Podcasts about John Bonham

What happens when rock and roll meets the road to spiritual awakening? On this episode of The CJ Moneyway Show, we welcome Clementine Moss—founder and drummer of Zepparella, solo artist, author of the soul-searching memoir From Bonham to Buddha and Back, and certified Depth Hypnosis practitioner. Clementine's journey takes us behind the drums and deep into the heart. From channeling the thunder of John Bonham on stage to guiding others through spiritual transformation, she's a living example of balance between power and peace. We talk about: • Her path from high-energy stages to quiet introspection • Writing a memoir that merges rock and spirituality • Healing through Depth Hypnosis and inner work • How musicians and creatives can process pain through purpose If you've ever wondered how to honor both your fire and your faith, this episode is your permission slip. clemthegreat.com #CJMoneywayShow #ClementineMoss #Zepparella #BonhamToBuddha #WomenInRock #DepthHypnosis #SpiritualAwakening #MemoirPodcast #MusicAndHealing #BleavNetwork #MindBodySoul #HealingThroughArt #RockDrummerWisdom

Today's episode is about "Becoming Led Zeppelin", a 2025 documentary directed by Bernard MacMahon. The movie covers the members' early lives and the formation of the band through the album Led Zeppelin 2. It features a rare lost interview with John Bonham, new interviews with the surviving band members, and some restored footage. But does all of that add up to a good movie? Rock Docs is a Treble Media Podcast hosted by David Lizerbram & Andrew Keatts Twitter: @RockDocsPod   Instagram: @RockDocsPod   Cover Art by N.C. Winters - check him out on Instagram at @NCWintersArt  

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

Mark Lo  (Director/Producer) has worked in film and TV for more than 20 years. First, as a music agent and supervisor, collaborating with composers and artists to bring music to picture and then as an Executive Music Producer Mark recently produced and directed the feature music documentary Count Me In. A  celebration of drummers and their unique ability to drive generations of music.     I love being a drummer. Everyone thinks you're dumb. What they don't realise is that if it weren't for you, their band would suck. – Dave Grohl Eat drums! Eat cymbals! – Animal   Drumming was the only thing I was ever good at. John Bonham   Count Me In is a celebration of the role of the drummer in popular music.  Mark Lo's British-made doc dates back to the even darker days of 2021.  It's drummers talking about other drummers and appreciating great drumming, and if that works for you, then hear the drummer and get wicked.   The documentary includes interviews with the late Taylor Hawkins (Foo Fighters), Stewart Copeland (The Police), Roger Taylor (Queen), Chad Smith (Red Hot Chili Peppers), Nick Mason (Pink Floyd), Cindy Blackman Santana (Lenny Kravitz, Santana) and Jim Keltner (The Traveling Wilburys) and many others. They all seem to talk about Keith Moon (The Who), John Bonham (Led Zep), and Neil Peart (Rush).   Watching Ringo Starr, Charlie Watts, John Bonham, Ginger Baker, or Keith Moon play for the first time is amazing. Of course, many of those legends were inspired themselves by the great American jazz drummers like Max Roach, Buddy Rich, and Gene Krupa. Still, watching Nicko McBrain from Iron Maiden give a detailed account of the differences in style between Starr and Watts is remarkable.   Enjoy the drumology session on the Mulligan Stew Podcast.  Turn it Up and Count Me In. 

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

Spring 2025 Season Finale Host Ted Asregadoo closes out the spring season by shining a spotlight on the most essential—yet often overlooked—members of any great band: the drummers. Reuniting with John Young (John was a co-host during the first year of Planet LP's existence in 2021), this episode serves as both a musical celebration and a reminder that creativity and joy persist even in the darkest of times. Or, to quote Sting, "When the world is running down, you make the best of what's still around." Rhythm Masters Featured:

Send us a message, so we know what you're thinking!A “Deep Cut” is something that is recognisable or familiar to passionate fans but not usually to others.  As a special treat this week, we've delved into our collections to give you some deep cuts from our favourites – things like Queen, Bowie, Joe Cocker, Nick Cave and TISM. We think you'll love them,   In Rock News, Jeff delves into songs that turn 60 on 2025, looks at Sunday Lunch with Toyah and Robert Fripp, and looks at Yachtley Crew, a strange phenomenon from California.  Our Album You Must Hear Before You Die this week is Raw Power (1973) by Iggy and the Stooges. The lo-fi production on this highly influential album is the source of much tension between Bowie and Iggy, much of it not fair. We liked it!  Enjoy.  Playlist  Songs that turn 60 this year  Sunday Lunch with Robert and Toyah  Yachtley Crew Peter Cook as The BishopREM on Letterman References:  Raw Power, Iggy Pop, The Stooges, John Cale, Columbia Records, Sex Pistols, Johnny Marr & The Smiths, Kurt Cobain, Nirvana, MainMan, Tony DeFries, Sonny Boy Williamson, Ron Asheton, Scott Asheton, “Gimme Danger”, “Search and Destroy”, Iggy on Countdown, radio-friendly, Bowie, “The Man Who Sold the World”, Unplugged, Roxy Music, “For Your Pleasure”, Roxy live in Sydney – 2001 & 2011, The Police, “Bring on the Night”, Regatta de Blanc, white reggae, T.S. Eliot, “The Love Song of J. Alfred Prufrock”, Joe Cocker, “Many Rivers to Cross”, Sheffield Steel, Queen, “Fairy Fellers Master Stroke”, Richard Dadd, State Criminal Lunatic Asylum of Bethlem Royal Hospital – Bedlam, Nick Cave, “Papa Won't Leave You, Henry”, Henry's Dream, John Cale, “Close Watch (I Keep a)”, Helen of Troy, Music for a New Society, Fragments of a Rainy Season, REM, "So. Central Rain (Sorry)", Reckoning, Lou Reed, “Street Hassle”, Warren Zevon, “Hit Somebody!  (The Hockey Song)”, My Ride's Here, Carl Hiassen, “Bad Monkey”, Vince Vaughan, David Letterman, Enjoy Every Sandwich, Jimmy Webb, “Galveston”, Kate Bush, Aerial, "Pi”, Pete Townshend, “The Sea Refuses No River”, All the Best Cowboys Have Chinese Eyes, TISM, Great Trucking Songs of the Renaissance, "The Ballad of John Bonham's Coke Roadie"  

In this live episode of Undercurrent Stories, host Bob Wells sits down with John Coghlan, the legendary original drummer of Status Quo. From "Caroline" to "Rockin' All Over the World," John recounts the highs, lows, and beat-driven tales of a life lived on stage, on the road, and in rhythm.Recorded in a cosy Cotswolds pub, this intimate conversation dives deep into:How a school Air Cadet turned into a global rock iconWild stories from tours with Slade, Lindisfarne, and Led ZeppelinLife as a "Tax Exile" on the Isle of Man in the '70sBehind-the-scenes of the Frantic Four reunionJazz-infused Status Quo reinterpretations in Quo ReimaginedWhy John still chooses a classic Ringo-style kit over flashy double bass drums

Matti Ruotsala näki Iron Maidenin lavalla Oulun Kuusrockissa vuonna 1980. Sen jälkeen Matti on nähnyt bändin livenä 53 kertaa, viimeksi Budapestissa toukokuussa 2025. Sami Ruokangas jutteli Matin kanssa Maidenista Tampereella juuri ennen Blue Öyster Cultin keikkaa. Jakso sisältää paitsi mielipiteitä, niin myös paljastuksia settilistasta, lavarakennelmista ja -showsta. Kuuntele, viihdy ja äimisty. Jakson soittolista: https://open.spotify.com/playlist/79DacsXUp9rev4psob7X1u?si=215368ee42814d1e Menossa ja meiningissä ovat mukana Dio, Rainbow, Blue Öyster Cult, Judas Priest, Uriah Heep, Black Sabbath, Kuusrock, Jari Salonen, Tulivuorirock, Santeri Ruotsala, Bruce Dickinson, Helloween, Dream Theater, Rush, Martin Birch, Fleetwood Mac, Ritchie Blackmore, Wil Malone, British Lion, Simon Dawson, Genesis, Neil Peart, Cozy Powell, John Bonham, Clive Burr, Crazy Finns, Paul Di'Anno, Ibanez Destroyer, Jackson, Adrian Smith, Dave Murray, Janick Gers, Fender, Gillan, KISS, Hellacopters, Robert Eriksson, Steve Harris, Genesis, Yes, Gentle Giant, Peter Gabriel, Kevin Shirley, Black Crowes, Joe Bonamassa, Bon Jovi, Metallica, Ruisrock ja Van Halen. www.facebook.com/RockAroundTheBlogFinland www.instagram.com/samiruokangas

What happens when Led Zeppelin, Ryan Reynolds, and a barbecue pit all crash into your TV screen at once?Krystina “K-Ray” Ray—dives headfirst into the world of streaming gold, unexpected documentaries, and the wildest new shows you've never heard of (but absolutely need to watch).

