Podcast appearances and mentions of Jimmy Page

Scottish pop-rock legend David Paton is one of the most quietly influential musicians of the past fifty years. Born and raised in Edinburgh, David made his mark as the founder, lead singer, bassist, and chief songwriter for the 70s pop band Pilot — the group behind the timeless hits “Magic” and “January.” These catchy, melodic tracks flew up the UK Singles Charts in 1974 and 1975, cementing Pilot's place in the classic pop-rock hall of fame.Pilot began when David, fresh from playing in local Scottish bands and even a short stint with the Bay City Rollers, teamed up with the late Billy Lyall, a fellow ex-Bay City Roller and brilliant keyboardist. With guitarist Ian Bairnson and drummer Stuart Tosh, Pilot quickly gained attention for their crisp harmonies, soaring hooks, and the polish of producer Alan Parsons, who helped shape their signature studio sound.At their peak, Pilot was more than a one-hit wonder. Their debut album From the Album of the Same Name (1974) and the follow-up Second Flight (1975) gave pop fans not just “Magic” but the No.1 UK single “January,” a song that topped the charts for three weeks. The band's unique blend of soft rock, glam pop, and radio-friendly hooks made them stand out in a crowded 70s scene.Though lineup changes and industry missteps led to Pilot's split by 1977, their legacy has endured. David Paton, the creative force behind the hits, went on to carve out an impressive career as a vocalist, bassist, and songwriter for other iconic acts. He played a vital role in The Alan Parsons Project, lending his vocals and bass to albums like Tales of Mystery and Imagination and I Robot, and fronted the progressive rock band Camel, where his vocals on “Heroes” from The Single Factor still mesmerise fans today.David's talents didn't stop there. As a sought-after session musician, he played bass on Elton John's hit “Nikita” and toured with Elton, worked alongside Kate Bush, Rick Wakeman, Jimmy Page, and even folk legends like Phil Cunningham and Dick Gaughan. His solo work reflects his Scottish roots too — with hauntingly beautiful arrangements of traditional songs by Robert Burns and Sir Walter Scott.Still writing, recording, and performing, David's latest album, Communication (2024), shows that his knack for melody and emotional connection is as strong as ever. His autobiography, Magic: The David Paton Story, gives fans an honest, often funny look behind the curtain — from Pilot's dizzying success to the reality of life as an unsung rock hero.If you love timeless pop hooks, Scottish rock history, and the real story behind a band that gave us one of the catchiest songs ever written, dive deeper into the world of David Paton and Pilot — and experience the Magic for yourself.I know you'll enjoy the story of David Paton and relish the contribution he's made with his music.

We covered the self-titled debut album from Crosby, Stills & Nash in episode 137.  Deja Vu is considered the second Crosby, Stills & Nash album, but it is actually the first album by Crosby, Stills, Nash & Young, with Canadian songwriter Neil Young turning the trio into a quartet.While the album continues to feature the signature harmonies associated with Crosby, Stills & Nash, it has a harder, more rocking edge to it. Some of this is undoubtedly due to the addition of Neil Young to the album, but it also reflects the challenges the group members were facing.  Both Stephen Stills and Graham Nash had gone through break-ups in their relationships, and David Crosby tragically had lost his girlfriend Christine Hinton in a car accident.The album was highly anticipated, generating $2 million in pre-sales before its release.  It became a gold record only 14 days after release, and was on the Billboard 200 album chart for 88 weeks.  Contemporary critics provided mixed reviews, but the album has only grown in stature over time, with many reviews considering it amongst the top albums ever produced.  Deja Vu was inducted into the Grammy Hall of fame in 2012.After its release, each of the principal members of the group would record solo albums, and the success of Deja Vu contributed to the individual success of these four solo projects.Crosby, Stills & Nash (and sometimes Young) would continue to produce albums over the decades with their last collaboration occurring in 2015.  The death of David Crosby in 2023 ended the possibility of full reunions.Wayne brings us this soft rock singer-songwriter live album for this week's podcast. Carry OnThe opening track to the album was penned by Stephen Stills who also provides lead vocals.  It is a medley of two songs edited together with a jam session connector, and came together surprisingly fast during a time when most songs were taking a long time to finish.  The lyrics encourage the band members to keep going through times of struggle in relationships both within and outside the band.Teach Your ChildrenGraham Nash wrote this song in 1968 when he was with The Hollies, but had not recorded it with that group at the time.  Nash has associated the song with a photograph exhibit showing a child playing with a toy hand grenade, and the lyrics encourage parents to be careful in how they teach their children.  Neil Young does not play on this song, but the steel guitar is provided by Jerry Garcia of the Grateful Dead. WoodstockUnlike the other tracks on this album, this song was not written by any of the band members, but was penned by Joni Mitchell.  Mitchell had not attended the Woodstock festival, but was inspired to write this song told from the perspective of a concert goer after hearing her then-boyfriend Graham Nash relay the account.  It has become a signature song for the group and a staple of the 60's counter-culture.  Our HouseGraham Nash wrote this song as a description of a day spent with then-girlfriend Joni Mitchell and her two cats in their Laurel Canyon home.  The song was written in an hour on Mitchel's piano.  It went to number 30 on the Billboard Hot 100.  ENTERTAINMENT TRACK:Theme from the motion Picture "Patton"This epic starring George C. Scott was playing in the theaters in 1970.  It won seven Academy awards, including Best Picture. STAFF PICKS:Let It Be by The BeatlesLynch starts the staff picks with a song inspired by a dream.  Paul McCartney's mother, Mary Patricia McCartney, died of cancer with Paul was 14.  In the dream, his mother encourages her son by saying, "It's all right, just let it be."  This single and title song from the final Beatles album debuted at number 6 on the Billboard Hot 100 before topping those charts.Cecilia by Simon & GarfunkelRob brings us the third single from the fifth and final album by Simon & Garfunkel, "Bridge Over Troubled Water."  It was developed in a late night jam when the duo and friends were banging on a piano bench and recording the sound with a tape recorder.  The lyrics depict the heartbreak of a boy delivered from Cecilia his unfaithful lover.The Rapper by The JaggerzBruce features the most successful single from the band whose guitarist and primary songwriter would go on to be Donny Iris.  The song is a warning to the ladies not to be taken in by a smooth talking man telling them lies.  It went to number 2 on the charts.Superlungs My Supergirl by Terry ReidWayne's closes out the staff picks with a cover originally written by Donovan about a 14-year old groupie.  Terry Reid was Jimmy Page's first pick to be lead singer of Led Zeppelin, but was unavailable at the time due to his touring schedule with Cream and the Rolling Stones.  Reid would acquire the nickname of Superlungs. NOVELTY TRACK:Pineapple and the Monkey by The FacesThis instrumental from The Faces debut album takes us out for this week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Preview, for full episode Concept episode w/ Honky Tonk ambience centering on Sound Design, the 80's-90's Loudness Wars, Psychoacoustics, theatrics, Warhammer 40k, hardcore, Jimmy Page, dynamic range with sludgecore innovator recorded at Sam's Town Point…Up Now

In this episode Derek Champagne, CEO of The Artist Evolution, interviews Kavit Haria.From a young age, Kavit Haria learned to play “the world's most dificult percussion instrument”, the Tabla. Having immersed himself in learning about artist promotion, Kavit began to raise his profile and performed across the UK at venues large and small, with many artists (including Jimmy Page at the Royal Albert Hall) and recorded albums at the famed Abbey Road studios.Recognizing the demand for sharing what he learned gave rise to Kavit's first company, Insider Music Business. Within five years, from 2005 to 2010, Kavit created thirty-five different educational products online, from ebooks to video courses and audio training to membership programs, which he promoted to the growing database of 120,000 musicians and hit 7 figures in revenue.Kavit then turned to share his marketing automation strategies at business conferences in the UK and ran private workshops for small business owners in New York,Sydney and London.Since 2013, Kavit has been running Automated Business System, a flagship service to help experts and brands strategies, build, launch and market their businesses online. He has helped launch and grow 120+ businesses for clients, generating $100,000 or more in their first year online sales.Now, Kavit puts the knowledge and inspiration from his 10-years of building businesses into his new book, Don't Sleep On It! Turn Your Passion & Expertise Into A Profitable Business.Learn more at https://www.amazon.com/Dont-Sleep-Expertise-Profitable-Business/dp/1683509854

It's not unusual for musicians' guitars to be lost or stolen. When the theft or loss involves a famous musician, it becomes "a story." That is what today's Listening Lyrics is about -- six lost-but-found guitars owned by Zakk Wylde, Peter Frampton, Jimmy Page, Joe Perry, Bill Corgan and Paul McCartney. Each has a fantastc journey.

