Podcast appearances and mentions of John Lennon

Today:May Pang dated John Lennon in her early 20s, and has the photos to prove it. She joins us to discuss her new pop-up art installation, featuring photos of their time together, in Cambridge, titled The Lost Weekend: The Photography of May Pang.And, public bar advocates in Massachusetts get paid less than in surrounding states to represent indigent clients. They've been on strike for better pay since late May, and some people charged with violent crimes are being released because their court proceedings can't continue without representation. We talk with two of the striking lawyers: Mara Dolan and Jennifer O'Brien.

Hoy os dejamos en La Gran Travesía una nueva playlist con las 50 canciones más destacadas del año 1988. Es simplemente una playlist, sin comentarios añadidos, y donde podréis escuchar a Bruce Springsteen, Joan Jett, Ramones, Peter Gabriel, Joy Division, AC/DC, Bob Marley, Talking Heads, Queen, Police, Motörhead, John Lennon, Ozzy Osbourne, Iron Maiden, Depeche Mode... y muchos más. Y aquí tenéis la lista con los 500 temas más destacados de la década de los 80. https://www.ivoox.com/500-mejores-canciones-80_bk_list_5787084_1.html También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Leo Giménez, Gin1975, Alberto Velasco, Poncho C, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Send us a textIntro song: Well (Baby Please Don't Go)45. It's So Hard44. One Day (At a Time)43. I Know (I Know)42. I'm Losing You41. I'm Stepping OutOutro song: God Save Us

Det andra avsnittet av Anna Björklunds och Kristoffer Svenssons sommarpodd handlar om kärleksdrogen LSD och The Beatles tydligen oemotståndliga närvaro i nuet. Och om den västerländska estetiken, eller snarare när estetik blev ersatt av färggranna trender. Böcker: "En revolution i huvudet" av Ian MacDonald och "Till skuggornas lov" av Junichiro TanizakiMusik: Turid - Om snällhet

It was the 80's -- and supermodels were taking chances on Billy Joel looking kids like myself. This is one of those stories. Plus, my mom and new John Lennon gossip that spread through the neighborhood. Hosted on Acast. See acast.com/privacy for more information.

Send us a textIntro song: I Don't Wanna Face It50. Move Over Ms. L49. Aisumasen (I'm Sorry)48. What You Got47. Cold Turkey46. Only People

If you are a fan of the Beatles then you may have read some or many  of the estimated 2000+ books that have been written about the group and it's individual members. Now, a book that takes a unique approach not taken in any previous book. “John & Paul: A Love Story in Songs” by […]

Hello Backstory fans! Have you ever wondered what goes on behind the scenes in the making of a documentary? In this episode, We are joined by filmmaker Alan Parker as we get the inside scoop on his latest film, "Borrowed Time," which delves into the last decade of John Lennon's life. Alan shares his personal connection to John's music and the unique journey that led him to create this documentary. It's fascinating to hear how Lennon became a source of strength during Alan's challenging times as a kid. Alan also gives us a sneak peek into the emotional highs and lows of creating such an impactful film. From his surprising discoveries during interviews to the decision to offer both a standard and a director's cut, it's a wild ride you won't want to miss! So if you've got a soft spot for The Beatles or just love a good backstory, you're in for a treat with this heartfelt discussion. Catch the full episode and discover what makes "Borrowed Time" a must-see for any music fan.

Today's program features tuneage from Patti Smith, Jimmy Buffet, Sugarloaf, Lou Reed, John Lennon, Peter Frampton, Roxy Music, Nilsson, Elton John, Simon & Garfunkel, Spanky & Our Gang, Steve Miller Band, Emerson, Lake & Palmer, Lee Michaels, Queen, Paul & Linda McCartney, voy Brown, B.B. King, Flying Burrito Brothers, Little Feat, New Riders Of The Purple Sage, Loggins & Messina, & NRBQ.  

https://www.virginradio.it/audio/long-playing-stories/1389429/long-playing-stories-john-lennon-mind-games.htmlhttps://www.virginradio.it/audio/long-playing-stories/1389429/long-playing-stories-john-lennon-mind-games.htmlMon, 14 Jul 2025 16:20:05 +0200Virgin RadioVirgin Radiono0

