blew away all the other guitar gods of his generation, Hendrix remains a legend more than 50 years after his death. When the boys created First Concert Memories to help capture and share true rock n roll stories, they hoped that one day they'd have someone on to talk about the legendary Jimi Hendrix. Thanks to DJ Danny Meyers of What's Hot In The Strip Clubs Podcast, they got a first hand account and are sharing it with the world! We go back to Friday, November 15, 1968 in Cincinnati, Ohio where we find a 13 year old Danny hanging out at his buddy's house. At some point, his buddy asks his dad if he'd take them to the Jimi Hendrix show at Cincinnati Gardens. Not only did his dad say yes but $20 got all four of them tickets, a soft drink and a dime for a phone call to come get them afterward. Soon the teenagers found themselves in front of the guitar legend, hoping that he would break his guitar on the stage at the end and waiting for their favorite, Purple Haze. Hear about the show, the boys quest to buy beer, the trials of attempting to get backstage and the atmosphere of the show. Danny also let's the guys in on life in the late 60s with no MTV, Creem magazine or internet to help them get to know the artists of the day. It's a great trip down memory lane with our Pantheon Podcasts brother! Visit Danny's website: ⁠www.djdannymeyers.com⁠ Check out our new website: ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textThis week on Here's What We Know, we're talking with the incredible Faith Martin, a woman who proves that life doesn't slow down after 60, it just gets more interesting.You might know her from her voice on the radio, her music, or her appearance on The Golden Bachelor. Her journey is inspiring, funny, and full of heart. We talk about reinvention, connection, and why saying YES to life is the best move you can make. Listen now!In This Episode:Why her guitar collection means so much (yes, there's a Jimi Hendrix story!)How she landed her first radio job with zero experienceWhat surprised her most about The Golden BachelorWhat it's like broadcasting live from a horse trailer!This episode is sponsored by: Bison Junk Removal (Effortless solution to your junk removal needs!) Bio:Faith Martin is a vibrant 60-year-old radio host, musician, former high school teacher, and beloved personality from The Golden Bachelor. Born and raised in the mountains of Santa Cruz, California, Faith has spent her life in front of microphones, whether as a radio host, TV news anchor, podcaster, or classroom teacher.She began her radio career in Provo, Utah, and spent a decade on-air in Salt Lake City before settling in Tri-Cities, Washington, in 1990. Today, she hosts three nationally syndicated radio shows and a lively podcast that dives into the joys and curveballs of modern dating.Outside the studio, Faith is a thrill-seeker who lives life to the fullest. From diving with sharks and riding motorcycles to horseback adventures in the countryside, she finds freedom in movement and music. A talented singer and guitarist, she's never far from her instruments, or her animals.Faith is the proud mother of two sons and adoring grandmother to five grandchildren, who she says are the greatest loves of her life. She also cherishes time with her horses, two dogs, and, of course, her ever-growing guitar collection.Website: https://www.thefaithmartin.com/Instagram: https://www.instagram.com/faithsmartin/Facebook: https://www.facebook.com/fmfaithmartin35YouTube: https://www.youtube.com/@fmfaithmartin35Connect with Gary: Gary's Website Follow Gary on Instagram Gary's Tiktok Gary's Facebook Watch the episodes on YouTube Advertise on the Podcast Thank you for listening. Let us know what you think about this episode. Leave us a review!

Well folks, put on those shoulder length gloves that Laura Dern wears in Jurassic Park, cause it's Probin' Time! This one here, is the deepest… the darkest… the craziest amount of research I have done for any episode yet. The lengths, depths, and girths that I went to to find out what the hell Ecco the Dolphin is really about… Holy mackerel.If you never played the 1992 smash hit game exclusively for the Sega systems, you missed out. And if you did play the game, you probably remember it's immensely difficult and confusing puzzles. But if you happened to be one of the few that beat the game?! You were an elite gamer with the most patient of demeanors. Think Free Willy meets The Terminator meets Alien… Take all of that and wrap it in one of Jimi Hendrix's acid soaked bandanas, and you are right where you need to be… Plus! A very special happy birthday to Rob! Love ya buddy. Plus! We welcome back our spleen! That's right, Kevin Siplin is in the house!EtsyPatreonLinktreeInstagram:@ruining_your.childhood@feral_williams@aralessbmn@madshroommc@blackmagicnoize206@strangeloopanimation