Lorde, Abraham Mateo, Arcángel y Camilo estrenan sus nuevas canciones. 'MEGAN 2', una película con sello LOS40: ya en cines. La canción de su repertorio que Melendi no quiere volver a oír jamás. Las novedades del Benidorm Fest 2026. Todo sobre las entradas de los conciertos de Anuel AA en España. En LOS40 Classic: David Bowie vivió aterrado pensando que Jimmy Page le había echado una maldición.

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

This week on The Sound Kitchen, you'll hear the answer to the question about the Cannes Film Festival. There's The Sound Kitchen mailbag, a surprise vocal guest for those of you feeling nostalgic, the “Listeners' Corner” with Paul Myers, and plenty of good music. All that, and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all! Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner! More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos. Would you like to learn French? RFI is here to help you! Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard. Go to our website and get started! At the top of the page, click on “Test level” and you'll be counselled to the best-suited activities for your level. Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service, told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it! Be sure you check out our wonderful podcasts! In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more. There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis.  Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.  Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Another idea for your students: Brother Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Brother Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! This week's quiz: On 17 May, I asked you about the 78th annual Cannes Film Festival, which opened that week.  RFI English journalist Ollia Horton was there, and I asked you a question about her article “Ukraine, Gaza and #MeToo in the spotlight as Cannes Film Festival opens”. You were to send in the names of the three documentaries about the Ukraine conflict - as well as the names of the filmmakers – that were screened on the opening day. The answer is: Zelensky, made by Yves Jeuland, Lisa Vapné, and Ariane Chemin; Notre Guerre ("Our War") by Bernard-Henri Lévy and co-director Marc Roussel, and 2,000 metres to Andriivka by Mstyslav Chernov and Alex Babenko. In addition to the quiz question, there was the bonus question, suggested by Khondaker Rafiq Ul from Naogaon, Bangladesh: “What was your happiest moment in your radio - or your DXing – history?” Do you have a bonus question idea? Send it to thesoundkitchen@rfi.fr The winners are: RFI English listener Hijab Abid, a member of the Sungat Radio Listeners Club in Muzaffargarh, Pakistan. Hijab is also the winner of this week's bonus question. Congratulations, Hijab! Also on the list of lucky winners this week are Paresh Hazarika, a member of the United RFI Listeners Club in Assam, India, and RFI Listeners Club members Ataur Rahman Ranju, the president of the Alokito Manush Cai International Radio Listeners Club in Rangpur, Bangladesh, and Samir Mukhopadhyay from West Bengal, India. Last but not least, there's RFI English listener Rabiul Awal from Dhaka, Bangladesh. Congratulations, winners! Here's the music you heard on this week's programme:  “Gente Humile” by Garota, played by Baden Powell; “Stairway to Heaven” by Jimmy Page and Robert Plant, played by Tetiana Mazur and Serhii Shamra; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Cities in Dust” by Susan Ballion, Peter Edward Clarke and Steven Severin, performed by Siouxsie and the Banshees. Do you have a music request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “Togo suspends French broadcasters RFI, France 24 for three months”, which will help you with the answer. You have until 14 July to enter this week's quiz; the winners will be announced on the 19 July podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France Click here to learn how to win a special Sound Kitchen prize. Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

The Starchild hangs up his platform boots to talk meatballs. Paul Stanley drops by the Cheese Store for an unexpectedly moving conversation about the parallel crafts of rock and roll and cooking—both requiring that indefinable quality that can't be taught: genuine passion.Fresh off Kiss's final bow after 50 years, Stanley reflects on his second act as a home cook, and how that which started as necessity evolved into a deep love affair with Italian food, authentic hospitality, and the simple joy of feeding people.The conversation spans from his European parents' influence and childhood memories of Stearns Bakery in the Bronx, to his current relationships with LA's chef elite and his role with Rock & Brews restaurant group. Stanley breaks down why emotional connection trumps technical skill every time—whether you're playing guitar or throwing pizza dough—and why he'd rather eat at a neighborhood joint than a pretentious temple to molecular gastronomy.Plus: the meatball recipe that came from Rocco DiSpirito's mom, why Jimmy Page deserves the perfect puttanesca, and Stanley's theory that great restaurants (like great bands) start with surrounding yourself with people who share your passion for the craft.Keep up with Paul Stanley:Official Website: https://www.paulstanley.com/Instagram: @paulstanleyliveTwitter/X: @PaulStanleyLiveFacebook: https://www.facebook.com/PaulStanleyOfficial/KISS:Official Website: https://www.kissonline.com/Rock & Brews:Official Website: https://www.rockandbrews.com/Rock & Brews info on Paul's site: https://www.paulstanley.com/category/rock-brews/Follow Dom, Andy, Industry Only, and The Cheese Store of Beverly Hills:www.instagram.com/domsfoodswww.instagram.com/andywangnylawww.instagram.com/industryonlylawww.instagram.com/thecheesestoreofbeverlyhills

  Each new year, many people make resolutions, or set new goals. Author and speaker Jimmy Page shares about choosing one word for the next year, from his book, “One Word That Will Change Your Life.” and journal “The One Word Journal.” Jimmy shares tips for staying focused on your goals.   Originally aired June 5, 2024  Faith Radio podcasts are made possible by your support. Give now: click here 

Send us a textRock Talk turns 5! Thank you all so much for your continued interest and support!In this episode, we discuss Led Zeppelin's 1975 North American Tour, which we previously covered way back in Episode 3, but I wanted to discuss it again to commemorate the 50th anniversary. It's the first year of live Zeppelin I got into back in high school, so I've always had a soft spot for it, and with it being five years since we last talked about it, my opinions have shifted some...I also ranked the 1975 versions of "No Quarter" back in Episode 40 — one of my personal favourite episodes to create!Support the showSubscribe to Rock Talk with Dr. Cropper +Instagram & TikTok — @rocktalk.dr.cropperTwitter — @RockTalkDrCroppFacebook, LinkedIn & YouTube — Rock Talk with Dr. CropperEmail — rocktalk.dr.cropper@gmail.com

Un viaje en el tiempo en la historia del Rock. Semana entre el 16 y 22 de Junio.

This week we have NEW Rock and Roll music that DESERVES to be heard from DAZR, Wanted, Wings Of Steel, ZFM, Great Tide, Nightblade, Black Majesty, and Jimmy Page & The Black Crowes, plus music from Grave Danger, David Lee Roth, Red Voodoo, Dave Rude (Happy Birthday Dave!) and Jim Peterik! Play it LOUD!Songlist:Grave Danger - I Want To Take You HigherDavid Lee Roth - California GirlsDAZR - Can't Take It AnymoreRed Voodoo - Morgan LaneWings Of Steel - Winds Of TimeWanted - Armed For ActionZFM - Mother EvolutionDave Rude - Ain't My TimeGreat Tide - Glory SwordNightblade - Never Trust AnotherBlack Majesty - Oceans Of BlackJimmy Page & The Black Crowes - Oh WellJim Peterik - We Wish

Join Jimmy Page, along with Chris and Rich Robinson for a celebration of the 25th anniversary re-mixed and expanded release of a blistering tour! The new Live at the Greek release is a 36 song set that features 16 previously unreleased tracks, including a never before issued soundcheck jam. You will hear a ton of great music, including one of the soundcheck tunes. Crank it up and enjoy some insights from the men that created this fantastic music, and hear several tracks of killer, live, Rock and Roll music that DESERVES to be heard!

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.