On the May 31 edition of the Music History Today podcast, there's history made by Ginger Spice, Jimi Hendrix, the Who, the Eagles, and the Sex Pistols. Also, happy birthday to Azealia Banks and John Bonham. For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

13ème porte d'entrée, et préparez vos marteaux et vos plumes car aujourd'hui, on explore l'univers gargantuesque de Led Zeppelin!Autour de la table: Erwan, JP, Seb & Clément.Tout est chapitré!Titres diffusés:Communication BreakdownBring It On HomeTangerineWhen The Levee BreaksD'yer Mak'erCustard PieAchille's Last StandFool In The RainSince I've Been Loving You (Live)Retrouvez-nous sur Instagram, Bluesky, Twitch et Patreon.Instagram -- https://www.instagram.com/la_pause_clope_podcast/Bluesky -- https://bsky.app/profile/lapauseclope.bsky.socialTwitch -- https://www.twitch.tv/la_pause_clopeNotre Patreon -- https://www.patreon.com/lapauseclope Merci de votre fidélité, de nous écouter, et n'hésitez pas à vous abonner à nos flux (et à mettre 5 étoiles sur vos applis de podcast) pour ne rien louper!Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Joining me today is the wonderful Tony Brock. Tony is a British drummer that now lives in the US, he has a remarkable career under his belt having played for and recorded with some of the biggest names in the Business including The Babys, Rod Stewart, Roy Orbison, Eddie Money, Jeff Beck, Bernie Taupin and Jimmy Barnes. In 2024 Tony Joined a star studded band with Aerosmith bass player Tom Hamilton called Close Enemies, the band have so far released 3 singles and are touring the states again this summer. As well as all the playing, Tonyhas his own studio and specialises in engineering and production. Join us for a fascinating conversation about his incredible career so far, including how he handles a rather hectic schedule and some wonderful anecdotes along the way including one or two about John Bonham no less! Thanks to Tony for giving up his time so freely and huge thanks to our pal Adam Parsons for introducing us! www.closeenemiestheband.com

Christopher Williams is the powerhouse drummer for the legendary metal band Accept. Join Rich and Jim as they explore Williams' incredible musical journey from small-town South Carolina to sharing stages with rock icons like Gene Simmons and Ace Frehley.  Hear hilarious tour stories, learn about his woodworking side hustle, and discover the dedication behind becoming a world-class drummer. From heavy metal to Nashville's rock scene, this episode is a must-listen for music lovers and aspiring musicians.   Timed Highlights: [0:10:39] - Christopher Williams moves to Nashville in 2008, getting his first opportunities through networking and connections [0:53:50] - Hilarious story about last-minute preparation for a Lee Greenwood gig, learning 22 songs in just 11 hours [1:07:14] - Funny interaction between Ace Frehley and Gene Simmons, with Ace signing a vault box and making a joke about not giving Gene more money [1:15:11] - Discussion of Accept's recording history, with Christopher joining midway through the Blind Rage tour [1:18:45] - Incredible story about performing at Wacken Festival with a 60-piece Czech National Symphony Orchestra, playing to 85,000 people and over a million livestream viewers [1:20:02] - Introduction of Ainsley's Essential Blends, Christopher's wife's product line, including a "Rock See" leather-scented cologne [1:27:47] - Christopher's top five drummer influences: Tommy Lee, Randy Castillo, Jerry Shirley, John Bonham, and Vinnie Paul [1:43:13] - Childhood horror movie memories, particularly being scared by Pet Sematary as a young kid   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co

“If anything, it's three 7's…and one of them has a line in the middle…”   This episode is effectively “nonverbal” in that it contains zero lyrics and is truly beyond words (so to speak). That's right, it's all about INSTRUMENTALS and it just so happens that they come in a wide variety of styles and options.    On a studio album, INSTRUMENTALS are 7enerally either lon7er, extended, standalone musical arran7ements, or brief interludes which serve as a brid7e between two son7s. In a live scenario, INSTRUMENTALS are a 7reat opportunity that allows the vocalist time to take a brief break and enjoy some “ori7ami” and poon while the rest of the band continues to jam. Either way, INSTRUMENTALS offer instrumentalists a chance to express themselves musically in a way that truly transcends the power of the written word.   Be sure to radically adjust your expectations whenever someone says “I'm gonna send you a file” and prepare yourself for a macrodose of happiness that is sure to transpire, especially if your brain “has to fix it” (and particularly if you “want it from the train”). JOIN US for an episode that defies all rational explanation as we master the art of WRITING WITH 7'S: THE INSTRUMENTAL CHRONICLES.   Visit www.metalnerdery.com/podcast for more on this episode Help Support Metal Nerdery https://www.patreon.com/metalnerderypodcast Leave us a Voicemail to be played on a future episode: 980-666-8182   Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on the iTunes/Apple Podcasts - Spotify or your favorite Podcast app Listen on iTunes, Spotify, Podbean, or wherever you get your Podcasts. Follow us on the Socials: Facebook - Instagram - TikTok   Email: metalnerdery@gmail.com Can't be LOUD Enough Playlist on Spotify Metal Nerdery Munchies on YouTube @metalnerderypodcast Show Notes: (00:01): “If I had #origami I'd be fine right now…”/ “It's a thing…”/ #StewieASMR / “You're gonna like it…it wasn't what I was expecting…”/ #metalnerderymerch / “For year number six, we should do that…”/ “Sounds like twinks…”/ ***WARNING: #listenerdiscretionisadvised *** / ***WELCOME BACK TO THE METAL NERDERY PODCAST!!!*** / #trippinballs / “Two in a row…”/ “We all had a discussion where we would take a…”/ #thisepisodesbeeroftheepisode #CoffeeStout / “The maple is strong in this one…”/ #smellslikebeanspirit / “Should we just make this a #Chronicles Part 2?” / #TugboatCoffee #OctopiBrewing #WisconsinBeer / “Your taster is all fucked up…”/ #onceagain #trippinballs    (05:53): “For less than a price of a pack of smokes, a bag of shrooms, or a bottle of liquid girlfriend…”/ #Patreon ***JOIN US ON PATREON AT PATREON.COM/METALNERDERYPODCAST *** / “Look at Russ shutting down the show…”/ “It's a 1 out of 6 for me…”/ #hearmeout / 8%ABV / “Aldo Nova, you know what I mean?” / #AldoNova #Fantasy / #thisepisodesSlayeroftheepisode / “Have you watched the #FooFighters horror movie…?” / #whatsitcalled? / #Slayer BLACK MAGIC (Show No Mercy – 1983) / “I think this is my new favorite segment…”/ “You always do it by accident…it's kinda like #standup and you accidentally destroy…”/ #sadtrash / #SweetwaterBarAndGrill #OpenMicComedy / “That place is extremely haunted…”/ “Is it gay…?”/ #fleshlight / “YEP!”/ “Here's my follow up question…”/ #GAF / #assscissoring / #TheFourthHole / “At least it's a step in the right…in the WRONG direction…not that there's anything wrong with that…”/ “She lives for that…”/ “Talk to me after the show…”/ “I'm trippin' balls…”   (16:26): “If you wanna email us…”/ ***EMAIL US AT metalnerdery@gmail.com or VOICEMAIL US AT 980-666-8182 or Check us Out at #TikTok and #YouTube and #Facebook and #Instagram at #metalnerderypodcast / “OMG, are you totally stupid!?” / “Somebody just emailed you…”/ “What's on #TheDocket?” / “This is not a #microdose…”   (18:58): #TheDocket / “WTF is THIS!?” / METAL NERDERY PODCAST PRESENTS: INSTRUMENTALS / “What does that even mean?” / #7RSWE / “Seven…”/ “You sent him a file…”/ “It's 2:30, it's Saturday, you ain't got shit to do…”/ #psilocybin #yourmother / “Why is everything so colorful?” / “Totally, ‘cos it was built like 10 years ago…”/ “When you said you were sending him a file…”/ #onmicburp / “It has to be played…”/ THE CALL OF KTULU (#Metallica – Ride The Lightning – 1984) / “If you're still keeping score…I'm tripping…”/ #MaryReilly #scarycreepy / “Can we jump to the very end of this?” / “That was Cliff…”/ “Hope you figure it out, #fuckface…I'm gonna send you a file…”/ “What do you think between #GenghisKhan and #Transylvania…?” / “Is #Bollocks the same as #Balls or #Bullshit?” / English English vs American English / TRANSYLVANIA (#IronMaiden – Iron Maiden – 1980) / “How do you read ANY of that!?” / #772 / “I'm gonna send you a file…”/ “It's a Lamar 7…”/ “Your eyes are wet, bro…”/ “You are actually pronouncing the name right…”/ #Genghisvitis    (31:41): “How about some Rat Salad?” / “What can you make out on there that I haven't pointed out to you yet?” / #LMAO / “There's #MobyDick…”/ “You'd have to be here…”/ RAT SALAD (#BlackSabbath – Paranoid – 1970) / “Doob…Turtle…”/ “Frankenlobster…”/ “I'm glad I'm here…”/ “I'm just glad you sent him a file…”/ ERUPTION (#VanHalen – Van Halen – 1978) / “You just have to put yourself back in 1977…”/ #HendrixOnMushrooms / “Was that a quest…to be able to play it?” / “Thank you…”/ “Other than Metallica, I think that's the only other thrash instrumental out there…”/ Various #Testament instrumentals…and we forgot #ConfusionFusion / INTO THE LUNGS OF HELL (#Megadeth – So Far…So Good…So What! – 1988) / “It would have been funny…”   (41:58): “I've got one…is that on the Red Album?” / #TheRedAlbum / WELCOME TO YOUR FUNERAL (#RigorMortis – Rigor Mortis – 1988) / D.T. (#ACDC – Who Made Who – 1986) / “Oh yeah! They had one…”/ #MaximumOverdriveSoundtrack / “Nice choice…”/ “How about a little Forbidden?” / SPIRAL DEPRESSION (#Forbidden – Twisted Into Form – 1990) / “No, that's not on the list…”/ “This is the one that starts with a 7, right?”/ “Now it's creepy…”/ “Earlier I thought I was gonna laugh so hard I was going to throw up…”/ “You spell that with a 7, right?” / “Raping The Dragon's Scrotum In The Dungeon, Opus 26…” / TRILOGY SUITE: OP 5 (#YngwieJMalmsteen – Trilogy – 1986) / #dungeonmetalASMR / “It's the most beautiful dungeon metal I've ever heard…”/ “Spelled with a 7…”/ “They're not actually ‘saying words'…”   (52:22): “How about YYZ?” / 777…take your #PlanetCaravan and get out! / YYZ (#Rush – Moving Pictures – 1981) / “My brain has to fix it…”/ “I got one…it is on the list…my brain had to fix it…”/ MOBY DICK (#LedZeppelin – Led Zeppelin II – 1969) / #JohnBonham / #storytime / #BecomingLedZeppelin / “When I was in 8th grade…”/ “Suspenseful music…”/ #blacklightposters / “Let's do a handful more…”/ “I want this played at my funeral…”/ FOR ABSENT FRIENDS (#Opeth – Deliverance – 2002) / #cloudyweather #melancholy / “It's very Swedish…they're from Sweden, dude…”/ “How about we close with that?” / “I want it from the train…”/ “I think he gave it away when he said it's pretty ‘Meddle'…”/ ONE OF THESE DAYS (#PinkFloyd – Meddle – 1971) / “Healthy AND thick…down there…with 7's…”/ “One of these days, I'm going to cut you into little pieces…”   (1:05:00): “You know what part I'm talking about…”/#AwwwwwwwMannnnnnn / “Jimmy Bower plays everything on this…”/ DOOB INTERLUDE (#DOWN – DOWN II: A Bustle In Your Hedgerow – 2002) / “All the 7's?” / “Let's close it out…”/ “From a sexual standpoint, a train is…”/ “Sorry there wasn't enough 7's in my explanation…”/ ORION (#Metallica – Master Of Puppets – 1986) / “This is the Hetfield solo…he always had the best solos…”/ “Alright, get to the train part…”/ “There's no reason to ever be mad at Metallica…”/ “Write with 7's and just STFU!...7's across the board…”/ “Mushroom Chronicles Part 2: Writing With 7's…”/ #Lucky777 / “It's weird…”/ THANK YOU FOR JOINING US!!! THANK YOU FOR THE 7'S… / #InstrumentalChronicles / #untilthenext #outroreel 