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El Álbum Conmemorativo de Eddie Cochran es el segundo álbum de Eddie Cochran , publicado por Liberty Records en mono, LRP 3172, en mayo de 1960. Anteriormente se había publicado como "12 de Sus Grandes Éxitos" en abril de 1960 con el mismo número de catálogo, pero tras el fallecimiento de Cochran el 17 de abril, fue retitulado y reeditado, título que ha mantenido desde entonces. Actualmente se edita en el sello Magic Records en Francia, en CD en EMI-Toshiba en Japón y en BGO en el Reino Unido como doblete con "Singin' To My Baby". Eddie Cochran - Álbum conmemorativo de Eddie Cochran (Edición mono original británica, con funda frontal laminada y abatible. Formato: Disco de vinilo - LP País: Reino Unido Año: 1961 Sello: Londres Eddie Cochran Memorial álbum 1960 1 C'mon Everybody 2 Three Steps to Heaven 3 Cut Across Shorty 4 Jeannie, Jeannie, Jeannie 5 Pocketful of Hearts 6 Hallelujah, I Love Her So 7 Don't Ever Let Me Go 8 Summertime Blues 9 Teresa 10 Somethin' Else 11 Pretty Girl 12 Teenage Heaven 13 Boll Weevil Song 14 I Remember Ray Edward Cochran ( 3 de octubre de 1938 - 17 de abril de 1960) fue un músico estadounidense de rock and roll . Sus canciones, « Twenty Flight Rock », « Summertime Blues », « C'mon Everybody » y « Somethin' Else », capturaron la frustración y el deseo adolescente de mediados de los años cincuenta y principios de los sesenta. Cochran experimentó con la grabación multipista , técnicas de distorsión y sobregrabación , incluso en sus primeros sencillos. Cochran tocaba la guitarra, el piano, el bajo y la batería. Su imagen de joven elegante, atractivo y con actitud rebelde personificó la postura del rockero de los años cincuenta, y tras su muerte, Cochran alcanzó un estatus icónico. Cochran se involucró con la música desde muy joven, tocando en la banda escolar y aprendiendo a tocar la guitarra blues. En 1955, Cochran formó un dúo con el guitarrista Hank Cochran (sin parentesco) y se hicieron conocidos como los Cochran Brothers. Cuando se separaron al año siguiente, Eddie comenzó una carrera como compositor con Jerry Capehart . Su primer éxito llegó cuando interpretó la canción " Twenty Flight Rock " en la película "The Girl Can't Help It" , protagonizada por Jayne Mansfield. Poco después, firmó un contrato discográfico con Liberty Records y su primer disco para el sello, " Sittin' in the Balcony ", alcanzó el puesto número 18 en las listas de Billboard . Cochran falleció en abril de 1960 en el Hospital St Martin's de Bath, Somerset , tras un accidente de coche en Chippenham , Wiltshire , al final de su gira británica con Gene Vincent . El 16 de abril, tras actuar en el Hipódromo de Bristol , camino a su siguiente concierto, Vincent, Cochran y la compositora Sharon Sheeley sufrieron un accidente de tráfico a alta velocidad en un taxi privado. Los otros dos pasajeros sobrevivieron con heridas graves, pero Cochran, que había salido despedido del vehículo, sufrió graves lesiones cerebrales y falleció al día siguiente. Aunque las canciones más conocidas de Cochran se publicaron en vida, la mayoría de sus canciones fueron publicadas póstumamente. En 1987, Cochran fue incluido en el Salón de la Fama del Rock and Roll . Sus canciones han sido grabadas por una amplia variedad de artistas. Paul McCartney eligió " Twenty Flight Rock " de Cochran como pieza de audición, convencido de que impresionaría a John Lennon con su interpretación. Así lo hizo y fue contratado como miembro del grupo de skiffle de Lennon , The Quarrymen , que posteriormente se rebautizaría como The Beatles .Escucha este episodio completo y accede a todo el contenido exclusivo de EDITORIAL GCO. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/2313218

Today's program features tuneage from The Who, Dawes, Counting Crows, Stones, Steely Dan, John Prine, Quincy Jones, Michael Franks, Cracker, Allman Brothers, Wallflowers, Derek & The Dominos, Jimi Hendrix Experience, Tom Petty, Rembrandts, John Waite, Jeff Golub, The Kinks, John Lennon and Gary Calamar.