What if winning at work didn't have to mean losing at home? In this episode of Seek Go Create, host Tim Winders sits down with Cory Carlson, former executive turned coach, author, and founder of the Rise community, to explore the powerful connection between faith, identity, and true success. Discover the hard-earned lessons Cory learned from burnout, striving, and redefining purpose—and get practical insights on leading authentically in business while thriving at home. If you've ever wondered how to align your ambition with your values and make an impact that lasts, this conversation will challenge and inspire you."Fear and faith have one thing in common, and it's the future. Fear thinks the future is bad. Faith thinks the future is good." - Cory Carlson Access all show and episode resources HEREAbout Our Guest:Cory Carlson is a former corporate executive turned leadership coach, speaker, and author. With a background in civil engineering and years of experience leading teams in the construction and technical products industry, Cory now empowers leaders through his coaching practice and as the founder of Rise, a faith-driven community helping men integrate purpose, family, and business. He's the author of Win at Home First and Rise and Go, books that equip leaders to thrive both professionally and personally. Cory is recognized for his practical, faith-based approach to leadership and his proven ability to help high performers find true alignment between work, family, and their deeper calling.Reasons to Listen: Discover how faith and leadership can fuel both personal and professional success, as Cory Carlson shares practical frameworks (like the “five capitals”) and his journey from corporate executive to purpose-driven coach.Hear honest, relatable stories about overcoming burnout, shifting from fear to faith, and finding identity beyond work achievement—including a powerful moment when Cory learned his church paid his family's mortgage during a crisis.Gain actionable tips on building a balanced, impactful life at home and work, including insights into powerful habits, community-building, and how to “rise and go” when life knocks you down.Episode Resources & Action Steps:Resources Mentioned in This Episode:Cory Carlson's Website: corymcarlson.com - Find Cory's blog, podcast, books, and information on coaching and the Rise community.Books by Cory Carlson: Win at Home First (also available on Audible) & Rise and GoDaily Wisdom for Men Devotional - Published by Jimmy Page and Dan Britton, this devotional was specifically mentioned as a valuable resource for men and families. (Available online and referenced during the podcast.)Action Steps for Listeners:Clarify Your Identity and Priorities - Reflect on where you're placing your identity—work, family, or faith—and consider Cory's framework of the “five capitals” (spiritual, relational, physical, intellectual, financial) to recalibrate your life's priorities.Cultivate Community and Accountability - Seek out or join a supportive community (like the Rise Community, men's groups, or similar), rather...

Ya lo dijo Pierre Fredy de Coubertin, el famoso barón, lo importante es participar. De todos es sabido que de las derrotas se aprende más que de las victorias. Nunca viene mal una cura de humildad para mantener los pies en el suelo. Y ya dice el refranero que no hay mal que por bien no venga. Por supuesto, todo esto lo dicen cuando pierden, nunca cuando ganan. Min. 01 Seg. 44 – Intro Min. 08 Seg. 07 – Dos protagonistas en una bonita historia Min. 12 Seg. 31 – Alguien le quiere, alguien no le quiere Min. 16 Seg. 15 – La falta contundencia defensiva Min. 20 Seg. 52 – La culpa de sus errores la tiene el lateral Min. 28 Seg. 29 – No se puede ganar siempre Min. 33 Seg. 05 – ¿Control o descontrol? Min. 37 Seg. 55 – El problema es que se achicó en ataque Min. 42 Seg. 44 – Los genios no están para defender Min. 47 Seg. 48 – Despedida Jimmy Buffett (Sausalito, CA 24/10/1974) Peanut Butter Conspiracy > Satin Doll > Outro Dallas Saxophones Trying To Reason With Hurricane Season They Don't Dance Like Carmen No More Pencil Thin Mustache Door Numbe Three Livingston's Gone To Texas A Pirate Looks At Forty Railroad Lady Jeff Beck, Jimmy Page & Metallica - Train Kept A-Rollin' (Cleveland, OH 04/04/2009)

This week we have NEW Rock and Roll music that DESERVES to be heard from Jack Starr, Cicadastone, Jeff Keith, Glenn Hughes, The Dead Daisies, Inglorious, Airborne, Infamous Stiffs, Bloody Dice, and Tyler Bryant & The Shakedown. Plus music from Spinal Tap, Jimmy Page & The Black Crowes, and Red Voodoo! Treat your soul to some Rock and Roll!Songlist:Spinal Tap - Bitch SchoolJack Starr - Tonight We RideJeff Keith - Hold OnCicadastone - Long Way DownGlenn Hughes - ChosenGlenn Hughes - Midnight MeditatedThe Dead Daisies - Black BettyInglorious - Eat You AliveAirborne - GutsyInfamous Stiffs - Evel MannBloody Dice - The Bitch Is CrazyTyler Bryant & The Shakedown - Bloodshot BabyJimmy Page & The Black Crowes - Hard To HandleRed Voodoo - Bring It Back

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.

Yasi and Steven talk with the energetic Jesùs Florido, a one-time competitive tennis player turned professional violinist, composer, producer and entrepreneur. An innovator at heart, Jesus takes you through his athletic career, its unintended impact in his musical development, his unique musical fusion style, developing into a music virtuoso, and his work in developing music careers through the Màs y Màs Music Foundation.For more on Jesùs' career, go to https://www.jesusflorido.comInstagram: @latinfiddlerBio: With his debut, Heading North, violinist, composer, and bandleader Jesus Florido introduces compelling artistry balanced on a fine axis of musical virtuosity and pure heart. "This album came about from what is not out there from an instrumental point of view," he explains. "Jazz, rock, classical, Latin -- my album is a melting pot."The savory list of sonic influences can be traced back to Venezuela, Jesus' home, and its pastiche of Cuban, Dominican, Trinidadian, and African cultures. Jesus' family is Italian, and in the grand European tradition, opera and classical music also informed his early years.He arrived in the U.S. to further his studies in musical academia but was soon performing in cavernous arenas to enormous audiences with Yo-Yo Ma, the Moody Blues, Jimmy Page & Robert Plant, and Whitney Houston. This high-profile exposure fueled the fire to ignite his own solo career.Heading North is notable for the contributions of the musicians, producers, engineers, and programmers who join Jesus. "It was important to me that project was different from the get-go," he relates. "I wanted to communicate on a higher level." Heading North features a superlative ensemble.Jesus composes in an unconventional miracle of pure inspiration, building songs from a rhythmic and harmonic base -- chords and a drumbeat -- then improvising on top of them. "I may clean it up, but I assure you, on every track what you hear is exactly what came through my head at that moment. To write fresh music I have to recall exactly how I felt about the tune the first time I heard it," he reveals.Across this vivid spectrum of music, the unmistakable timbre of Jesus' violin remains an indelible voice connecting the songs that comprise Heading North. From the sophisticated veneer of the title track to the incendiary Latin grooves of "Mi Negra," the prog-rock influenced "Con Todo," the electro-Santeria vibe of "Gitano" to the funk-informed "Olividado," Jesus bends rhythmic and melodic structures to his will. "Every song is a story without words," he relates. "If I can tell it to the audience when they listen to my record, then I've succeeded." With his violin as a compass, Jesus Florido heads toward a limitless musical horizon with a stunning debut, Heading North."

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.”

This is a very cool look at Jimmy Page's music mere months before the formation of Led Zeppelin. May 29, 1968 at the Concord Colosseum had The Yardbirds playing a very cool bluesy/psychedelic set to a very lucky audience. Given that Clapton, Beck, and Page all gestated within the Yardbirds, it's safe to say the Yardbirds were a guitar band. Unfortunately, they were marketed as a pop combo, so as the 60's evolved into the wilder, more improvisational psychedelic areas, the disconnect between their record company and the band became unsustainable. The band folded shortly after this gig, leaving Jimmy with the Yardbirds name. I play Mr. You're a Better Man Than I, Heartful of Soul, and a wild and improvisational I'm A Man. I find it interesting that I'm a Man is the song in which the band stretches out and jams, rather than Dazed and Confused, which was also in the setlist. This a very cool snapshot of a very cool time in music, as well as the future of Led Zeppelin.