The drummer and percussionist Billy Martin, whose name many Time Sensitive listeners may recognize—he created the Time Sensitive theme song—defies any boxed-in or limiting definitions of his work. Best known as a member of the band Medeski Martin & Wood (MMW), he's spent the past three-plus decades making experimental, boundary-pushing, and uncategorizable instrumental jazz-funk-groove music, shaping sounds that feel as expansive as they are definitive and distinctive. Across all his artistic output, Martin continually, meditatively searches for harmony. He is also a composer, a teacher, a visual artist, and a builder and craftsman. His expansive creative practice comes most alive at his home in Englewood, New Jersey, where he has cultivated a bamboo garden, crafted his own Japanese-style teahouse, and constructed a music studio. Martin is someone for whom rhythm is not just something heard, but also seen and felt.On the episode, he talks about his MMW journey at length, his concept of “rhythmic harmony,” and why he views sound creation as a sacred act.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Billy Martin[7:31] Medeski Martin & Wood[7:31] John Medeski[7:31] Chris Wood[7:31] “Not Not Jazz” (2024)[10:12] Iggy Pop's “Avenue B” (1999)[10:12] Don Was[11:27] “The Lover” (1995)[11:27] “Friday Afternoon in the Universe” (1995)[11:27] “Old Angel Midnight” (1973) by Jack Kerouac[13:44] Ra-Kalam Bob Moses[13:44] John Scofield[13:44] David Baker[15:57] “Shuck It Up” (1993)[15:57] “It's a Jungle in Here” (1993)[18:12] “Latin Shuffle” (1998)[18:12] “Combustication” (1998)[18:12] Frankie Malabe[18:12] Art Blakey[33:25] Thelonious Monk[33:58] “Life on Drums” (2011)[38:32] John Bonham[38:32] Charlie Watts[38:32] Stewart Copeland[38:32] Elvin Jones[38:32] Max Roach[38:32] Danny Richmond[38:32] Charles Mingus[38:32] Jack DeJohnette[38:32] Joe Morello[38:32] Roy Haynes[38:32] Stan Getz[38:32] Airto Moreira[38:32] Naná Vasconcelos[38:32] Babatunde Olatunji[39:58] Gus Johnson[39:58] “Whatever Happened to Gus” (1998)[39:58] Steve Cannon[40:54] “Chubb Sub” (1995)[40:54] ”Uncle Chubb” (1992)[46:41] “Shack-man” (1996)[47:06] “Drumming Birds” (2004)[54:48] “Bamboo Rainsticks” (1999)[54:48] Amulet Records[1:00:23] Creative Music Studio

Send us a textIn this episode, we discuss Led Zeppelin's double album, 'Physical Graffiti,' in belated celebration of the 50th anniversary of its February 24, 1975 release. It's rare for me to do one of these album deep-dives these days, but an over-the-top album warrants an over-the-top episode, right?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

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

Step into the story of Gene Krupa, the drumming legend who shaped the sound of classic rock and inspired icons like John Bonham, Keith Moon, Ringo Starr, and more. Let's celebrate the man behind the beat with author Elizabeth Rosenthal!Purchase a copy of The Master of Drums: Gene Krupa and the Music He Gave the WorldVisit Elizabeth Rosenthal's website---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

This episode of Across The Margin : The Podcast features an interview with Mark Lo. Mark has worked on films and TV across many genres for over twenty years, first as a music agent and supervisor, collaborating with composers and artists to bring music to films, and then as an Executive Music Producer. As an Executive Music Producer, he worked on films including Todd Hayne's Carol (Cate Blanchett and Rooney Mara), Paul Haggis's Third Person (Liam Neeson, Mila Kunis, and James Franco), and The Railway Man (Colin Firth, Nicole Kidman and Stellan Skarsgard), amongst others. Mark set up the production company Asylum Giant as a creative hub to develop and produce a slate of Film and TV projects, tell stories that celebrate our humanity and create projects that deepen our relationship with the non-human world. He recently produced and directed the feature music documentary Count Me In — the focus of this episode. Count Me In takes viewers behind the kit with some of the world's most iconic drummers, featuring insightful interviews and narration from Taylor Hawkins, Stewart Copeland, Chad Smith, Emily Dolan Davies, Roger Taylor, Nick Mason, Cindy Blackman Santana, and more. In their own words, they share the passion that took them from banging on pots and pans as kids to performing on some of the world's biggest stages. Along the way, these legendary drummers discuss the dedication that fuels their craft and pay tribute to the musical icons who influenced and inspired them, including Ringo Starr, Charlie Watts, Keith Moon, John Bonham, Ginger Baker and others. Count Me In is available on streaming services everywhere including Apple TV, Amazon, and Fandango at Home. Hosted on Acast. See acast.com/privacy for more information.