Some journeys are measured not in miles but in memories created along the way. When I invited my middle daughter Zoe Jane to accompany me on a cross-country drive to Indiana, neither of us fully understood the adventure that awaited. What began as a practical mission to collect my late father's belongings from storage transformed into a 4,500-mile expedition through America's heartland – one that would test my driving endurance while strengthening our father-daughter bond.The road stretched endlessly before us as we traversed Montana (surprisingly vast), South Dakota (unexpectedly beautiful), Iowa, Illinois, and finally Indiana. Though we spent barely twelve hours at our destination, the journey itself became the story. Zoe Jane, my resident foodie, selected our brewery stops along the way, including an unforgettable converted church in Peoria with what might be the most beautiful bathrooms I've ever encountered. Between her phone time in the back seat and our shared meals at carefully chosen eateries, we found moments of connection that make parenting worthwhile.Among the journey's treasures were the albums/records among other things we collected from storage – physical artifacts connecting generations as Zoe surprised me by selecting John Lennon and Yoko Ono recordings. Our pilgrimage to the Field of Dreams in Iowa carried special significance, representing both my father and my wife's father's love for baseball and the deeper father-son relationships the site symbolizes. As Zoe prepares for her high school swimming career and I ready myself to return to coaching this fall, this road trip stands as a milestone in our relationship – proof that sometimes the longest journeys yield the most meaningful connections. Join us for more adventures as the Miles and Mountains podcast continues exploring both the physical landscapes we traverse and the emotional terrain we navigate together.Shout out: ZoeyJane Ag-Gear Store https://www.aggearstore.com/Use Code: Milesmountains For 15% Off Alter Ego Ambassador: https://alteregorunning.com/Miles & Mountains Promo Code: Milesmountainsyr3Raising Awareness:Missing and Murdered Indigenous Women (MMIW)Mental Health Send us a text

Carlos Alomar and Miguel Gálvez join Nick to discuss the career and legacy of the iconic Argentinian rock band Soda Stereo.Carlos is a living legend who collaborated with so many iconic musicians, a who's who of the music industry. This includes David Bowie, Mick Jagger, John Lennon, Paul McCartney, Iggy Pop, Cyndi Lauper, Bee Gees, Carly Simon, Alicia Keys, Bruno Mars, and Brandon Flowers. He also produced Soda Stereo's 1988 album Doble Vida.Miguel is a former music journalist who has interviewed several legendary musicians in his career, including Soda Stereo. He runs a campaign to try and get Soda Stereo inducted into the Rock & Roll Hall of Fame. His campaign has been spotlighted in major publications including the L.A. Times, Billboard, and Rolling Stone.Support the show

¡¡NUEVO PODCAST!!Janeth Sánchez Cid; Papalote Museo del Niño…  Una opción divertida y cultural  Arturo Espinosa…   El día que John Lennon conoció a Paul McCartney  Cartelera Cinematográfica. José Antonio Valdés Peña.Enrique Hernández Montes de Oca…   Monzón Mexicano  Sylvia Pasquel… Obra: “La Profesora”  

Jonathan explores a variety of topics ranging from random facts about the NBA and John Lennon to humorous anecdotes about animal encounters and personal updates. The show culminates in a one-sided debate on whether cereal qualifies as soup.