When you explore the music of The Yardbirds you are really observing the evolution of what would become hard rock.  This group started in 1963 and over its time would engage the talents of three of the greatest guitarists of the rock world:  Eric Clapton, Jeff Beck, and Jimmy Page.  Additional musicians in the group through 1968 were Keith Relf on vocals and harmonica, Jim McCarty on drums, Chris Dreja on rhythm guitar, and Paul Samwell-Smith on bass.  The group was founded in the blues, but over time would explore psychedelic rock, pop rock, and hard rock, with instrumental jams being a signature sound throughout their tenure.Having a Rave Up, also known as "Having a Rave Up with the Yardbirds," is their second American album, and showcases two of their virtuoso guitarists.  The album has one side of studio recordings in which Jeff Beck is the guitarist.  Side two is a compilation of live performances featuring Eric Clapton on guitar.  During a time when most songs were expected to run about three minutes, the Yardbirds would extend these out in live performances to six or seven minutes with instrumental jams known as "rave ups."  The combination of studio and live work is an excellent introduction to The Yardbirds, as the band's strength was in their live performances.  Their studio efforts would improve with the experimentation of Jeff Beck.Jimmy Page would become their guitarist in mid-1966 until their split-up in mid-1968.  He would form a group as "The New Yardbirds" shortly thereafter, which would be renamed shortly thereafter to Led Zeppelin.Rob brings us this study in the origins of rock for this week's podcast. Heart Full of SoulThis song was the first single released by The Yardbirds after Jeff Beck joined the group.  It was written by Graham Gouldman, who would later be the co-lead singer and bassist of 10cc.  The band wanted to include a sitar in the instrumentation for this song, but when things didn't work out for that, Beck experimented with his guitar to duplicate the eastern sound of the sitar instead.You're a Better Man than IThe opening song from the album is also known as "Mister, You're a Better Man than I."  It was written by brothers Mike and Brian Hugg, and is an attempt at a more folk rock song.  The socially conscious lyrics take aim at the hypocrisy of society and politics, stating that you shouldn't judge a person based on superficial appearances or education.Smokestack LightningThe live opener to side two is a cover of an old blues song recorded by American blues artist Howlin' Wolf in 1956.  The inspiration for the title came from watching trains go by at night and seeing the sparks come out of the smokestack.The Train Kept a-Rollin'While Aerosmith's cover may be more famous, this jump blues piece was originally performed by Tiny Bradshaw in 1951.  The Yardbirds played this song during their first American tour in 1965, and Sam Phillips recorded it for them in Memphis later that year.  It closes out side 1 of the album. ENTERTAINMENT TRACK:Main theme from the television action comedy "Batman"This campy superhero show premiered this month. STAFF PICKS:Don't Think Twice, It's Alright by The Wonder Who?Bruce begins the staff picks with a disguise group.  The Four Seasons used the name "The Wonder Who?" for four records released from 1965 to 1967, including this one.  Frankie Valli wasn't happy with his vocals on this song, and he recorded it with a "joke" falsetto voice while trying to break the tension in the studio.  All Your Love by John Mayall & the BluesbreakersLynch brings us a blues song originally recorded by American blues musician Otis Rush in 1958.  Multi-instrumentalist singer-songwriter John Mayall led this group, which included Eric Clapton on guitar and John McVie on bass.  This single is the lead-off track to the debut album "Blues Breakers with Eric Clapton," also known as "The Beano Album" because Clapton is reading a children's comic called "The Beano" on the front cover.My Generation by the WhoWayne's staff pick is the hit that started the trajectory for the Who.  Guitarist Pete Townshend wrote this song about young rebellion.  Roger Daltrey incorporates a stutter in his vocals to sound like a British mod on speed.  While this song would reach number 2 on the UK charts, it topped out at number 74 on the US charts.Day Tripper by the BeatlesRob features a well known song from the Beatles, recorded during the "Rubber Soul" album sessions but not included on the album itself.  It was released as a double A-side single along with "We Can Work it Out" during a time when the Beatles were under pressure to release a single in time for the 1965 Christmas season.   COMEDY TRACK:The Lurch by Ted CassidyTed Cassidy played Lurch on "The Addams Family," and also performed this novelty song.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

The band HEART will be in Chicago at Ravina, The Hard Rock in Atlantic CityDetroit, Hinckley Minnesota, St Louis, and more cities ... Go to heart-music.com for details.Nancy Wilson of Heart is a a trailblazer , a Rock & Roll Hall of Famer, and just an all-around cool person.Nancy joined us to talk:-Working with her sister Ann for over 50 years, "Because we had the other focus on the music itself, it took a lot of pressure off of us as a relationship"-Playing Radio City Music Hall (Ann Hathaway brought her kids)-Todd Rundgren has always been that cool-college girl-mind-expanding-person-Writing new music -Playing the Kennedy Center Honors for Robert Plant, Jimmy Page, and John Paul Jones-Inspired by the Beatles on Ed Sullivan   To subscribe to The Pete McMurray Show Podcast just click here

Disclaimer: This podcast episode includes commentary and theological reflection on cultural media, specifically the song 'Stairway to Heaven.' References to titles, lyrics, and copyright entities are made under fair use for educational and non-commercial purposes. This content is not affiliated with, sponsored by, or endorsed by Led Zeppelin, Jimmy Page, or Succubus Music Ltd. All rights to the referenced works remain with their respective copyright holders.In the last episode, I peeled back the layers of Led Zeppelin's Stairway to Heaven as a full manifestation of the spirit of the age that you can buy or earn your way to Heaven. In this episode, I want to go deeper into that. Listen as I answer these questions: Why would a person want to buy heaven? Why a person resist grace? And what's the mindset behind rejecting what Jesus already paid for?DONATE You can help support this podcast by clicking our secure PayPal account. For donation by check, make payable to Transform This City, P.O. Box 1013, Spring Hill, Tennessee, 37174. “gwot.rocks” is a ministry of Transform This City, a registered 501(C)(3) The Four Spiritual Laws - how you can be born again and have eternal life?The Spirit Filled Life- how you can live each day in the power of God'd Holy Spirit!"Other Things with... " YouTube ChannelCut & Paste Personal Invitation to invite your friends to check out “gwot.rocks” podcast: I invite you to check out the podcast, “gwot.rocks: God, the World, and Other Things!” It is available on podcast players everywhere! Here is the link to the show's home base for all its episodes: http://podcast.gwot.rocks/ (Ctrl+click to follow the link) LIFE HELPSgwot.rocks home page Transform This City Transform This City Facebook gwot.rocks@transformthiscity.org Thank you for listening! Please tell your friends about us! Listen, share, rate, subscribe! Empowering Encouragement Now segments are based in part on C.H. Spurgeon's Morning & Evening Devotions (public domain.)ChatGPT and/or Bard may be used at times to expedite research material for this podcast.Unless otherwise noted, all Scripture quotations are taken from the Christian StandardBible®, Copyright © 2016 by Holman Bible Publishers. Used by permission. ChristianStandard Bible® and CSB® is a federally registered trademark of Holman Bible Publishers.At times, I also quote from the NIV version of the Bible - Scriptures taken from the Holy Bible, New International Version®, NIV® Hosted on Acast. See acast.com/privacy for more information.

The band Tesla started out over 40 years ago in Sacramento California. The hit a lot of success with their debut album Mechanical Resonance. Their second album produced the major hit Love Song, and their third album "Five Man Acoustical Jam" had their biggest hit Signs. They've sold millions of albums and toured the world multiple times. They just released their newest song "All about Love" and their bassist and founding member Brian Wheat was nice enough to come on the show! Brian and Doc talk about Jeff Keith's vocal performances, Paul McCartney's influence, Brian's choice of bass, the Five Man Acoustical Jam, Jimmy Page's compliments of the Five Man Acoustical Jam, Working on new material and much much more! Meanwhile on the rest of the show Mike and Doc realize they might not be 5-star quality...but it doesn't stop them from feeling like their floating on warm water. Introduction: 0:00:22 Birthday Suit 1: 12:05 Ripped from the Headlines: 17:44 Shoutouts: 34:43 Brian Wheat Interview: 38:17 Mike C Top 3: 1:08:23 Birthday Suit 2: 1:25:55 Birthday Suit 3: 1:27:55

This is a Special Episode called THE BRITISH INVASION SHOW. It features the seven following stars from this magical era of the 1960s when English artists ruled the pop world and the charts. Each was previously a guest on the podcast.Peter Noone - Herman of Herman's Hermits. They had a spectacular run of hits including “No Milk Today”, “There's A Kind Of A Hush”, “Mrs. Brown You've Got A Lovely Daughter”, “I'm Henry VIII” and their first smash “I'm Into Something Good”.Rod Argent was the keyboard wizard of The Zombies. The band had two massive hits in the ‘60s, “She's Not There” and “Tell Her No”.Allan Clarke was the lead singer for The Hollies, another band that had a string of hits including “On A Carousel”, “Pay You Back With Interest” and “Long Cool Woman In A Black Dress”.Jim McCarty was the drummer for The Yardbirds, whose hits included “For Your Love” and “Heartful Of Soul”. The band had three famous guitarists in succession: Eric Clapton, Jeff Beck and Jimmy Page.Billy J. Kramer was the lead singer of Billy J. Kramer and the Dakotas. They were managed by Brian Epstein, the manager of The Beatles, and were given several Lennon/McCartney songs to record including “Do You Want To Know A Secret”, “I Call Your Name” and “Bad To Me”.Kenney Jones was the drummer for the Small Faces of “Itchycoo Park” fame, then the Faces starring Rod Stewart, and then joined The Who after the death of Keith Moon.John Lodge was the bassist and a singer and composer for The Moody Blues. Their big hits included “Go Now” and “Nights In White Satin”. John's hits included “Ride My See Saw” and “I'm Just A Singer In A Rock And Roll Band”.---------------------------------------------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.—----------------------------------------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 