This is Play That Rock n' Roll's interview with author C.M. Kushins about his book "BEAST: John Bonham and The Rise of Led Zeppelin". In this conversation, we talk about why he wanted to write about John Bonham, how Chad navigated the myths and legends that surround Led Zeppelin, and what sets this book apart from all the other biographies about this band. We also discuss the new documentary “Becoming Led Zeppelin” and Chad shares his thoughts about what Zeppelin might have done if Bonham had not tragically passed away when he did. Also, Chad has a new book that will be released later this year called “COOLER THAN COOL: The Life and Work of Elmore Leonard”. We talk a bit about this one as well. Learn more at https://www.harperacademic.com/book/9780063306868/cooler-than-cool/ Our Links: https://linktr.ee/playthatpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In which The Curmudgeons end their dynamic 3rd Golden Age of Rock series with a loving reexamination of the year 1980. The year stands as crucial pivot point for the development of rock 'n' roll culture. Punk and post-punk were becoming Gothic rock and New Wave. The Clash was serving as a virtual world jukebox. Talking Heads was virtually doing the same. And everyone was serving up their tunes and imagery in the year before MTV changed *everything* in 1981. We give love to these artists and genres and celebrate other artists including Prince, AC/DC, Rush and more.    Enjoy the music of 1980 by accessing our special Spotify playlist: https://open.spotify.com/playlist/0wYtNWaQjP7zcFqlBQHn9V?si=fb8b86a4b10943b2   Here's a handy navigation companion to this episode:   (00:52 - 04:05) - Arturo Andrade sets the parameters for our discussion of 1980   (04:18 - 16:38) - The Parallel Universe, featuring reviews of new albums from Greentea Peng and The Tubs   (17:36 - 56:33) - We examine albums from Talking Heads, Joy Division, The Clash and then lovingly celebrate a bunch of great singles from 1980   (58:15 - 01:48:21) - We meditate of the death of Led Zeppelin drummer John Bonham, pay homage to several great heavy metal albums, give it up for Prince's Dirty Mind and run down a number of other all-time great albums released in 1980   Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock   Hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911   https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb   https://music.amazon.com/podcasts/5fea16f1-664e-40b7-932e-5fb748cffb1d/the-   Co-produced and co-hosted by The Curmudgeons - Arturo Andrade and Christopher O'Connor

When Led Zeppelin disbanded in 1980 after the tragic death of drummer John Bonham, the world never wanted to accept the fact that the group would be no more. While we can't go see the band play live, Sony Pictures Classics has provided a chance for us to witness the next best thing, a docu-concert film called Becoming Led Zeppelin. Join us as we celebrate this fantastic film along with John Paul Jones, Jimmy Page, and Robert Plant! Hear some stories, and of course, some amazing Rock and Roll music that DESERVES to be heard!

Simon Kirke of Bad Company celebrates 50 years of the band's groundbreaking debut and Straight Shooter albums. As the only member featured on every Bad Company record, Kirke shares the stories behind classic tracks like “Feel Like Makin' Love,” “Shooting Star,” and “All Right Now.” He reflects on the band's formation, recording in Chepstow Castle, working with Peter Grant of Led Zeppelin, and performing “Whole Lotta Love” live with John Bonham just weeks before Bonham's passing. From rock radio dominance to personal recovery, it's a raw, insightful look into one of classic rock's most enduring legacies. ✅ Call to Action If you're a fan of classic rock history, songwriting legends, and epic rock 'n' roll storytelling, don't miss this one. Subscribe to Metal Mayhem ROC on YouTube, Spotify, Apple Podcasts, or wherever you listen. Leave a review, drop a comment, and share this episode to support the legacy of rock legends. ✅ Metal Mayhem ROC Links

Simon Kirke of Bad Company celebrates 50 years of the band's groundbreaking debut and Straight Shooter albums. As the only member featured on every Bad Company record, Kirke shares the stories behind classic tracks like “Feel Like Makin' Love,” “Shooting Star,” and “All Right Now.” He reflects on the band's formation, recording in Chepstow Castle, working with Peter Grant of Led Zeppelin, and performing “Whole Lotta Love” live with John Bonham just weeks before Bonham's passing. From rock radio dominance to personal recovery, it's a raw, insightful look into one of classic rock's most enduring legacies. ✅ Call to Action Don't miss this one if you're a fan of classic rock history, songwriting legends, and epic rock 'n' roll storytelling. Subscribe to Metal Mayhem ROC on YouTube, Spotify, Apple Podcasts, or wherever you listen. Leave a review, drop a comment, and share this episode to support the legacy of rock legends. ✅ Metal Mayhem ROC Links

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

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

We're back with a Very Special Episode of The Pod Remains The Same!This time, we tackle the new documentary, Becoming Led Zeppelin.  This long awaited documentary delves into the origins of the band, from their upbringings in England, to how they came to be musicians, and finally, how they...became Led Zeppelin.The documentary is chock full of new interviews with John Paul Jones, Jimmy Page, and Robert Plant, as well as newly discovered audio interviews with the late John Bonham that tell the story of how this legendary band came together to conquer the rock world like no other.Hosted by Chris Karam and Brad Page

Come join us for a great time of coffee and music on coffee with the kayes. In this episode we will discuss "Becoming Led Zeppelin" along with the movie "A Complete Unknown" about Bob Dylan,Where were the Kayes Lately,Rebel Dog Coffee,Grounds and Hounds "The Beast" coffee,Our Florida snow,The influence of John Bonham,Jimmy Page,Constant practice and passion,student expectations,we are not a talent agency,life long learning,mastering an instrument,you don't know what you don't know,Bonham techniques,practice,gifted students,developing that gift,John Paul Jones,Zeppelni reads music,Paul McCartney's approach,musical theft,the drummers for James Brown,Little Richard's influence,who's the King of Rock and Roll?,the influence of Black music,a complete unknownKyle's childhood connection to the movie,amazing acting,learning to play the guitar,what's up in Football?,was the superbowl rigged?'the Chiefs slipping by,Saquon Barkley,Jalen Hurts,refereeing in the NFL,Tom Brady,Miles Garrett's trade request,and The Cleveland Browns rank 30th in player perspective

Rich and Jim talk with Sugarland's Travis McNabb for an epic conversation diving deep into the world of professional drumming, music scenes, and a life dedicated to rhythm.    Highlights include:   [0:05:00] Travis's Musical Origins: Growing up in a musical family and discovering drums [0:25:00] Drumming Philosophy: The importance of feel, groove, and professionalism [0:48:00] Career Lessons: Humility, relationships, and never burning bridges [1:00:00] Recording Insights: Working with artists like Megan Maroney and Christian Bucha [1:25:00] Sugar Land and Jennifer Nettles: Behind-the-scenes stories [1:40:00] Favorite Drummers: Discussion on Ringo Starr, John Bonham, and Zigaboo Modeliste [1:49:00] The Beatles Conversation: Influences and musical impact   Special moments include Travis's vintage drum collection, studio setup, and candid stories from decades in the music industry. A must-listen for drummers, musicians, and music lovers!   Travis McNabb (born November 18, 1969) is an American drummer and percussionist. McNabb is perhaps best known as a longtime member of the band Better Than Ezra, although he has performed session and touring work with many acts during his career. Prior to joining Better Than Ezra in January 1996, McNabb toured with acts such as Vigilantes of Love, Beggars, and seminal Oregon-based punk rock band The Wipers. Since mid-2007, he has been the full-time touring drummer with Grammy-award winning Country/Bluegrass act Sugarland.     Some Things That Came Up:    -8:00 The home studio -13:14 Dave Elitch and burying the beater  -15:00 Bonham! -16:00 Bass Drum Sizes -19:15 Big Fat Snare Drum's “The Shining” snare muffler -23:00 The oddity of A+F Drums  -25:30 Travis is NOT afraid to DRESS  -28:40 Travis' musical family  -37:30 The Alex Van Halen Tribute Show 2015 -35:50 The Better Than Ezra “China Lick” manifests  -43:40 The Police Duran Duran…the band mentality! -45:00 Megan Moroney -48:00 Read The Room! Two Ears/One Mouth! -49:00 Kenny Aronoff vs. Jim Keltner. TWO methods, BOTH work  -60:00 The Nashville Number System in ACTION!  -67:00 The credits thing… -76:00 David Bowie Tribute Show  -78:00 Wikipedia -83:00 Jennifer Nettles -85:00 The Cliques? -89:00 Travis McNabb Drum Clinics?  -94:15 The Fave 5 -112:00 The Ludwig Club Date Series  -114:00 Hard Rock Cafes!     Follow:  www.travismcnabb.com IG: @travnabb   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.itsyourshow.co