Guitarist Dee Brown created a jazzy album of R&B instrumentals on which he adopted the persona of a fictious character called “Mister Smooth,” who is confident, focused, and anchored in equanimity. Writing eight new songs, most of them with his GRAMMY® nominated producer and longtime collaborator Valdez Brantley (Usher, Mary J. Blige, Keith Sweat, Lil Wayne), Brown's sixth album will be released by Innervision Records on March 28. The melody-rich title track will be issued as a single the same day.   Stepping into the “Mister Smooth” character like a method actor while writing and recording the album wasn't much of a stretch for Brown, who is a devout man of faith. The confidence and maturity that he exudes on the recording and is on full display via his guitar work and the compositions he crafted for the set are bolden and empowering. It's a determined mindset purposed with overcoming challenges and adversity while remaining in control - even when the world feels chaotic.          “Mister Smooth embodies a person who is consistently on top of things and maintains control in any situation. Even when faced with uncertainty, he excels at ‘faking it until he makes it,' elevating the experience for everyone involved. I created an album that captures the essence of what it means to be a Mister Smooth. This concept isn't just a reflection of who I am or aspire to be; it represents a powerful attribute that enhances any situation. The name itself resonates with many, making it relatable and appealing. This is perfectly aligned with the type of music we produce and the kind of person with whom we all aspire to be,” said Brown who released multiple singles from the project while he was working on the collection over the last couple of years.   After opening the album with “Mister Smooth,” the Detroit- born and based artist offers a taste of his hometown on “Wes 8Mile,” which he wrote with multi-time Billboard No. 1 chart-topper Blake Aaron who produced the song that was issued as a single. Mike Parlett's saxophone perfectly complements Brown's cool toned electric jazz guitar riffs that invoke jazz guitar legend Wes Montgomery.   “Eight Mile is one of the main streets running through Detroit, and I grew up on the west side of Detroit. The name ‘Wes 8Mile' comes from my guitar hero Wes Montgomery's unique style of playing, which often involved using octaves. An octave is a note that is eight diatonic notes away from the first note, and he would play these two notes together. My goal was to create an up-tempo groove that incorporated both octaves and single note playing, along with a half-step modulation. I also wanted to incorporate an ensemble, which is why I invited saxophonist Mike Parlett to play on the track with Carnell Harrell (keyboards), Mel Brown (bass), and Tony Moore (drums),” explains Brown.   Another collaboration with Aaron resulted in “The Thing Is…” which adds horn player and arranger David Mann, keyboardist Tateng Katindig, and Aaron's rhythm guitar to the ensemble. It was the second single from the album and hit all the major charts.    “Many times, when a conversation is going and someone wants to make a valid point, they will say, 'The thing is...' That is what this song is all about, making a musical valid point that will grab your attention and immediately be noticed," stated Brown.   Brown and Brantley interpret Sister Sledge's rousing anthem “We Are Family,” which includes an imaginative jazz breakdown midway through the disco dancefloor filler.    “My wife suggested that we remake ‘We Are Family' and I immediately thought of Nile Rodgers, the incredible guitarist from the legendary group Chic. I've always admired his rhythm guitar work,” Brown admitted.   Brown sees his Mister Smooth character as someone who would be charming, which inspired the song titled “Charming.”   “This track was developed after I decided we needed to record a slower song. I wanted to incorporate 808 electric drums, Moog synth/bass, and a variety of synthesized sounds reminiscent of the 1990s with a strong emphasis on guitar,” said Brown.   “Finesse” was the first track recorded for the album, yet the song had to go through a process of evolution. Brown explains, “I noticed a problem with the song's chorus. I decided to try an alternative melody, and it seems to work perfectly. So, when you hear the track, if you listen to the lead melody on the big body guitar, that's the new melody and if you listen in the background, there's another melody that is played with my Stratocaster-style guitar that is more like a picking style playing the original melody. They work together perfectly.”   The album's first single was “You Already Know,” which was released as a deep cut during the recording process to keep Brown on radio playlists. His gregarious guitar is slick and proficient as it deftly maneuvers to the fore of a midtempo electric groove.    The vibrant “Charismatic” gets a boost from Merlon Devine's soprano sax. Brown explains, “Initially, Valdez (Brantley) played the flute sound on the track on his keyboard, but I felt we needed a live flute player. Unfortunately, all the flautists we knew were unavailable. I suggested using a soprano saxophone instead and called my good friend, Merlon Devine. We decided to keep the keyboard flute sound after all, but it's Merlon's beautiful soprano sax that really stands out on this track.”   We experience a completely different side of Brown on “4th Dimension,” on which he indulges his rock god guitar alter ego.    “I was kind of a rock ‘n' roller influenced by great bands from the '80s and '90s. I've always loved legendary guitarists like Jeff Beck, Carlos Santana, Jimi Hendrix, and Jimmy Page, and I wanted to create a rocky, funky groove. We started exploring a direction that I don't usually take.   Become a supporter of this podcast: https://www.spreaker.com/podcast/ladydiva-live-radio--2579466/support.