Artwork from Key of Dreams When you're working on a project with other people, a comic collaboration for example, it's usually best to decide on different roles for everyone according to what they're best at (writer, artist, layout design, pencils, inks, colour, backgrounds lettering etc), and let them handle it. You don't micromanage and make decisions for them. Basically they're the “experts” on those things now so you wait and see what they do. The idea for this Quackcast came to me after someone defended the super clunky Star Wars prequels with the old argument that George Lucas created them and he also created the original Star Wars so he must know best and certainly better than any “haters”. In reality though the prequels are an excellent example of why you MUST defer to people who know better. The original trilogy of Star Wars movies were created at a time when George was still a small fish in a big pond, he wasn't powerful or rich enough to have much control in the industry at that stage. He came up with great ideas (Star Wars, Indiana Jones etc), but had to rely on the studio system to get them made, which meant he had to collaborate with people who's job it was to make great movies: directors, script editors, Foley artists, casting directors, concept designers, model makers etc. As well as studio execs and producers. He had to compromise on what was feasible. But after the massive success of the movies, making a mint off of the sale of IP and merchandising, and his SFX studio Industrial Light and Magic being the industry standard, many years later when Luca worked on the prequels he had unrivalled power. He didn't have to defer to anyone anymore, he didn't have to collaborate or make compromises. He was the last word and he knew best… Except he didn't. In the years since he made those initial movies he hadn't directed much or written many scripts and the Prequels show that all too well with bad dialogue, clunky direction, bad plot choices etc. He even got rid of his expert model makers and all the work they did and used CGI instead because it gave him more control. TL,DR: The original Star Wars were good because they were made as collaborative projects by very experienced people while the prequels were mainly controlled by a guy who lacked a lot of expertise and it shows. The Dunning Kruger effect makes us think we're experts in things we only know a little about, ALL of us suffer from it constantly, even me, but when you've had some success in a field: that gives you confirmation bias that “proves” you really ARE an expert. This was Lucas's position during the prequels. I've worked in 2 collabs recently, Bottomless Waitress with Banes and Key of Dreams with Tantz and Banes. On both those projects we all have distinct roles and we stuck with them very easily! We worked within them and didn't ever bump into each other or try and take over anyone's role and so these are good examples of smooth collaborations which produce results people like. Bands are great examples of collaborative projects, especially when they're working with people who all get the chance to shine and handle their own roles. This is why I love Led zeppelin so much: back in the day Jimmy Page was the band leader and lead guitarist but he let each member handle what they were best at in their own way so it worked as a group of collaborative experts and you can really hear that in the sound! I ramble because I'm tired and I have a headache but I think this is an interesting point: You can't be an expert at everything so when you work with others let them handle what they do best and you do what you do best. There are many examples of great collaborative projects where many people working on them are great at what they do and come together to produce something magical. Some of my faves are Jeff Wayne's War of the Worlds (rock opera), Led Zeppelin, The Life of Brian, The Empire Strikes Back and more… What are yours? This week it's another best off from Gunwallace! The Jacket Comic - Wiry, punk, gritty, shiny and cool, this one jangles in on lyrical chords, sounding indie-rock with an almost Arabian flavour at times as the strings howl and echo up and down the scales. A rocky tune it for the coolest jacket in the world. Topics and shownotes Links Featured comic: Highly Devolved - https://www.theduckwebcomics.com/news/2025/may/06/featured-comic-highly-devolved/ Featured music: The Jacket Comic - https://www.theduckwebcomics.com/The_Jacket_Comic/ - by RTHaldeman, rated M. Special thanks to: Gunwallace - https://www.theduckwebcomics.com/user/Gunwallace/ Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Banes - https://www.theduckwebcomics.com/user/Banes/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS

Steven Tyler & Joe Perry reunite for a special performance for charity, A statue of Motorhead's Lemmy Kilmiester will be unveiled in his hometown, and Jimmy Page has been hit with another lawsuit following the release of their latest documentary & more!  PLUS ‘This Week in Rock & Roll History Trivia', Rock Birthdays, ‘The Best & Worst Rock Album Artwork of the Week' & so much more!Everything is up at www.rocknewsweekly.com Watch us LIVE, chat with us & more…Every Sunday around 2pm PST @ https://www.twitch.tv/rocknewsweeklyWatch all of our videos, interviews & subscribe at Youtube.com/@rocknewsweeklyFollow us online:Instagram.com/rocknewsweeklyFacebook.com/rocknewsweeklyTwitter.com/rocknewsweeklyAll of our links are up at www.rocknewsweekly.com every Monday, where you canCheck it out on 8 different platforms (including Amazon Audible & Apple/Google Podcasts) #Rock #News #RockNews #RockNewsWeekly #RockNewsWeeklyPodcast #Podcast #Podcasts #Metal #HeavyMetal #Alt #Alternative #ClassicRock #70s #80s #90s #Indie #Indie #Trivia #RockBirthdays  #BestAndWorstAlbumCovers #AlbumCovers #BadAlbumCovers #StevenTyler #JoePerry #Aerosmith #JaniesFund #Motorhead #LemmyKilmiester #JimmyPage #RickHolmes #Taurus #DazedandConfused #LedZeppelin #ACL2025 #ACLFest

You ever hear that line from *Stairway to Heaven"...*She's buying a stairway to heaven.”? Well, I looked up who owns the song—and found the rights are held by a company called *Succubus Music*, directed by Jimmy Page himself. That's not just creepy—it's spiritually revealing.Here's the truth: you can't buy your way to heaven. Not with money. Not with good deeds. Not with mysticism. You can't buy what's already been paid for. Jesus didn't leave room for another payment plan. The cross was enough.DONATE You can help support this podcast by clicking our secure PayPal account. For donation by check, make payable to Transform This City, P.O. Box 1013, Spring Hill, Tennessee, 37174. “gwot.rocks” is a ministry of Transform This City, a registered 501(C)(3) The Four Spiritual Laws - how you can be born again and have eternal life?The Spirit Filled Life- how you can live each day in the power of God'd Holy Spirit!Voices From The Past Volume 1 & 2"Other Things with... " YouTube ChannelCut & Paste Personal Invitation to invite your friends to check out “gwot.rocks” podcast: I invite you to check out the podcast, “gwot.rocks: God, the World, and Other Things!” It is available on podcast players everywhere! Here is the link to the show's home base for all its episodes: http://podcast.gwot.rocks/ (Ctrl+click to follow the link) LIFE HELPSgwot.rocks home page Transform This City Transform This City Facebook gwot.rocks@transformthiscity.org Thank you for listening! Please tell your friends about us! Listen, share, rate, subscribe! Empowering Encouragement Now segments are based in part on C.H. Spurgeon's Morning & Evening Devotions (public domain.)ChatGPT and/or Bard may be used at times to expedite research material for this podcast.Unless otherwise noted, all Scripture quotations are taken from the Christian StandardBible®, Copyright © 2016 by Holman Bible Publishers. Used by permission. ChristianStandard Bible® and CSB® is a federally registered trademark of Holman Bible Publishers.At times, I also quote from the NIV version of the Bible - Scriptures taken from the Holy Bible, New International Version®, NIV® Hosted on Acast. See acast.com/privacy for more information.