Send us a textPart 2 of TrackTalk with legendary Bad Company drummer, Simon Kirke! In Part 2, we dive into their second record, "Straight Shooter" and continue through "Desolation Angels" with Simon giving in credible insight into several iconic tracks from those four records. So come along for the ride and please subscribe! In case you missed Part 1: https://youtu.be/7tl2VPcfs0U?si=GoekWkOBNR-1aFquLive From My Drum Room Hoodies are now available!    • NEW Live From My Drum Room Merch!   Made of a soft 52% cotton 48% polyester blend. Sizes: MD, LG & XL = $50 USD (including shipping) *Size 2XL = $55 USD (including shipping) * US orders only. Venmo payment only. Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL = $25 (including shipping) * Venmo only. 100% of the proceeds from Live From My Drum Room merchandise goes toward a Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Very important! Email: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt and or hoodie to help support this endeavor!    Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe! https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

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

In today's episode, we continue our Phil Merson inspired, Wine is Like Music series. Maybe our most challenging, this episode is with drummer, Kevin Olsonberg who is with Odom Corporation, one of the area's largest wine distributor. This is a fun one for sure even with the background noise that comes from a bar! #HappyFriday! #ItsWineTime! #Cheersing #PleasingAstringency #MoreBass #GiveMeMyTotsWines this episode:2019 Sauvion Sancerre ($43 at Pilgrim's Market)2020 Termes España ($41 at Pilgrim's Market)2021 Olianas Cannonau ($22 at Pilgrim's Market)A HUGE thanks to our sponsors: Terraza Waterfront Grill, Naked Wines and J. Bookwalter Wines!Terraza Waterfront Grill is serving up global-inspired dishes in a vibrant atmosphere. With a focus on fresh ingredients and unmatched culinary excellence, Terraza offers something for every taste. Come experience exceptional food, cozy ambiance and top-notch service at this stunning waterfront grill. Visit https://terrazacda.com/ for more information or call 208-758-0111.Naked Wines: Straight from the winemaker right to your door, premium wine without the premium pricing is what Naked Wines is all about. Save big on wines from the world's best winemakers! Visit https://us.nakedwines.com/winetimefridays to get $100 off your first 6 pack case. With Naked Wines, discovering new wines is truly risk-free!J. Bookwalter: Celebrating their 40th year of producing award-winning wines crafted from the finest Columbia Valley vineyards, J. Bookwalter wines bring excellence and quality to every glass. Visit https://www.bookwalterwines.com for more information or simply call or 509-627-5000.And of course, a HUGE thank you to Tod Hornby who wrote and recorded our official Wine Time Fridays theme music. Please visit https://todhornby.com to see what Tod is up to!The Elsom Cellars Wine Words of the Week - Timbre In Music: In music, timbre (pronounced "tam-ber") refers to the unique tone color or "voice" of a musical instrument or sound, including drums. In Wine: When describing wine, timbre refers to the unique tone or "voice" of a wine. It's a poetic way to capture the distinctive character or personality of a wine.At Elsom Cellars, goood times are meant to be shared and so are great wines! Since 2006, Elsom Cellars has been producing brilliant Washington wines. For more information about Elsom Wines, please visit http://www.elsomcellars.com Some wines we've enjoyed this week: Castelli del Grevepesa Clemente VII Rosso di Toscana, Tenimenti d'Alessandro Vioginer, Waterbrook Chardonnay, Krutz Chardonnay and Artesa Cabernet Sauvignon.Mentions: Moose Lounge North, Phil Mershon, Tod Hornby, Barry Aiken, Chris Cochran, Theresa Edwards Band, DeLille Cellars, Le Dessein (formally Métier), Sara Lane, John Cleese, Robert Mondavi, Rodney Strong, Michel Rolland, Vicino Pizza Neapolitan Style Pizzeria, Naomi Boutz, Elvin Jones, Daniel Glass, John Bonham, Phil Collins, Bonnie Raitt and John Freeman.Please find us on Facebook (https://www.facebook.com/WineTimeFridays), Twitter (@VintageTweets), Instagram (@WineTimeFridays) on our YouTube Channel, https://www.youtube.com/@winetimefridays and on Threads, which is @winetimefridays. You can also “Follow” Phil on Vivino. His profile name is Phil Anderson and will probably “Follow” you back! © 2025 Wine Time Fridays - All Rights Reserved

In this episode Jason returns to the podcast as we discuss Becoming Led Zeppelin. BLZ is currently showing in theaters for a limited time. We give thoughts on the documentary, interesting details we learned about Zep's history, The Yardbirds, Jimmy Page, Robert Plant, John Bonham, and the multi faceted John Paul Jones, seeing Page/Plant live in 1995, Peter Grant, the band's unending importance, and many other stories of Led Zep fandom. Thanks for listening, and please share! This episode is brought to you by DEB Concerts. Follow DEB on Facebook and Twitter to get updates on upcoming shows including Rocklahoma performances from Dee Snider, Orianthi, Mike Tramp and more! This episode is also brought to you by Sunset Tattoo Tulsa. Sunset Tattoo has over 25 years of experience, and is located at 3146 E. 15th St. in Tulsa, OK. Native owned, and a female tattoo artist in house. The tattoos are "Done Good and Proper" so be sure to like their facebook page for more details. Stream us anytime everywhere podcasts are heard.

Send us a textA special two-part episode of TrackTalk with legendary drummer and founding member of Bad Company, Simon Kirke! In Part 1 we do a deep dive into Bad Company's iconic first record, "Bad Company," released in 1974. Simon gives us an inside view of song composition, the recording process, his drum kit and much more! We do an analysis of "Can't Get Enough" "Rock Steady" "Ready For Love" Movin' On" and "Bad Company." So come along for the ride and please subscribe! Part 2 is coming soon! Live From My Drum Room Hoodies are now available!    • NEW Live From My Drum Room Merch!   Made of a soft 52% cotton 48% polyester blend. Sizes: MD, LG & XL = $50 USD (including shipping) *Size 2XL = $55 USD (including shipping) * US orders only. Venmo payment only. Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL = $25 (including shipping) * Venmo only. 100% of the proceeds from Live From My Drum Room merchandise goes toward a Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Very important! Email: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt and or hoodie to help support this endeavor!    Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Special Guests are Allison McGourtey- Producer Bernard MacMahon. Director Makers of Becoming Led Zeppelin    A documentary about the first 18 months of Led Zeppelin. Jimmy, Robert. John Paul and John Bonham. Before it all exploded, and their lives got CRAZY. And………it's in IMAX. The complete story can be heard on Mulligan Stew Podcast and tdm YouTube Channel. Amazing filmmaking and storytelling.

Here is a special episode featuring the creative minds behind the new film, "Becoming Led Zeppelin." Director Bernard MacMahon and co-writer and co-producer Allison McGourty join Staci to discuss the creative choices they made when editing the documentary, what it was like to sit down and interview Robert Plant, Jimmy Page, and John Paul Jones (as well as giving a voice to the late John Bonham), and much more.

Interview with Kevin Shields Of Detention. Detention was one of the first and best bands of the ‘80s New Jersey hardcore punk explosion. Their wonderfully tasteless “Dead Rock 'n Rollers” single became the college radio cult classic of 1983. The song's 97 seconds of primal Ramones-style speed-punk mocked the demise of Jimi Hendrix, Janis Joplin, John Lennon, Keith Moon, Elvis Presley, Jim Morrison, Sid Vicious, John Belushi, and John Bonham — who “played the drug game and couldn't maintain.” They even foretold the drug-related heart attack of Jim Carroll, famous for “All The People Who Died,” screaming, “What are you waiting for? Do it!” Saving the best for last, “Dead Rock 'n Rollers” raised the obvious question: “Why couldn't it be Barry Manilow?” The Detention story goes back to Central Jersey, to the Shields family home in Hillsborough Township, about 20 minutes from the “culture capital” of New Brunswick. Kevin Shields, the fourth of five sons, grew up listening to his older brothers' sophisticated record collection of hippie music that ranged from Blue Cheer to King Crimson. Kevin recalls: “Early on, I knew that rock ‘n roll was something special. I was fascinated.”  “I enlisted in the Coast Guard when I was 17. I was out on my own. I was always a music guy and realized music was getting stale with Genesis and whatnot. I read all the magazines, and the ads in the back, so I sent money to these labels, and came home with albums like Never Mind the Bollocks and Rocket to Russia, and singles by the Slickee Boys and MX-80 Sound. But the coup d'grace was when we stationed in Alameda and I went wild in San Francisco. I went to the Mabuhay Gardens like three nights a week, seeing all the legendary West Coast bands: DKs, DOA, Black Flag. I got thrashed on the education of seeing live bands.”   When Kevin returned home in 1981, he was inspired to make music. “Detention came about because I decided to be a player not a spectator,” he explains. “The easiest way was to recruit my family, so I turned to my brothers. I bought a bass, but I didn't know how to play it. My brother Paul suggested I get in touch with this guitarist Rodney Matejek. He showed me how to play simply, and within months we started coming up with riffs, and what would become songs came very quickly.”  The band — Kevin, Rodney, frontman Paul Shields, and drummer Daniel Shields — played their first show at Raritan Manor on the Somerville Circle, hosted by a young Matt Pinfield in his first radio DJ gig at WRSU (Rutgers). It was a noisy and chaotic affair, with people rolling on the floor — until police arrived and stopped the mayhem. “We were given 100 bucks, and we promised never to play there again,” Kevin says with a grin.  Kevin offers some backstory: “Rob Roth, god bless his pointed head, he had a vision. He got us into the studio in Roselle Park, and he paid for it. All we had to do was get good recordings of the two songs, including the B-side “El Salvador.” It came out great. My brother Paul certainly had the lungs for the job! Those 500 copies got us gigs and got us a lot of notice.” In 1985, Detention released a self-produced self-titled album before disbanding. Kevin's Info https://www.leftfordeadrecords.com dead-rock-n-rollers    