Watch Prof H on Diddy verdict: https://youtube.com/live/qJEvc0V7RII Hamamoto on YouTube:    / @professorhamamoto  Watch Lionel on Diddy verdict: https://youtube.com/live/KR85dKR3Nao Watch part 6 here: https://youtube.com/live/DViShfvP9yE Watch part 5 here: https://youtube.com/live/TaF8EMyS4V4 Watch Prof Hamamoto Part 4 https://youtube.com/live/TkUr4CanA_k Watch Prof Hamamoto Part 3 https://youtube.com/live/qUHdKtabgNo Prof. Darrell Hamamoto, who is an American writer, academic, and specialist in U.S. media and ethnic studies. Professors Facebook : https://www.facebook.com/share/hZajgC... Follow P Diddys latest:    • P Diddy  #jayz #beyonce #hollywood #countrymusic #nashville #pdiddy #puffdaddy #truecrime #news #youtubenews #podcast #livestream #youtube #thepope #vatican #church #epstein Here are Hamamoto's recommended books: Can't Stop Won't Stop: A History of the Hip-Hop Generation  ——- The Psychological Covert War on Hip-Hop ——- The Covert War Against Rock: What You Don't Know About The Deaths of; (Jim Morrison, Tupac Shakur, Michael Hutchence, Brian Jones, Jimi Hendrix, Phil Ochs, Bob Marley, Peter Tosh, John Lennon & The Notorious B.I.G) ——- Hit Men: Power Brokers and Fast Money Inside the Music Business ——- Me, the Mob, and the Music: One Helluva Ride Tommy James and the Shondells ——- Godfather of the Music Business: Morris Levy (American Made Music Series) ——- LAbyrinth: A Detective Investigates the Murders of Tupac Shakur and Notorious B.I.G., the Implication of Death Row Records, Suge Knight, and the Origins of the Los Angeles ——- The FBI war on Tupac Shakur: State repression of Black Leaders from the Civil Rights Error to the 1990s (real world) ——- The FBI war on Tupac Shakur and Black Leaders: US Intelligence's: Murderous Targeting of Tupac, MLK, Malcol, Panthers, Hendrix, Marley rappers and Linked Ethic Leftists ——- Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records ——- The Big Payback: The History of the Business of Hip-Hop ——- Ruthless: A Memoir ——- Hip-Hop Decoded ——- Q: The Autobiography of Quincy Jones ——- How to Wreck a Nice Beach: The Vocoder from WW II to Hip-Hop, The Machine Speaks ——- Dancing with the Devil: How Puff burned the bad boys of Hip-Hop ——- Hiding in Hip-Hop: On the Down Low in the Entertainment industry—from Music to Hollywood

The gang discusses several diverse topics including the day Beatle John Lennon saw a UFO, up close and personal, while standing on the roof of his New York City apartment.  Also, the mysterious “Holy Fog” that guided the Israelites out of bondage from Egypt, plus Lonely Larry flunks a UFO trivia contest. Special guest: Cassie Fox.

The gang discusses several diverse topics including the day Beatle John Lennon saw a UFO, up close and personal, while standing on the roof of his New York City apartment. Also, the mysterious “Holy Fog” that guided the Israelites out of bondage from Egypt, plus Lonely Larry flunks a UFO trivia contest. Special guest: Cassie Fox.Become a supporter of this podcast: https://www.spreaker.com/podcast/paranormal-uk-radio-network--4541473/support.

 | Artist  | Title  | Album Name  | Album Copyright  | Lovin' Sam Theard  | State Street Blues  | The Copulatin' Blues  |   | Candye Kane  | Marijuana Boogie  | Comin' Out Swinging  |   | The Robert J. Hunter Band  | They Think That I'm Fine  | Say What (live)  |   | John Lennon  | Medley- Rip It Up-Ready Teddy (2010 Remaster0  | Rock 'N' Roll  |   | Alan Freed  | The Grey Bear  | The Great Pretender  |   | Sleepwalkers  | Sleepwalk  | The Best Of British Rock 'n' Roll (Disc 3)  | Savoy Brown (Kim Simmons)  | Shockwaves  | Voodoo Moon  |   | Troy Redfern  | The Fever  | Invocation  |   | Emma Wilson  | Nobody's Fault But Mine  | Feelgood  |   |   | Rev Gary Davis  | I Will Do My Last Singing In This Land Somewhere  | Live at Newport: July 1965  | Blind Willie Johnson  | Trouble Soon Be Over  |   | Washington Phillips  | Washington Phillips Mix  |   | Joe Louis Walker  | The Weight of the World  | Weight of the World  |   | Ross Osteen Band  | A No.1  | WILLIWAW  |   | Parlour Greens  | West Memphis (extended version)