Gary Graff on The Who's farewell tour, Smokey Robinson accusations, Jimmy Page being sued, Billy Joel docs by 102.9 The Hog

Special Zeppelin episode featuring a set up from Jimmy Page and then Robert Plant, in conversation with Jeff, about the magic of the mighty Zep, and what it was that first attracted them to the blues in the sixties, and then in the spotlight: every one of the fifteen songs over the four sides of the classic double album of 1975 -- Physical Graffiti. Jeff gets into how it got made, where each song was recorded and when, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSICSmokey Robinson and his wife Frances are named in a $50-million lawsuit accusing them of sexual battery, assault, false imprisonment and gender violence. The complaint was filed this morning (Tuesday) by four women who worked as housekeepers for the 85-year-old singer between 2012 and '24. Soundgarden still plans to release its final album with Chris Cornell, this is the one that the band and Vicky Cornell, Chris' widow, exchanged lawsuits about a couple years ago. · Amy Lee of Evanescence has teamed with pop singer Halsey on a new song called "Hand That Feeds." Taken from the new John Wick spin-off movie, Ballerina, the song will be released this Friday, May 9th.Jimmy Page is headed back to court over Led Zeppelin's song "Dazed and Confused". TVGordon Ramsay has lent his voice to Masterclass on Call, an AI program that offers cooking advice for home cooks. MOVING ON INTO MOVIE NEWS:This new specialty popcorn bucket that Regal Cinemas came up with for "Mission: Impossible - The Final Reckoning" might be the coolest one yet, because you have to open it with TWO KEYS. It's been 27 years since one of the worst sequels of all time, "Blues Brothers 2000", defiled theaters. Maybe it's been long enough that we can give the Blues Brothers another shot. The director of "10 Things I Hate About You" is developing a sequel. After directing the 1999 rom-com “10 Things I Hate About You,” Gil Junger revealed a second movie is in the works called “10 Things I Hate About Dating.” "Practical Magic 2", starring Nicole Kidman and Sandra Bullock, is due out in the fall of 2026. AND FINALLY Mother's Day is Sunday, and if you don't feel like actually INTERACTING with mom, you can always pop in a movie. "Harper's Bazaar" put together a list of the 30 Best Movies to Watch on Mother's Day. AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I'm super excited to welcome Bill Payne, founding member of @littlefeat_official, for this week's episode!!  For over five decades, Bill has been playing music and delighting fans with his expert piano and keyboard playing, great vibes and amazing songwriting. Bill is also a legendary collaborator and has played on 100s of albums and toured with a legion of amazing bands in addition to his enduring commitment to the music of Little Feat.  He's toured with The Doobie Brothers, James Taylor, Simon & Garfunkel, Jimmy Buffett and Bonnie Raitt just to name a few. Bill is also a noted photographer and author, and is currently working on a memoir documenting a life in music and his passion for collaboration.Little Feat is still going strong -- producing music full-time -- and are excited about the release of their first studio album in 15 years, Strike Up The Band, out May 9. They're hitting the road in May with tour dates throughout the remainder of the year.Bill is a stellar human with a terrific sense of humor — he's a kind soul with a firm grasp of the history of music and his place in that world — and it's truly an honor to share this interview with all of you!!  Enjoy!!Show Notes:New Little Feat album, Strike Up The Band, out May 9!!More info on Little Feat and tour dates, click here For more info on Bill Payne's artistic and creative efforts, click here for Bill's website:  Bill Payne CreativeDon't forget to please leave a review describing what you enjoyed most about this episode!!  Thanks for listening!!  =============================For more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer  

When people talk about the greatest guitarists of all time, names like Jimi Hendrix, Eric Clapton, and Jimmy Page often come up. But in the world of acoustic fingerstyle guitar, few names resonate louder than Tommy Emmanuel. Hailing from Australia, Tommy has spent his life redefining what one person and one guitar can do — creating soundscapes so full and expressive, you'd swear there's a full band on stage. But it's just Tommy, his guitar, and a heart full of music.Born in 1955 in NSW, Tommy was destined for a life in music. By the age of four, he was already strumming along on a homemade guitar, inspired by the country music on the family radio. When he was just six, he and his older brother Phil were already performing professionally, touring rural Australia as part of the Emmanuel family band. After the sudden death of their father in 66, the Emmanuel family relocated and Tommy's passion for the guitar only deepened. He didn't receive formal training. Instead, he learned by ear, copying the sounds he heard and developing a unique style shaped by necessity, emotion, and endless hours of practice.If there's one name Tommy Emmanuel reveres more than any other, it's Chet Atkins. The legendary guitarist's fingerpicking style — where melody, bass, and rhythm are played simultaneously — blew Tommy's mind as a child. From the moment he heard Atkins' music, Tommy knew he wanted to master the same technique.Years later, not only did Tommy meet his hero, but the two became close friends and collaborators. In one of the greatest honors a guitarist can receive, Chet Atkins named Tommy a Certified Guitar Player (CGP) — a title he gave to only a handful of musicians worldwide. Their 1996 collaboration, The Day Finger Pickers Took Over the World, showcased both artists' brilliance and earned a GRAMMY nomination.Though he played in bands during the 1980s — it was Tommy's solo work that truly revealed his genius. Armed with a single acoustic guitar, Tommy became a one-man orchestra. He played melody, bass, harmony, and percussion all at once, creating dynamic performances that are equal parts musical and theatrical.From dazzling renditions of Classical Gas and Somewhere Over the Rainbow to heart-pounding originals, Tommy's concerts are unforgettable.Over the decades, Tommy has become not only a global guitar icon but also a tireless ambassador for fingerstyle playing. He's released over 30 albums, toured relentlessly across six continents, and collaborated with legends including Mark Knopfler, Jason Isbell, Jake Shimabukuro, Molly Tuttle, John Knowles, and many others.Tommy Emmanuel doesn't just perform — he teaches, encourages, and uplifts. Many students admire his technique, but it's his heart-led approach that sticks with them. Tommy's life hasn't been without challenges. Like many who spend their lives on the road, he struggled with addiction earlier in his career. But he's been open about those difficult years, crediting his recovery and ongoing sobriety to a mix of faith, family, and a renewed connection to the purpose behind his music.His story is one of resilience, not just in music but in life. He's spoken publicly about mindfulness, presence, and living with gratitude — all of which shine through in his playing.Now in his late 60s, Tommy Emmanuel shows no signs of slowing down. He continues to tour internationally, sell out shows, release new music, and connect with fans of all ages. Whether he's playing on a small club stage or headlining a major festival, Tommy pours everything into every note.There's a reason people call him a force of nature. Join us in conversation to hear Tommy talk about his life, his stories and his music. To learn more head for his website hereTo connect with me, jump onto my website. I hope you enjoy this episode!

One rehearsal in the summer of '68 lit the fuse—Becoming Led Zeppelin captures the raw formation of a band that would change music forever. With newly unearthed John Bonham audio and exclusive interviews from Page, Plant, and Jones, this doc is pure voltage—no critics, no fluff, just Zeppelin, and a ton of great music, in their own words.*Want to win a free copy of Queen & A Night At The Opera: 50 Years?  It's easy, just send me an email to sign up. You can find a link to my email address below. *Reminder this is for US citizens only* *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

Listeners of our show know of our love for Led Zeppelin and their iconic lead singer, Robert Plant. Already this year we've devoted 2 shows to Physical Graffiti as it turned 50, a show on The Firm's debut album featuring Jimmy Page and one on the documentary Becoming Led Zeppelin which is now available on streaming services. And though we've reviewed several classic Zeppelin albums, we've also gone track x track on Unledded, Robert's reunion with Jimmy Page in 1994, and his first two solo efforts. Based on the strength of Pictures at 11 and The Principle of Moments and the fact that Robert was working with the same bandmates, we thought it only right that we review his 3rd solo effort, Shaken N Stirred. However, Shaken N Stirred found Robert yearning for a more modern and synthesized sound which is not only different from his first two solo albums but not in the wheelhouse of his talented bandmates. In an effort to sound more like Talking Heads, Robert embraced the latest technology and styles of the day. The result is not only a departure from his signature sound but a miss in making a record that would sound good in 1985, nevermind 40 years later. While Little By Little was a hit in the US (#1 Mainstream Rock), the rest of the record is a mish mash of sounds that don't necessarily make listenable songs. The listening public in the US revolted against the 2nd single Too Loud and rock fans in Chicago demanded that they "Get that sh*t off the air!" While we admire artists for going in new directions and not wanting to be stuck by what the public deems as "their sound", this album didn't win Robert any new fans and alienated many that he already had. With that in mind, we did our best to pick out what we did like and tried to understand what Robert was attempting to do. Amidst the backdrop of his marriage ending and his unsure footing in the music world post Led Zeppelin, this one stands out in his catalog as one maybe he wishes he could do over (or at least we wish he would). Robert would continue to reinvent himself throughout his career with some amazing results. But as this misstep turns 40, we dive into what went wrong. 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