Episode 153: The Best Pedalboards of 2025 Welcome to the Chairmen of the Boards Podcast! The ultimate pedalboard podcast with the foremost rig builders in the world: Grant Klassen (Goodwood Audio), Brian Omilion (Omilion Audio), and Mason Marangella (Vertex Effects/The Rig Doctor). We've teamed up to democratize great tone and provide you with our best tricks, tips, resources and hacks so you can build the pedalboard of your dreams!   //SPONSORS// The Guitar Sanctuary - https://theguitarsanctuary.com Neural DSP - https://www.neuraldsp.com (use discount code "chairmen" for 30% off) Best-Tronics - https://btpa.com (use code "dachairs" for 10% off) GB Music & Sound - https://www.gbmusicandsound.com/?ref=Chairmen   //HOSTS// Grant Klassen (Goodwood Audio) YT - ‪@GoodwoodAudio‬ IG - https://instagram.com/goodwoodaudio   Brian Omilion (Omilion Audio) YT - ‪@omilionaudio‬ IG - https://instagram.com/omilionaudio   Mason Marangella (Vertex Effects) YT - ‪@VertexEffectsInc‬ IG - https://instagram.com/vertexeffects   //YOUTUBE// Watch COTB Podcast live: @chairmenoftheboards

In this episode of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠⁠here⁠⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠⁠online⁠⁠⁠⁠, on⁠⁠⁠⁠ Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, or ⁠⁠⁠⁠YouTube.⁠⁠⁠⁠ or drops us an email at ⁠⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠⁠McCusker's Tavern⁠⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠⁠Pantheon Media⁠⁠⁠⁠. We're sponsored by⁠⁠⁠⁠ Boldfoot Socks⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠here⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠online⁠⁠⁠, on⁠⁠⁠ Facebook⁠⁠⁠, ⁠⁠⁠Twitter⁠⁠⁠, or ⁠⁠⁠YouTube.⁠⁠⁠ or drops us an email at ⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠McCusker's Tavern⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠Pantheon Media⁠⁠⁠. We're sponsored by⁠⁠⁠ Boldfoot Socks⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

As The Wolf & Action Jackson grew up throughout the 1980s and their taste for guitar driven rock music grew, the legend of Jimi Hendrix always loomed large. A left-handed virtuoso who blew away all the other guitar gods of his generation, Hendrix remains a legend more than 50 years after his death. When the boys created First Concert Memories to help capture and share true rock n roll stories, they hoped that one day they'd have someone on to talk about the legendary Jimi Hendrix. Thanks to DJ Danny Meyers of What's Hot In The Strip Clubs Podcast, they got a first hand account and are sharing it with the world! We go back to Friday, November 15, 1968 in Cincinnati, Ohio where we find a 13 year old Danny hanging out at his buddy's house. At some point, his buddy asks his dad if he'd take them to the Jimi Hendrix show at Cincinnati Gardens. Not only did his dad say yes but $20 got all four of them tickets, a soft drink and a dime for a phone call to come get them afterward. Soon the teenagers found themselves in front of the guitar legend, hoping that he would break his guitar on the stage at the end and waiting for their favorite, Purple Haze. Hear about the show, the boys quest to buy beer, the trials of attempting to get backstage and the atmosphere of the show. Danny also let's the guys in on life in the late 60s with no MTV, Creem magazine or internet to help them get to know the artists of the day. It's a great trip down memory lane with our Pantheon Podcasts brother! Visit Danny's website: www.djdannymeyers.com Check out our new website: ⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On the May 31 edition of the Music History Today podcast, there's history made by Ginger Spice, Jimi Hendrix, the Who, the Eagles, and the Sex Pistols. Also, happy birthday to Azealia Banks and John Bonham. For more music history, subscribe to my YouTube 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