You can contact Women Talking About Learning through our website, womentalkingaboutlearning.com We're on Twitter @WTAL_Podcast You can buy us a coffee to support Women Talking About Learning via Ko-Fi. Or you can email us via hello@llarn.com   Episode Links: Women Rising: The Unseen Barriers Jacinda Ardern Captured the World. And Then She Walked Away. Nationwide boss: Women working at home risk missing out Nurturing Women's Leadership: Building Strong Foundations Calling All Women: Supporting Other Women in Leadership Matters Bias in AI What is AI bias? What Do We Do About the Biases in AI? News flash: People tend to hire people like themselves Managers are hiring people based on whether or not they like them personally and it could lead to some big problems at work The High Cost Of Ambition: Why Women Are Held Back For Thinking Big Busting the Myth That Women Are Less Ambitious Than Men The #IlliniLeader's Digest Do Women Lack Ambition? Why male executives should not be praised for taking paternity leave Paternity leave: The hidden barriers keeping men at work Paternity Leave Benefits Both Men and Women. So Why Don't More Fathers Take It? Queen perform a cover of John Lennon's ‘Imagine' in 2005 Breaking the chains of traditional masculinity: another hidden driver of ge The Masculinity Trap: Rethinking engineering culture Work as a Masculinity Contest A Bad Business The collapse of Enron and the dark side of business From the toxic culture that gave us mansplaining and manterrupting, here comes … hepeating The English Beat - Mirror in the Bathroom (Official) Equal Pay Day 2024: Gender Pay Gap HIGHER than previously thought Gender pay gap in the UK: 2024 Female leaders: Beware the glass cliff – Michelle Ryan, Professor of Social and Organisational Psychology at the University of Exeter Women leaders make work better. Here's the science behind how to promote them Barriers for women in the workplace: A social psychological perspective - Hanek - 2022 Expanding Women's Access to Male-Dominated Jobs - Center for American Progress 10 Male-Dominated Industries (And How to Succeed as a Woman) Patriarchy   This week's guests are Laura Howard. Laura's passion and professional purpose is making work work for everyone – leaders, teams, and customers. After a twenty-year global career in the private and public sectors, including ten years as a senior leader, she qualified as an Organisational Psychologist in 2022. This led her to launch The Contented Workplace, fulfilling her ambitions for everyone to be their best and bring that best to work. She remains dedicated to research and teaching as an Associate Tutor for Birkbeck College (University of London). Her work is data and evidence-driven; as a previous people leader, her expertise has been forged in real-world experience.  LinkedIn - https://www.linkedin.com/in/execcoachlaura/ My research - Authenticity and woman's leadership: a qualitative study of professional business services in the UK | Emerald Insight   Cornelia Raubal is a former 9-figure CEO, certified NLP and strategic leadership coach who specialises in helping ambitious women become board-ready in 6 months. With a unique blend of commercial insight and mindset transformation, she equips professionals to lead with confidence, clarity, and impact. Her work is grounded in behavioural science and executive experience and whether in the boardroom or on stage, she empowers leaders to own their voice, develop the mindset and strategy that delivers results, and achieve measurable growth. Cornelia is also a board director for the national Governing Body of Ice Hockey in England and Wales, and hands on managing at club and national level.  Cornelia Raubal - Executive Coach - CRAFTPORT CONSULTING LIMITED | LinkedIn www.craftport.com Cornelia Raubal (@craftport) • Instagram photos and videos  

Taboo Treasures is a true crime–adjacent podcast that dives deep into the world's most shocking, macabre, and controversial artifacts—the objects that carry the weight of dark history, forbidden belief, and unspeakable acts. From the sneakers worn by the Heaven's Gate cult on their final night… to the copy of Catcher in the Rye found int he possession of the man who killed John Lennon… to relics, Barbie Dolls and memorabilia linked to murder, mystery, and mayhem—each episode unearths the twisted stories behind these rare and disturbing collectibles.