Listeners of our show know of our love for Led Zeppelin and their iconic lead singer, Robert Plant. Already this year we've devoted 2 shows to Physical Graffiti as it turned 50, a show on The Firm's debut album featuring Jimmy Page and one on the documentary Becoming Led Zeppelin which is now available on streaming services. And though we've reviewed several classic Zeppelin albums, we've also gone track x track on Unledded, Robert's reunion with Jimmy Page in 1994, and his first two solo efforts. Based on the strength of Pictures at 11 and The Principle of Moments and the fact that Robert was working with the same bandmates, we thought it only right that we review his 3rd solo effort, Shaken N Stirred. However, Shaken N Stirred found Robert yearning for a more modern and synthesized sound which is not only different from his first two solo albums but not in the wheelhouse of his talented bandmates. In an effort to sound more like Talking Heads, Robert embraced the latest technology and styles of the day. The result is not only a departure from his signature sound but a miss in making a record that would sound good in 1985, nevermind 40 years later. While Little By Little was a hit in the US (#1 Mainstream Rock), the rest of the record is a mish mash of sounds that don't necessarily make listenable songs. The listening public in the US revolted against the 2nd single Too Loud and rock fans in Chicago demanded that they "Get that sh*t off the air!" While we admire artists for going in new directions and not wanting to be stuck by what the public deems as "their sound", this album didn't win Robert any new fans and alienated many that he already had. With that in mind, we did our best to pick out what we did like and tried to understand what Robert was attempting to do. Amidst the backdrop of his marriage ending and his unsure footing in the music world post Led Zeppelin, this one stands out in his catalog as one maybe he wishes he could do over (or at least we wish he would). Robert would continue to reinvent himself throughout his career with some amazing results. But as this misstep turns 40, we dive into what went wrong. 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

170 - Paul Rappaport In episode 170 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with guitarist and record company promoter Paul Rappaport who's written a new book that will available April 15th called “Gliders Over Hollywood” In their conversation Paul tells us about his 1962 Gibson Les Paul jr (SG shape) that was given him by Buck Dharma and Blue Oyster Cult, whom we worked with at Columbia Records and he describes how he helped the band. He also shares with us a couple of Gibson Les Paul Reissues, a 1952 Goldtop and a 1959. Paul also discusses his amps. Paul talks about his friends in vintage instruments, producer Perry Margouleff (perrymargouleff.com) and amp builder Mitch Colby (ColbyAmps.com) who are working on the new Sundragon amps with Jimmy Page. Paul tells us about growing up in Downey California and starting on lap steel and eventually moving to guitar and played in the band “the Jades” with his Rickenbacker 6 string that he eventually gave to Elvis Costello. Paul talks about his other passions surfing and his family. Paul tells the story of his punk band “Mogan David and his Winos” which included Harold Bronson of Rhino Records fame. Paul explains how Paul Bloomfield helped him with his guitar playing. Paul then tells us about as a gift from the band Pink Floyd. He got to play with Pink Floyd on stage in London Arena. He'd been working with them since they began on Colombia Records. Again Paul's book is called “Gliders Over Hollywood” and it will be available April 15th. Amazon - https://tinyurl.com/34k9n4uk Barnes and Noble -- https://tinyurl.com/mf7hz6fx Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #PaulRappaport #GlidersOverHollywood #GibsonGuitar #MoganDavidAndHisWinos #BlueOysterCult #VintageGuitar #PinkFloyd #PerryMargouleff #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

As a founding member of the band Toto, Steve Lukather is well aware of the song you probably know him for. But Steve, known to most as “Luke”, has plenty of other claims to fame. Luke is a seriously talented guitarist and writer with more than a dozen albums to his name from Toto alone, not to mention an almost infinite number of credits and Grammys from his session work with stars like Paul McCartney and Quincy Jones. It all started with the enthusiasm that Luke’s parents expressed for a musical career, guiding him toward frequent lessons, hard work, and the practice of showing up to a studio every day and putting in the hours. Being a working man is what led him to where he is — and, as any young player would dream, it’s also what got him the ultimate compliment from Jimmy Page. Follow me on Instagram at @davidduchovny. Stay up to date with Lemonada on Twitter, Facebook and Instagram at @LemonadaMedia. Joining Lemonada Premium is a great way to support our shows and get bonus content. Subscribe today on Apple Podcasts, Spotify, or wherever you get your podcasts. For a list of current sponsors and discount codes for this and every other Lemonada show, go to lemonadamedia.com/sponsors.See omnystudio.com/listener for privacy information.

Eight days after the shambolic Live Aid reunion Jimmy Page joined Robert Plant onstage at the Brendan Byrne Arena, in East Rutherford, NJ. The contrast between the two gigs couldn't be greater. Robert's voice is virtually perfect and Jimmy's guitar (and Jimmy himself) are in tune. I play an aching beautiful Young Boy Blues from his then current Honeydrippers EP, and then I play the two encores Jimmy played with the band; the first being a standard blues number (I don't know if it has a name), and then a fiery run through of Treat Her Right, which calls back to when they jammed the same tune two years earlier. This is a great performance and a shining testimony to the viability of a Page/Plant collaboration even back then, when they sniped at each other in the press.

As long-time followers of our show are aware, The Wolf and Action Jackson are HUGE Led Zeppelin fans. When it was announced several years back that there would be a Led Zep documentary coming, we were psyched and knew that we'd not only have to go see it on the big screen but do a review on UAWIL. However, we we didn't know that director Bernard MacMahon had not only unearthed and cleaned up video of a performance by the band in Bath from 1969, but he also uncovered a never-before-heard audio interview of John Bonham. Thanks to that interview, he was able to get reflections from all four members of Led Zeppelin on their journey to becoming the biggest band in the world. Instead of being a complete career retrospective, this film focused on the back stories of each member - how they grew up, when they became fascinated with rock music, which artists turned them on and how they found their way into the music business. Most fans know that Jimmy Page was on tv with his skiffle group as a kid before becoming a premier session guitarist in London. But did you know that John Paul Jones learned so much from his father, pianist John Baldwin, and was a choirmaster at age 14? Did you know Robert Plant would try many different types of groups, hairstyles and scenes before he ever became a Golden God? Learning how Jimmy Page put the first record together so he would have leverage with record companies to not only get better royalties but to not be forced into releasing singles is just one amazing insight into how Led Zeppelin became the juggernaut, especially in the US, that would define their legacy. Action went to great lengths to see this movie and offer his perspective so give us a listen and see this film in the theaters while you can - the video and sound is amazing!! Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Covering some news items from this week, also encouraging Mexico and Canada to invade us, checking in with our old friend Jimmy Page, and speculating on what would happen in Tommy Shelby married Ephialtes of Trachis Support us on Patreon: www.patreon.com/trillbillyworkersparty