Brian Auger honestly states in this podcast, “Being a professional musician and making a living at it wasn't planned, it just happened.” British Keyboard artist Brian Auger has played with the best of the best - Jimi Hendrix, Jimmy Page, Sonny Boy Williamson, Rod Stewart, Eric Burdon, John McLaughlin , Eric Clapton, Steve Winwood, Spencer Davis just to name a few. His groups were The Trinity with Julie Driscoll and the Oblivion Express as well as playing in many sessions with major artists. In this insightful podcast Brian takes us from being bombed by Hitler's troops  as a young boy in the streets of London to his becoming a world class musician specializing in the Hammond B3 organ. Brian sums up his approach to playing music with the following quote:     “I'm never dissatisfied with the reaction to albums because there are certain albums that I made in the ‘70s and the ‘60s that sold poor and people want them. It seems to pick up different generations as it goes along. I don't worry about that. I just worry that the tracks that we would put, have a meaning to them, they mean something to me. Each album is like a page in my musical diary: Where I am musically at that time. I am not looking to write something for any kind of need in the marketplace or anything like that. I am just trying to make the best music that I can make and put it out there.”

Mardi soir dans RTL2 Pop-Rock Station", Marjorie Hache ouvre l'émission avec Ghost et leur titre "Lachryma", avant un détour par Alice Cooper et l'anniversaire de la sortie de "The Freewheelin' Bob Dylan". On y entend "Girl from the North Country", emblématique du virage folk de Dylan. La soirée alterne nouveautés et classiques avec "Bottom Of A Bottle" de Julien Baker & Torres, "Foundations" de Kate Nash, puis "In Daylight", nouvel extrait hypnotique de "Mad", l'album de la semaine signé Sparks. On découvre aussi The Waterboys, Viagra Boys et une reprise étonnante de "Solsbury Hill" de Peter Gabriel par Lou Reed. La deuxième heure met à l'honneur Gorillaz, Fleetwood Mac, Mitski, Jimi Hendrix, puis Herman Dune et son titre "Odysseús", inspiré de son exil temporaire à Montréal. Pour conclure : Tori Amos, Arctic Monkeys et "Help Yourself" de Death In Vegas. Ghost - Lachryma Alice Cooper - School's Out Bob Dylan & Johnny Cash - Girl From The North Country The Beach Boys - Kokomo Julien Baker & Torres - Bottom Of A Bottle The Kingsmen - Louie Louie Kate Nash - Foundations Sparks - In Daylight AC/DC - Let Me Put My Love Into You The Waterboys - The Tourist (Feat. Barny Fletcher & Sugarfoot) Mano Negra - Soledad Viagra Boys - The Bog Body Lou Reed - Solsbury Hill Mitski - Washing Machine Heart Gorillaz - Clint Eastwood Oracle Sisters - Marseille Jimi Hendrix - All Along The Watchtower Eagles Of Death Metal - I Want You So Hard (Boy's Bad News) Fleetwood Mac - Silver Springs (Live) Anthrax & Public Enemy - Bring The Noise Pain - Party In My Head Herman Dune - Odysseus The Doors - People Are Strange Tori Amos - Cornflake Girl Arctic Monkeys - Do I Wanna Know Death In Vegas - Help Yourself Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This month we've gone back further than ever before to 1967 a time when none of us existed yet and everything was psychedelic and groovy. There's proto prog, primeval punk, pop masterpieces, and whatever you'd categorise Zabadak as...We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Beach Boys, The Beatles, Tim Buckley, Calico Wall, Captain Beefheart & His Magic Band, Country Joe & The Fish, Dave Dee, Dozy, Beaky, Mick & Tich, The Electric Prunes, Aretha Franklin, Jimi Hendrix, The Hollies, Jefferson Airplane, The LEft Banke, Love, The Lovin' Spoonful, Pink Floyd, Louis Prima & Phil Harris, Otis Redding & Carla Thomas, Kenny Rogers & The First Edition, Sam & Dave, The Seeds, Nina Simone, Stone Poneys, The Third Bardo, Vanilla Fudge, The Velvet Underground, Scott Walker, The Who, The West Coast Pop Art Experimental BandFind all songs in alphabetical order here - https://open.spotify.com/playlist/5AZHbpp2zaOQoCQwI2QjDN?si=9838e165b6d94229Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com 