By the time that Led Zeppelin was releasing their sixth studio album, they were solidly on top of the rock pantheon.  They had just switched to Swan Song Records, their own label, and had plenty of time to create this double album work, Physical Graffiti.  They had three sides-worth of new songs largely recorded at Headley Grange in Hampshire in early 1974, and they expanded it to a double album by including unreleased tracks from sessions for their previous three albums.  Physical Graffiti went to number 1 on the UK chart and number 3 on the US charts immediately.  They had planned to release the album in November 1974, but delays in producing the album's sleeve design pushed it back to February 1975.  Demand was so strong that it became the first album to go platinum on advance orders alone.The album itself reflects a diversity that runs from hard rock to prog rock to funk - even country and honky-tonk get represented.  The group never seemed too interested in creating single-friendly compositions, so many tracks run well over 6 minutes, along with some shorter instrumental numbers.  Led Zeppelin was considered the biggest rock band on tour during this time, and Physical Graffiti was the album that wrapped up this period.  Robert Plant was in a serious car accident with his wife in August 1975, and the group went on hiatus from touring until 1977.  Many consider this album to be the high water mark for the Led Zeppelin discography.  Bruce presents this monster double album for this week's podcast. KashmirThis is one of Led Zeppelin's signature songs.  It started as an instrumental recording from Jimmy Page and John Bonham.  Robert Plant wrote the lyrics while vacationing in southern Morocco (not Kashmir, as no band members had been there when this song was written).  John Paul Jones plays mellotron and added the orchestration which was played by session musicians.  All members of the band consider it one of their best tracks, and it has played in almost every concert since its debut.Trampled Under FootThis is a funk piece largely created by John Paul Jones.  The beat was inspired by Stevie Wonder's “Superstition,” and the lyrics are drawn largely from Robert Johnson's “Terraplane Blues.” Jones originally created this in the soul genre, but John Bonham convinced the group to add a more funky feel. The Wanton SongMany Led Zeppelin songs have a title which does not appear in the lyrics, and this is one of those.  Jimmy Page developed the riff in 1973 and brought it to the Physical Graffiti sessions.  Page uses a backward echo on this, where the echo appears before the note.  It was played during the 1975 tour but was dropped from the setlist thereafter, making it perhaps a deeper cut.  Houses of the HolyThis track is one of the unreleased tracks from previous sessions.  It was intended as the title track from their fifth album, but was considered too similar to other songs on the album and was dropped.  Led Zeppelin never played this song live.   ENTERTAINMENT TRACK:Movin' On Up (Theme from the television series “The Jeffersons”) This sitcom was a spinoff from “All In the Family” which got its start in January 1975.  STAFF PICKS:Any Major Dude Will Tell You by Steely DanLynch kicks off the staff picks with the B-side from “Rikki Don't Lose That Number.” Donald Fagen says that the inspiration was hearing a lot of people using the term “dude” after they moved to L.A., finding the phrase funny and deciding to include it in a song.  The idea is that times will get better, and hope is around the corner.Cat's In the Cradle by Harry ChapinRob brings us a folk rock story about a father who finds the tables turned.  He didn't have time for his son as he was growing up, and his son doesn't have time for his father when he is older.  The lyrics were inspired by a poem written by Chapin's wife regarding her first husband's strained relationship with his father.Angie Baby by Helen ReddyWayne features another storytelling song, this one with some spookiness.  Angie is a girl of questionable sanity who lives in her own world at home with her parents.  When a neighborhood boy decides to make advances on her when her parents are gone, Angie causes him to disappear into the music of her radio…  It was a number 1 hit song.Changes by David BowieBruce closes out the staff picks with a song that largely flopped when originally released as a single in 1971.  Bowie's “Hunky Dory” album did not do well until it got a second look after his 1972 release “The Rise and Fall of Ziggy Stardust and the Spiders from Mars.”  It was re-released in 1975 as a single and went to number 1 in the UK.   INSTRUMENTAL TRACK:Bron-Yr-Aur by Led ZeppelinWe close out with some double dipping from Physical Graffiti for this acoustic instrumental.   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.

1975, Led Zeppelin were at the height of their rock god power. They'd made 5 albums that sold off the charts, especially in the US where they enjoyed the fruits of their labors on the Sunset Strip. They were a top touring act that could fill arenas and stadiums with four of the best individual musicians in any band. They founded Swan Song Records to not only handle their own records but even signed acts like Bad Company and Detective to the label. So after some time off they headed back to Headley Grange where they'd recorded for Led Zeppelin III & IV in early 1974 to lay down some tracks. The results were among the heaviest, funkiest, longest, most epic and groovy songs in the Zeppelin catalog. But because they made more than 1 LP's worth of material, they decided to dust off a few tunes from previous sessions, rework them and fit them all into what would be Zeppelin's only double album, Physical Graffiti. The first album to ship platinum in the US, it would eventually go 16x platinum (but only 2x platinum in the UK). Hitting #1 on both sides of the Atlantic, it's too epic for just one episode. So we've divided into LP/CD one on this episode and UAWIL 219 will go in depth on LP/CD 2. The first disc of Physical Graffiti is an extraordinary album on its own. From the riff & groove of Custard Pie, maybe the best opening track on an LZ album, to the epic and otherworldly Kashmir the boys flex and stretch like they hadn't before. Jimmy Page is at his best laying down killer slide on In My Time Of Dying, riffing out on The Rover and leading the boys in jams on Trampled Under Foot. John Paul Jones is killer on the bass and the clavinet which give different textures to the tunes. John Bonham is at his thunderous best while his mate Robert Plant still had the range and emotion that made him a legend. Going track x track and watching some old Zeppelin footage from Earls Court 1975 and Knebworth 1979 reminds us that we missed one of the greatest bands to walk the Earth and they should be celebrated. Part 2 will be episode 218 out soon! 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

Label: Epic 10345Year: 1968Condition: MLast Price: $35.00. Not currently available for sale.Here's an especially beautiful copy of one of the most interesting tracks in Donovan's catalogue. Here is a description from the wordiq.com website: Released in May 1968, his next single was the swirling psychedelic nugget 'The Hurdy Gurdy Man', a song he originally intended for his old friend and guitar mentor Mac MacLeod who had a heavy rock band called Hurdy Gurdy. Donovan had also considered giving it to Jimi Hendrix, but when Mickie Most heard it, he convinced Donovan that the song was a sure-fire single and that he should record it himself. Donovan tried to get Hendrix to play on the recording, but he was on tour and unavailable for the session. In his place they brought in a brilliant young British guitarist, Allan Holdsworth. Jimmy Page also played on the session, and it is believed that John Paul Jones may have played bass with (possibly) John Bonham on drums. If so, this would make it the first recorded performance featuring the three future members of Led Zeppelin. Both Jones and Page have stated that the idea of Led Zeppelin was formed during the Hurdy Gurdy Man sessions. The B side is a non-album track. Note: This beautiful copy has Mint labels and comes with simply awesome sound. The picture sleeve is Near Mint with one tiny tear at the top edge.