Artificial intelligence tools for musicians are getting eerily good, very fast. Their work can be maddening, funny, ethically dubious, and downright fascinating all at the same time. TV and podcast composer Mark Henry Phillips joins to describe his experience working with them. We talk about the job of modern music composition; why he's worried AI might eventually do much of his current job; the morass of AI copyright law; and the ethics of creative ownership. But above all, Mark gets my brain whirring about the nature of creativity—how great new ideas, like songs, come to be in the first place. The line between stealing and inspiration in artistic history has always been blurry. Picasso famously said: “Good artists copy, great artists steal.” And that is not just a memorable quote. Many of my favorite musicians were famous borrowers, to put it lightly. Some of Led Zeppelin's most famous songs—such as "Whole Lotta Love"—were such obvious lifts that, after years of court cases, the band agreed to add the plaintiff to the song credits. But analogies to music and art history also fall short to capture the weirdness of this moment. Neither Picasso nor Jimmy Page had access to an external technology whose deliberate function was to slurp up musical elements from millions of songs, store their essence in silicon memory, and serve them up in a kind of synthetic stir fry on an order-by-order basis. Musicians have been writing music with partners for decades, even centuries. What happens to music when that partner is a machine: Will it open up new horizons in songwriting and composition? Or in a sad way, will super-intelligence make the future of music more average than ever? Links: WNYC: "How AI and Algorithms Are Transforming Music"  "In February's Cruel Light (Goodbye Luka)" Full AI song "L.A. Luka (I Wanna Puke-uh)" Full AI song  P.S. Derek wrote a new book! It's called 'Abundance,' and it's about an optimistic vision for politics, science, and technology that gets America building again. Buy it here: https://www.simonandschuster.com/books/Abundance/Ezra-Klein/9781668023488 Plus: If you live in Seattle, Atlanta, or the Raleigh-Durham-Chapel Hill area, Derek is coming your way in March! See him live at book events in your city. Tickets here: https://www.simonandschuster.com/p/abundance-tour Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oscars: While every Academy Award nominee didn't go home with a golden statue on Sunday, each one did get an Oscars gift bag worth $217,000 from marketing firm Distinctive Assets that included   MUSIC The music catalog of the late The Notorious B.I.G. might soon be sold.    The Black Crowes guitarist Rich Robinson says if his band does get inducted into the Rock and Roll Hall of Fame's Class of 2025, the band wants Led Zeppelin's Jimmy Page to give their induction speech   Brent Smith of Shinedown says their eighth album will be out in late July or early August. An R.E.M. tribute show hit the band's hometown of Athens, Georgia on Thursday and Friday nights, and that led to a one song reunion by the full band.   Luke Combs is the first country artist of all time to have two songs pass the billion-stream mark on Spotify.  A couple weeks ago, Luke's song "When It Rains It Pours" passed the billion-stream mark . . . and now his song "Beautiful Crazy" has eclipsed a billion as well.  RIP: David Johansen, who went from the frontman of New York Dolls to a crooner named Buster Pointdexter, is dead. He was 75. RIP: Badfinger's Joey Molland has passed at 77.  His cause of death wasn't given but he had been battling pneumonia. TV Ashley Cano, who often thrifts pieces and sells them on Poshmark, shared her latest find on TikTok, which appears to be the Vera Wang dress that Carrie Bradshaw (played by Sarah Jessica Parker) wore during her bridal-themed Vogue photoshoot before her (almost) wedding to Mr. Big.   MOVING ON INTO MOVIE NEWS: Whoopi Goldberg appeared at the Academy Awards and broke news about a third Sister Act movie. An examination of Gene Hackman's pacemaker shows he most likely died on February 17th, nine days before the bodies of him and his wife were discovered.  And tests have determined they did not die of carbon monoxide poisoning.   MISC  Kourtney Kardashian says her 15-year-old son Mason is NOT a father.     AND FINALLY The Razzie Award results are in!  Francis Ford Coppola is thrilled to accept his trophy for Worst Director, for "Megalopolis". He said he accepted it, quote, "against the prevailing trends of contemporary moviemaking!" He added, quote, "In this wreck of a world today, where ART is given scores as if it were professional wrestling, I chose to NOT follow the gutless rules . .   AND THAT IS YOUR CRAP ON CELEBRITIES! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oscars:While every AcademyAward nominee didn't go home with a golden statue on Sunday, each one did getan Oscars gift bag worth $217,000 from marketing firm Distinctive Assets thatincluded MUSICThe music catalog of thelate The Notorious B.I.G. might soon be sold.   The Black Crowesguitarist Rich Robinson says if his band does get inducted into the Rock andRoll Hall of Fame's Class of 2025, the band wants Led Zeppelin's Jimmy Page togive their induction speech Brent Smith of Shinedown says their eighth album will be out in lateJuly or early August.An R.E.M. tribute show hit the band's hometown ofAthens, Georgia on Thursday and Friday nights, and that led to a one songreunion by the full band. Luke Combs is the first country artist of all time to havetwo songs pass the billion-stream mark on Spotify.  A couple weeks ago,Luke's song "When It Rains It Pours" passed thebillion-stream mark . . . and now his song "Beautiful Crazy" haseclipsed a billion as well. RIP: David Johansen,who went from the frontman of New York Dolls to a crooner named BusterPointdexter, is dead. He was 75.RIP: Badfinger's JoeyMolland has passed at 77.  His cause of death wasn't given but he had beenbattling pneumonia.TVAshley Cano, who oftenthrifts pieces and sells them on Poshmark, shared her latest find onTikTok, which appears to be the Vera Wang dress that Carrie Bradshaw(played by Sarah Jessica Parker) wore during her bridal-themed Vogue photoshootbefore her (almost) wedding to Mr. Big.  MOVING ON INTO MOVIENEWS:Whoopi Goldberg appearedat the Academy Awards and broke news about a third Sister Act movie.An examination of GeneHackman's pacemaker shows he most likely died on February 17th, nine daysbefore the bodies of him and his wife were discovered.  And tests havedetermined they did not die of carbon monoxide poisoning.  MISC Kourtney Kardashian says her 15-year-old son Mason is NOT a father.   AND FINALLYThe RazzieAward results are in!  Francis Ford Coppola is thrilled toaccept his trophy for Worst Director, for "Megalopolis".He said he accepted it, quote, "against the prevailing trends ofcontemporary moviemaking!" He added, quote, "In this wreck of a worldtoday, where ART is given scores as if it were professional wrestling, I choseto NOT follow the gutless rules . .  AND THAT IS YOUR CRAP ON CELEBRITIES! Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What a Creep Led Zeppelin on TourSeason 28, Episode 7Led Zeppelin is making headlines again with releasing their first official documentary in decades, titled "Becoming Led Zeppelin." The film primarily focuses on the band's music and the early stages of their career as iconic touring legends. One of us is a huge fan (the one leading this episode) and appreciates the band's remarkable talent while also acknowledging their complicated history, which includes some unsettling stories.Their life on the road has become part of the groupie lore passed down for decades, and there are also stories involving witchcraft and devil worship connected to Jimmy Page. The band officially broke up in 1980 following the death of drummer John Bonham. They have regrouped in various forms over the years, but the late '60s and '70s Led Zeppelin—with their numerous tales of debauchery—form the basis for most of this episode. Let's Ramble On, y'all!Trigger warnings: SA, sexual harassment, grooming, and host Margo breaking out in song from time to time. Sources for this episode:Daily Fail Led Zeppelin: The Biography by Bob SpitzVanity Fair Story of the Week from “Library of America”Ellen Sander: Shake it Up (chapter on Led Zeppelin)Rolling StoneThe IndependentHammer of the Gods by Stephen DavisI'm With the Band by Pamela Des BarresLed Zeppelin Wikipedia The Independent UKFar Out magazineFar Out Magazine 2Led Zeppelin.com ForumMetro UK (Shark incident)Be sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsBlueSky: https://bsky.app/profile/whatacreep.bsky.social Facebook: Join the private group! Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.com We've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.com Our logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud

MUSICSelena Gomez and her fiancé Benny Blanco made an albumtogether.  Liam Gallagher of Oasis and Billy Idol hadsome different opinions about their Rock and Roll Hall of Fame nominations. Jimmy Page and The BlackCrowes are dropping an expanded collection of their 1999 concert collaboration,'Live at The Greek' on March 14th.  Shakira kicked off her new tour in Rio this week . . .and fans think there are some suspicious similarities to Beyoncé's RenaissanceTour.  Metallica have launched a second watch collection with Nixon. Thisone has designs inspired by Kill 'Em All, 72 Seasons, Ride theLightning and Master of Puppets.  Ahead of next week'srelease of David Lee Roth's The Warner Recordings 1985-1994,Rhino Records has started posting HD versions of his solo videos. Check out theremastered "Yankee Rose" on YouTube. Should Willie Nelson getthe Nobel Peace Prize?  John Mellencamp thinks so.  TVSNL 50: Homecoming Concert at Radio City Music Hall in NYC, streamingon Peacock.  Netflix is doing alive-action "Dungeons & Dragons" series. https://variety.com/2025/tv/news/dungeons-and-dragons-live-action-series-netflix-1236307153/ ·         MOVING ON INTO MOVIENEWS:IN THEATERS: MISCOn Thursday, TikTok wasmade available again in the Apple App Store and Google Play Store.   Celebrate Valentine'sDay with Grand Theft Auto … Rockstar Games is celebrating Valentine's Day with special bonuses andfreebies in Grand Theft AutoOnline.  AND FINALLYHappy Valentine'sDay!   Here are the Top 10 romantic Rock Songs AND THAT IS YOUR CRAP ONCELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams – Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.