In today's episode, we take a closer look at the life of Jimi Hendrix — from his early days and rise to fame, to how he became one of the most influential guitarists of all time. We also explore the mysterious circumstances surrounding his death at just 27 years old. Was it really just an accidental overdose, or is there more to the story? Some believe foul play was involved, and the theories haven't stopped since 1970. (00:04:31) Sports Illustrated (00:13:29) NBA Playoffs (00:23:26) Postmortem on Joe Biden's Presidency (00:29:55) Klarna Payments (00:40:26) Jesse Plemons (00:52:56) Matt Walsh & the Woke Right (01:03:37) Tush Push (01:23:53) Jimi HendrixYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/macrodosing

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

This is an Encore Presentation of my July 2024 ROCK PHOTOGRAPHER SUMMIT. It features five of the greatest rock n' roll photographers of the era and the subjects they are known for: Ebet Roberts - Downtown NYC punk and New Wave scene. Television, Talking Heads, Blondie, Miles Davis.Bob Gruen - John Lennon, Yoko Ono, Tina Turner, Led Zeppelin, NY Dolls, The Clash, The Ramones.Jay Blakesberg - The Grateful Dead, Joni Mitchell, U2, Santana.Elliott Landy - Album covers: Bob Dylan's “Nashville Skyline”, The Band's “Music From Big Pink”, Van Morrison's “Moondance”. Jimi Hendrix, Eric Clapton.Gered Mankowitz - Album Covers by The Rolling Stones: “Out Of Our Heads”, “Between The Buttons”, “Got Live If You Want It”. Elton John, Traffic, Yardbirds.                                      ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Ebet Robertswww.ebetroberts.comBob Gruenwww.bobgruen.comElliott Landywww.elliottlandy.comJay Blakesbergwww.rockoutbooks.comGered Mankowitzwww.mankowitz.com—---------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

André Benjamin, popularly known as André 3000, is a rapper, singer, songwriter, producer, and actor best known as one half of the Southern hip hop duo Outkast. Described by Rolling Stone as “one of the genre's most gifted lyricists,” André helped redefine Southern rap with classic albums like ATLiens, Aquemini, Stankonia, and the Grammy-winning Speakerboxxx/The Love Below, producing hits such as “Ms. Jackson” and “Hey Ya!” Beyond Outkast, he has contributed to music as a producer and collaborator with artists including Aretha Franklin, John Legend, and Frank Ocean, while also acting in films including Four Brothers and portraying Jimi Hendrix in Jimi: All Is by My Side. In 2023, André released his ambient flute album New Blue Sun, earning three Grammy nominations for Album of the Year, Best Alternative Jazz Album, and Best Instrumental Composition. This year, André released his album 7 Piano Sketches, a short, intimate collection of mostly improvised piano pieces that showcases the artist's continued exploration of instrumental music beyond his hip hop roots. ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