1975, Led Zeppelin were at the height of their rock god power. They'd made 5 albums that sold off the charts, especially in the US where they enjoyed the fruits of their labors on the Sunset Strip. They were a top touring act that could fill arenas and stadiums with four of the best individual musicians in any band. They founded Swan Song Records to not only handle their own records but even signed acts like Bad Company and Detective to the label. So after some time off they headed back to Headley Grange where they'd recorded for Led Zeppelin III & IV in early 1974 to lay down some tracks. The results were among the heaviest, funkiest, longest, most epic and groovy songs in the Zeppelin catalog. But because they made more than 1 LP's worth of material, they decided to dust off a few tunes from previous sessions, rework them and fit them all into what would be Zeppelin's only double album, Physical Graffiti. The first album to ship platinum in the US, it would eventually go 16x platinum (but only 2x platinum in the UK). Hitting #1 on both sides of the Atlantic, it's too epic for just one episode. So we've divided into LP/CD one on this episode and UAWIL 219 will go in depth on LP/CD 2. The first disc of Physical Graffiti is an extraordinary album on its own. From the riff & groove of Custard Pie, maybe the best opening track on an LZ album, to the epic and otherworldly Kashmir the boys flex and stretch like they hadn't before. Jimmy Page is at his best laying down killer slide on In My Time Of Dying, riffing out on The Rover and leading the boys in jams on Trampled Under Foot. John Paul Jones is killer on the bass and the clavinet which give different textures to the tunes. John Bonham is at his thunderous best while his mate Robert Plant still had the range and emotion that made him a legend. Going track x track and watching some old Zeppelin footage from Earls Court 1975 and Knebworth 1979 reminds us that we missed one of the greatest bands to walk the Earth and they should be celebrated. Part 2 will be episode 218 out soon! 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

Jimmy Page was in rough shape by the end of Led Zeppelin. His addictions had ravaged his body and he didn't contribute nearly as much to 1979's In Through The Out Door as he did all previous Zeppelin records. After the death of John Bonham, Jimmy fulfilled his obligations to release Coda, provided the soundtrack to Death Wish 2 as a favor to his neighbor and embarked on a brief fundraiser tour with lots of legends - The ARMS Tour. But he hadn't been very creative and wasn't keeping himself in match shape. After spending some time with his Swan Song brother Paul Rodgers (Free, Bad Company), he concocted a plan to put together a new supergroup for the 80s. WIth Rodgers handling vocal and primary songwriter duties, Jimmy also enlisted Chris Slade (Tom Jones, Manfred Mann's Earth Band, AC/DC, UAWIL #91 guest) and "The Fretless Monster" Tony Franklin who he worked with on Roy Harper's album Whatever Happened to Jugula? This powerful lineup was to be the vehicle that would rejuvenate Jimmy Page and put him back on the road to superstardom. However, Page's contributions weren't what fans had come to expect from the guitar hero and it seemed that Jimmy was a bit out of place in a world dominated by MTV. Single Radioactive was an AOR hit and showcased a bit of what the band could do, ultimately helping their self-titled debut to gold status in the US. But most of the album is uneven and Page isn't showing up with the killer solos that were his calling card. However, Tony Franklin is an absolute monster on this record, filling in the gaps that Page leaves between his flourishes and playing well off the ever steady Slade. While Rodgers vocals are as strong as ever, his songwriting doesn't quite live up to the standard of his previous bands. It was a solid debut which led to a strong sophomore effort in Mean Business (1986) but because it celebrates it's 40th on February 11, 2025, we thought we'd take a hard look at The Firm and why it didn't hit the heights we all hoped it would 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

In this episode of the Rich Redmond Show, Rich and Jim sit down with renowned drummer, producer, and engineer Scott Williamson. Scott shares his fascinating journey, from growing up in a musical family in Southern California to establishing himself as a sought-after session musician in Nashville for over 35 years. Throughout the conversation, Scott offers insights into the dynamics of the music industry, the importance of mentorship, and the challenges of balancing multiple roles as a professional drummer. He delves into his musical influences, including the impact of legendary drummers like John Bonham and Steve Gadd, and how he's navigated the evolving landscape of the recording studio. They also explore the nuances of session work, the role of social media in self-promotion, and the significance of movie soundtracks in shaping their musical experiences. They also engage in lighthearted discussions about favorite foods, drinks, and the ultimate tribute band to join for life. This episode provides a unique and candid perspective from a seasoned drummer, offering listeners a glimpse into the life and experiences of a true music industry veteran. Whether you're a fellow drummer, a music enthusiast, or simply someone interested in the behind-the-scenes of the recording world, this conversation is sure to captivate and inspire.   Some Things That Came Up:  -2:30 Spring Hill -4:00 The Mission Cigar Lounge  -7:30 Scott grew up in Church and the recording studio  -9:10 Scott's first teacher was Ken Cox -9:50 Scott's 6th grade band teacher was one of Scott's great mentors -11:00 Steve Gadd and Peter Erskine -14:00 Watching Gregg Bissonnette tracking in the studio  -15:20 Gregg on Brandon Field's “The Brain Dance” track…A perfectly designed drum solo  -16:00 Gregg encouraged Scott to study John Bonham's drumming  -20:30 The drummers of Contemporary Christian Music -23:30 Home Tracking vs. traditional studio sessions  -27:00 Expanding into producing and mixing  -28:45 God Bless the Honda Element! -31:00 Scott's sons are composers and videographers -35:00 Scott's first job was working as a copyist for his composer father -47:20 Stephen Taylor's same song experiment, which Scott mixed. Dan Needham in the      house! -53:20 Working on custom projects and making a difference in people's lives  -56:00 airgigs.com and soundbetter.com -58:00 Having some sort of online presence  -1:00:00 Mike Terrana's awesome channels  -1:03:00 Document over create  -1:04:00 Scott learned to fly many years ago and owns a plane! -1:07:30 WFL III drums bridge the gap between 1960 and now -1:09:40 Toto tribute band, Fleetwood Mac, Steely Dan for the win  -1:12:20 Ed Greene! -1:13:15 The Fave 5  -1:18:30 The beauty of Mick Fleetwood  -1:21:30 The magic of John Williams, especially E.T. The Extraterrestrial    Follow:  IG: @scottwilliamsonmusic   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy @itsyourshow.co www.jimmccarthyvoiceovers.com www.itsyourshow.co

Jimmy Page was in rough shape by the end of Led Zeppelin. His addictions had ravaged his body and he didn't contribute nearly as much to 1979's In Through The Out Door as he did all previous Zeppelin records. After the death of John Bonham, Jimmy fulfilled his obligations to release Coda, provided the soundtrack to Death Wish 2 as a favor to his neighbor and embarked on a brief fundraiser tour with lots of legends - The ARMS Tour. But he hadn't been very creative and wasn't keeping himself in match shape. After spending some time with his Swan Song brother Paul Rodgers (Free, Bad Company), he concocted a plan to put together a new supergroup for the 80s. WIth Rodgers handling vocal and primary songwriter duties, Jimmy also enlisted Chris Slade (Tom Jones, Manfred Mann's Earth Band, AC/DC, UAWIL #91 guest) and "The Fretless Monster" Tony Franklin who he worked with on Roy Harper's album Whatever Happened to Jugula? This powerful lineup was to be the vehicle that would rejuvenate Jimmy Page and put him back on the road to superstardom. However, Page's contributions weren't what fans had come to expect from the guitar hero and it seemed that Jimmy was a bit out of place in a world dominated by MTV. Single Radioactive was an AOR hit and showcased a bit of what the band could do, ultimately helping their self-titled debut to gold status in the US. But most of the album is uneven and Page isn't showing up with the killer solos that were his calling card. However, Tony Franklin is an absolute monster on this record, filling in the gaps that Page leaves between his flourishes and playing well off the ever steady Slade. While Rodgers vocals are as strong as ever, his songwriting doesn't quite live up to the standard of his previous bands. It was a solid debut which led to a strong sophomore effort in Mean Business (1986) but because it celebrates it's 40th on February 11, 2025, we thought we'd take a hard look at The Firm and why it didn't hit the heights we all hoped it would 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