Corey Feldman Press: First we get word from Drew Lane regarding the Corey Feldman 'Characters' pact and then we check in on Corey on the press tour to promote the new song. 4th Of July Power Hour: It's a celebration! We drinking, whether it be booze, Sprite Chill or OXYS, lets celebrate USA! FELDDOG SUMMER: FeldDog Summer June Winners Announced! We also have word on a new Jim and Them Skateboard Deck and of course we got Corey's Twitter! All this and more. COREY FELDMAN!, SHOW STOPPER!, LET'S JUST TALK!, DON CHEADLE!, BOOGIE NIGHTS!, JIM AND THEM IS POP CULTURE!, YOU KNOW THAT!, FELDDOGSUMMER!, FOURTH OF JULY!, USA!, COMMIE MIKE!, TRUMP DERANGED!, REAL ONES!, DRINKING!, SPRITE CHILL!, 1776!, NMAN!, TEXAS!, COMMUNITY LEADERBOARDS!, DREW LANE!, VOICEMAIL!, GRAPED!, SKLEEP!, APOLOGY!, GREATEST HITS 98.1!, RADIO PRESS!, INTERVIEW!, FAKE INTEREST!, CHARACTERS!, THE BEATLES!, LEAF BUG!, JOHN LENNON!, TRIBUTE!, EP!, ADRIEN SKYE!, ACOUSTIC!, BOX SET!, ZIGGY STARDUST!, CHAOS!, SUPERCHATS!, COORS BANQUEST!, COBRA KAI!, PERFECT STRANGERS!, SHOTS!, LMFAO!, DAVE BLUNTS!, TIKTOK!, INSTAGRAM!, HASHTAG!, BILLY CORGAN!, JIM AND THEM ARE GOING TO LOVE THIS!, LARRY!, CLUTCH!, DOLBY ATMOS!, 4 OXYS!, HAUNTED!, ADRIEN CRAIG!, SKATEBOARDS!, SANTA CRUZ!, THRASHER!, 222!, PUSSY SMELLS LIKE!, JIM AND THEM LORE!, FALLING IN REVERSE!, TECH N9NE!, COREY'S TWITTER!, HOOKING UP!, PATHETIC!, TIPSY!, REAL KID RADIO!, CKY RIFF!, DROPS OF JUPITER!, AIN'T EVEN PISSED YET!, APPLETINIS!, CHARLIE!, OTHER SHOE!, FRIENDSHIP ARC!, INDIANA JONES!, HAT!, HARD TO SAY GOODBYE!, DROPS OF JUPITER!  You can find the videos from this episode at our Discord RIGHT HERE!

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 7ú lá de mí Iúil, liomsa Lauren Ní Loingsigh. I 1989 bhí na Daonlathaithe ag iarradh dhá shuíochán sa chomh-aireacht chun idirbheartaíocht a bheith acu le Fianna Fáil. I 2000 bhí scoilt sa chomhar creidmheasa de bharr go raibh chostas 30 milliún níos mó ar plean a bhí acu do na ríomhaire. I 1972 bhí Cill Chaoi laghdaithe chuig stádas sráidbhaile portach. I 1989 bhí imní ann mar go raibh ganntanas de shagairt ann sa chontae. Sin Eminem le The Real Slim Shady – an t-amhrán is mó ar an lá seo I 2000. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1969 rinne George Harrison taifead ar a amhrán nua Here Comes The Sun le Paul McCartney agus Ringo Starr ag Abbey Road I Londain. Ní raibh John Lennon ann de bharr go raibh sé I dtimpiste carr san Alban. I 2003 tháinig sé amach go rinne Britney Spears 500 míle dollar brabús tar éis a dhíol sí a tí in LA. Cheannaigh sí an tí do 1.8 milliún dollar I 2001 agus dhíol sí é do 2.3 milliún dollar. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh drumadóir Ashton Irwin san Astráil I 1994 agus rugadh amhránaí Richard Starkey (Ringo Starr) sa Bhreatain ar an lá seo I 1940 agus seo chuid de amhrán. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 7th of July, with me Lauren Ní Loingsigh 1989: two seats in the cabinet were a absolute must for the progressive democrats in negotiations with fianna fail. 2000: credit union rift as computer plan costed £30 million extra. 1972: kilkee was being reduced to bog village status. 1989: the shortage of priests raised concern. That was Eminem with The Real Slim Shady – the biggest song on this day in 2000 Onto music news on this day In 1969 George Harrison recorded his new song 'Here Comes the Sun' with just two other Beatles, Paul McCartney and Ringo Starr at Abbey Road in London. John Lennon was absent recovering from a car crash in Scotland. 2003 It was reported that Britney Spears had made $500,000 profit after selling her 5 bedroom home in Los Angeles. The singer had paid £1.8m for the house 2 years ago and sold for £2.3m. And finally celebrity birthdays on this day – drummer Ashton Irwin was born in Australia in 1994 and musician Richard Starkey aka Ringo Starr was born in the UK on this day in 1940 and this is one of his songs I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Kenny Ascher returns to The Paul Leslie Hour. Are you here? Let's be honest with one another from the get-go. You're here, I'm here, we're all here tuned into episode number 1,076 of The Paul Leslie Hour. For the SECOND time, we're joined by the great artist Kenny Ascher for a personal interview. We just knew, “we're going to go back there someday.” Kenny is the co-writer of timeless songs like “Rainbow Connection” and “You and Me Against the World,” both written with Paul Williams. And Kenny Ascher is also an acclaimed pianist and appeared on recordings from John Lennon, Paul Simon, James Taylor, Carly Simon, and so many others. Before we bring out the kind Kenny, real quick please subscribe to Paul Leslie's YouTube channel and ring that bell. Also, consider throwing a buck or two into the tip jar right here. And with that, let's start the show.