In this special Rock is Lit episode—available exclusively on ⁠YouTube⁠—legendary rock and film photographer Kim Gottlieb-Walker joins Christy to talk about her novel, ‘Lenswoman in Love', a love story steeped in the sights and sounds of the 1960s and 1970s music and film scenes. Kim shares behind-the-scenes stories of working with a young Cameron Crowe and shooting icons like Jimi Hendrix, Bob Marley, Gram Parsons, and Jim Morrison. She also discusses what it was like to be a film set still photographer on classics like John Carpenter's ‘Halloween' and TV shows like 'Cheers' and 'Family Ties'. As a bonus, Kim walks us through a visual slideshow of her iconic photography that inspired moments in her novel. This is a rare, can't-miss episode best experienced with your eyes and ears. WATCH HERE: https://www.youtube.com/watch?v=LMiLtXU71l8   For Kim's full bio, see her website. LINKS: Leave a rating and comment for Rock is Lit on Goodpods: ⁠⁠https://goodpods.com/podcasts/rock-is-lit-212451⁠⁠ Leave a rating and comment for Rock is Lit on Apple Podcasts: ⁠⁠https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350⁠⁠ Kim Gottlieb-Walker's website: ⁠⁠http://lenswoman.com/⁠⁠ Kim on Facebook: ⁠⁠https://www.facebook.com/KimGottliebWalker⁠⁠ Lens Woman in Love Facebook page: ⁠⁠https://www.facebook.com/groups/938323581755313⁠⁠ Kim on Instagram: ⁠⁠https://www.instagram.com/kimgottliebwalker/⁠⁠ Kim on Bluesky: ⁠⁠https://bsky.app/profile/kimgottliebwalker.bsky.social⁠⁠ Rock is Lit on Instagram & Bluesky: @rockislitpodcast Christy Alexander Hallberg on Instagram and YouTube: @christyhallberg Christy Alexander Hallberg on Facebook: @ChristyAlexanderHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Hamamoto on YouTube:    / @professorhamamoto  Watch part 6 here: https://youtube.com/live/DViShfvP9yE Watch part 5 here: https://youtube.com/live/TaF8EMyS4V4 Watch Prof Hamamoto Part 4 https://youtube.com/live/TkUr4CanA_k Watch Prof Hamamoto Part 3 https://youtube.com/live/qUHdKtabgNo Prof. Darrell Hamamoto, who is an American writer, academic, and specialist in U.S. media and ethnic studies. Professors Facebook : https://www.facebook.com/share/hZajgC... Follow P Diddys latest:    • P Diddy  #jayz #beyonce #hollywood #countrymusic #nashville #pdiddy #puffdaddy #truecrime #news #youtubenews #podcast #livestream #youtube #thepope #vatican #church  Here are Hamamoto's recommended books: Can't Stop Won't Stop: A History of the Hip-Hop Generation  ——- The Psychological Covert War on Hip-Hop ——- The Covert War Against Rock: What You Don't Know About The Deaths of; (Jim Morrison, Tupac Shakur, Michael Hutchence, Brian Jones, Jimi Hendrix, Phil Ochs, Bob Marley, Peter Tosh, John Lennon & The Notorious B.I.G) ——- Hit Men: Power Brokers and Fast Money Inside the Music Business ——- Me, the Mob, and the Music: One Helluva Ride Tommy James and the Shondells ——- Godfather of the Music Business: Morris Levy (American Made Music Series) ——- LAbyrinth: A Detective Investigates the Murders of Tupac Shakur and Notorious B.I.G., the Implication of Death Row Records, Suge Knight, and the Origins of the Los Angeles ——- The FBI war on Tupac Shakur: State repression of Black Leaders from the Civil Rights Error to the 1990s (real world) ——- The FBI war on Tupac Shakur and Black Leaders: US Intelligence's: Murderous Targeting of Tupac, MLK, Malcol, Panthers, Hendrix, Marley rappers and Linked Ethic Leftists ——- Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records ——- The Big Payback: The History of the Business of Hip-Hop ——- Ruthless: A Memoir ——- Hip-Hop Decoded ——- Q: The Autobiography of Quincy Jones ——- How to Wreck a Nice Beach: The Vocoder from WW II to Hip-Hop, The Machine Speaks ——- Dancing with the Devil: How Puff burned the bad boys of Hip-Hop ——- Hiding in Hip-Hop: On the Down Low in the Entertainment industry—from Music to Hollywood

The Deadcast makes a beeline for the northeast, focusing on shows from legendary venues in the Manhattan and Boston areas included on the new Enjoying the Ride box, including ESP experiments, weed smuggling, free jazz titans, multiple police chases, and more.Guests: David Lemieux, Ron Rakow, Sam Cutler, Richie Pechner, Allan Arkush, Ned Lagin, Gary Lambert, Blair Jackson, Stanley Krippner, Rebecca Adams, Johnny Dwork, John Scher, Michael Simmons, Tyler Roy-Hart, Henry K, Howie Levine, Kenny Schiff, Debbie RondeauSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.