https://www.youtube.com/live/ZXDgOqA62vY?si=KCiOXOEQkpoiu3SK SYSTEM OF A DOWN drummer John Dolmayan recently shared his thoughts on VAN HALEN's impact during an interview with Paltrocast host Darren Paltrowitz. When asked if VAN HALEN inspired him to start playing drums, Dolmayan explained, "I wanted to play drums before I even knew who VAN HALEN was. But VAN HALEN introduced a unique style. While some of the drumming might have hints of [LED ZEPPELIN's] John Bonham—because, honestly, everyone's drumming has been influenced by Bonham since his time—they brought their own twist to it. VAN HALEN's style was more straightforward and heavy, like a blend of AC/DC and LED ZEPPELIN, combined with exceptional musicianship. At that time, there were a lot of great musicians, but few played as melodically as VAN HALEN. Each member of the band brought something distinctive and compelling to the table, regardless of how they were perceived." As previously reported, SYSTEM OF A DOWN will embark on a series of stadium shows in South America next spring. The "Wake Up!" tour begins on April 24 in Bogota, Colombia, and concludes on May 10 in São Paulo, Brazil. Additionally, the band has added second shows for their massive stadium events in North America later in the year. These include performances in East Rutherford, New Jersey, at MetLife Stadium on August 27 with KORN; Chicago, Illinois, at Soldier Field on September 1 with AVENGED SEVENFOLD; and Toronto, Ontario, at Rogers Stadium on September 5 with DEFTONES. Their Toronto dates will mark the first time a hard rock act has played two nights at the brand-new Rogers Stadium. Special guests POLYPHIA and WISP will open all shows. SYSTEM OF A DOWN has toured intermittently since ending its hiatus in 2011 but has only managed to record two songs in the past 19 years: "Protect The Land" and "Genocidal Humanoidz." Released in November 2020, the tracks were inspired by the conflict between Artsakh and Azerbaijan. Proceeds from the songs, along with donations from fans through social media, raised over $600,000 to support humanitarian efforts in the band's ancestral homeland of Armenia. “Exclusively Van Halen" is the ultimate destination for all things Van Halen. Step into the world of rock and roll legends as we delve deep into the history, music, and trivia surrounding one of the most iconic bands of all time. Join us as we explore Van Halen's storied career, from their electrifying performances to the making of their timeless hits. Get to know the band members, their inspirations, and the stories behind the songs that have rocked generations. But that's not all – tune in for exciting giveaways where you can win exclusive Van Halen merchandise and more. Whether you're a die-hard fan or just discovering the magic of Van Halen, this show promises to keep you entertained, informed, and rocking out from start to finish. Get ready to jump into the world of "Exclusively Van Halen" and experience the music like never before. We talk all things Van Halen!

Send us a textGeorgia-based singer-songwriter Scott Colson—who performs under the name Slaw—visits YMAAA to discuss the 1969 album Led Zeppelin II. Scott explains how his love of the blues led him to become a Led Zeppelin fan and why he thinks Led Zeppelin II is their best album. Scott breaks down several of his favorite tracks from the album and tells Al about a game he plays with his friends that further cemented the album's status as his favorite. He also talks about his debut album, Here I Come, which he released as a 55-year-old.Be sure to follow Slaw on social media!@slawmusicofficial on Instagram, Facebook and YouTubeLearn more about Slaw and his music at slawmusic.com.Al is on Bluesky at @almelchior.bsky.social. This show has accounts on Instagram and Threads at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/. You can also support the show on Buzzsprout at https://www.buzzsprout.com/1542814/episodes or at the link at the bottom of these show notes.As promised on this episode, Al did some research to try to figure out what John Bonham is playing to create the “pitter-patter” sound during the verses of “Ramble On.” He did not find a definitive answer, but came across several theories. Others have surmised that Bonham was drumming on a guitar case, a snare drum case, the seat of a drum throne, the soles of his shoes and a plastic garbage can lid.1:05 Scott joins the show1:39 This is not the typical episode for Al2:34 Scott talks about how his love for the blues led him to Led Zeppelin5:21 Scott explains why ‘Bring It On Home” is a highlight for him7:32 Led Zeppelin II was when the band really put their own spin on blues11:48 Has Scott gotten tired of listening to Led Zeppelin II after all these years?13:56 Scott has a fun album-listening game he plays with his friends17:47 Scott explains why “Ramble On” is one of his favorite tracks23:44 Scott talks about a specific way he borrowed from Led Zeppelin in his own work26:24 Which other Led Zeppelin albums does Scott frequently visit?29:27 How does Scott feel about “Moby Dick” and drum solos in general?32:13 Scott talks about the skillful use of dynamics in “What Is and What Should Never Be”34:37 Scott is surprised that the band rarely played “Living Loving Maid” live36:51 Al regrets that he initially had some resistance to Scott's album choice37:59 Scott explains why he decided to record his first album in his 50s44:29 What has surprised Scott about being a full-time musician?45:29 Scott talks about some of the choices he made in making Here I Come49:03 Scott discusses his upcoming plansOutro music is from “Here I Come” by Slaw.Support the show

    In this episode of The Rich Redmond Show, Rich sits down with renowned drummer Josh Freese to discuss his prolific career.   Although this episode was recorded before Josh stepped into the Foo Fighters drum throne for the monumental task of replacing Taylor Hawkins, Josh and Rich cover some valuable ground!     The conversation delves into Josh's wide-ranging musical influences, from the iconic drumming of Stuart Copeland and John Bonham to his love for bands like Devo and The Replacements. He reflects on career highlights like recording with Michael Bublé and A Perfect Circle, and the spontaneous recording sessions he's had with artists like Paul Westerberg.   Rich and Josh also discuss the importance of networking, being a team player, and staying open to all opportunities in the music industry, even if they don't align perfectly with your preferred style. Josh shares insightful advice for aspiring musicians, emphasizing the value of consistent hard work and a positive attitude.   Throughout the conversation, Josh's unique fashion sense and his ongoing joke about PF Chang's also come up, providing lighthearted moments that showcase his personality.   This episode offers a fascinating glimpse into the life and career of one of the most in-demand drummers in the music industry today. *******SUBSCRIBE/RATE/REVIEW!!! www.richredmond.com/listen     The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com     Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com www.itsyourshow.co

Tonight's rundown:  Hey BillOReilly.com Premium and Concierge Members, welcome to the No Spin News for Wednesday, September 25, 2024. Stand Up for Your Country.  Talking Points Memo: Bill analyzes the recent election special from the PBS series "Frontline," which featured interviews from mainly anti-Trump people. Author Miranda Devine joins the No Spin News to discuss Joe Biden's connection to Hunter's business dealings and the corruption tied to them. The national debt has increased by approximately $7 trillion under the Biden administration. Do they want the U.S economy to tank? Nancy Pelosi's husband sold over $500,000 in Visa stock just weeks before the DOJ's antitrust lawsuit. Smart Life: Severe obesity is on the rise. This Day in History: The drummer of Led Zeppelin, John Bonham, dies at age 32. Final Thought: A Concierge Member buys 100 memberships to give out on his military speaking tour. In Case You Missed It: Read Bill's latest column, Bad Guys in the White House For a limited time, get our three latest Political Memorabilia mugs at a 25% discount. Our Political Memorabilia 2.0 bundle includes a Not Woke mug in navy, a Team Normal mug in white and our newest mug, No Socialism in navy. ORDER TODAY! Election season is here! Now's the time to get a Premium or Concierge Membership to BillOReilly.com, the only place for honest news analysis. Get Bill's latest book, CONFRONTING THE PRESIDENTS, out NOW! Learn more about your ad choices. Visit megaphone.fm/adchoices

MUSIC There might be a simple reason why Alex Van Halen has never responded to Sammy Hagar's invitation to join him on The Best of All Worlds tour. It turns out that he may harbor a grudge against Hagar's drummer, Jason Bonham because of something his father, the late Led Zeppelin drummer John Bonham, did to the Van Halen drummer. Sammy Hagar says David Lee Roth "went AWOL" after inviting him to join him on his 'Best of All World'. Roth had initially expressed interest in the tour saying "I'm in" but Hagar told Eddie Trunk, "He went AWOL. After clarifying the offer, he just kind of went to sleep on it, which is fine. I don't need Roth antagonizing me.” The estate of late Pantera guitarist Dimebag Darrell has launched a new line of liquor called Blacktooth Beverages. It includes Blacktooth American Rye Whiskey; Blacktooth Blended, which blends whiskey and vodka; and Blacktooth Grin Ready to Drink Single-Serve cocktails, which is a canned mix of Blacktooth Blended and cola available in “Leaded” (with sugar) and “Unleaded” (sugar-free) - LINK Sets by Blink-182, The Killers, Deftones, and Pierce the Veil will be featured on Hulu's Lollapalooza streaming schedule. It starts Thursday - LINK TV It's a full-circle moment for Carrie Underwood, as she is replacing Katy Perry as a judge on American Idol Season 23 - LINK In other SNL news: Jason Reitman's upcoming 'SNL' biopic, 'Saturday Night' and will premiere on October 11th, the same day the live sketch comedy series premiered in 1975 - LINK MISC Pete Davidson has checked into a rehab facility in order to focus on mental health - LINK AND FINALLY People on Reddit have listed out some movies that they think SHOULD never get a remake: Some responses: The Princess Bride. The Shawshank Redemption. The Godfather. Blazing Saddles... AND MORE Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's 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 megaphone.fm/adchoices