On the July 6 edition of Music History Today, John meets Paul, disco hits number one, and Manfred Mann gets a lead singer. Also, happy birthday to 50 Cent and Bill Haley.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.comResources for substance abuse issues - https://988lifeline.orghttps://www.samhsa.gov/find-help/helplines/national-helpline

Hamamoto on YouTube:    / @professorhamamoto  Watch Lionel on Diddy verdict: https://youtube.com/live/KR85dKR3Nao Watch part 6 here: https://youtube.com/live/DViShfvP9yE Watch part 5 here: https://youtube.com/live/TaF8EMyS4V4 Watch Prof Hamamoto Part 4 https://youtube.com/live/TkUr4CanA_k Watch Prof Hamamoto Part 3 https://youtube.com/live/qUHdKtabgNo Prof. Darrell Hamamoto, who is an American writer, academic, and specialist in U.S. media and ethnic studies. Professors Facebook : https://www.facebook.com/share/hZajgC... Follow P Diddys latest:    • P Diddy  #jayz #beyonce #hollywood #countrymusic #nashville #pdiddy #puffdaddy #truecrime #news #youtubenews #podcast #livestream #youtube #thepope #vatican #church  Here are Hamamoto's recommended books: Can't Stop Won't Stop: A History of the Hip-Hop Generation  ——- The Psychological Covert War on Hip-Hop ——- The Covert War Against Rock: What You Don't Know About The Deaths of; (Jim Morrison, Tupac Shakur, Michael Hutchence, Brian Jones, Jimi Hendrix, Phil Ochs, Bob Marley, Peter Tosh, John Lennon & The Notorious B.I.G) ——- Hit Men: Power Brokers and Fast Money Inside the Music Business ——- Me, the Mob, and the Music: One Helluva Ride Tommy James and the Shondells ——- Godfather of the Music Business: Morris Levy (American Made Music Series) ——- LAbyrinth: A Detective Investigates the Murders of Tupac Shakur and Notorious B.I.G., the Implication of Death Row Records, Suge Knight, and the Origins of the Los Angeles ——- The FBI war on Tupac Shakur: State repression of Black Leaders from the Civil Rights Error to the 1990s (real world) ——- The FBI war on Tupac Shakur and Black Leaders: US Intelligence's: Murderous Targeting of Tupac, MLK, Malcol, Panthers, Hendrix, Marley rappers and Linked Ethic Leftists ——- Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records ——- The Big Payback: The History of the Business of Hip-Hop ——- Ruthless: A Memoir ——- Hip-Hop Decoded ——- Q: The Autobiography of Quincy Jones ——- How to Wreck a Nice Beach: The Vocoder from WW II to Hip-Hop, The Machine Speaks ——- Dancing with the Devil: How Puff burned the bad boys of Hip-Hop ——- Hiding in Hip-Hop: On the Down Low in the Entertainment industry—from Music to Hollywood

In the late seventies, Studio 54 was the place to be for musicians and celebrities alike. John Lennon, Mick Jagger, Michael Jackson, Bruce Springsteen and others all famously hung out at the notorious club where hedonism was part of the venue's allure. The success of Studio 54 was sudden and massive, resulting in mountains of cash, cocaine, jealousy, revenge, an FBI raid, and an ironic ending for one of its owners. To view the full list of contributors, see the show notes at ⁠disgracelandpod.com⁠ This episode was originally published on May 26, 2020. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠⁠⁠⁠⁠⁠⁠⁠disgracelandpod.com/membership⁠⁠⁠⁠⁠⁠⁠⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Ah, the 1980s—a truly wild and unforgettable era. Whether you lived through it, missed it, or just need a refresher, we take you on a fascinating journey. From the tragic assassination of John Lennon to the heartbreaking Space Shuttle Challenger disaster, this decade was filled with iconic moments. Relive the era's legendary music, movies, and groundbreaking sports achievements. Join us as we navigate through a decade of captivating history! So grab a snack and let's travel through these 10 exciting years together! 00:00:00: 198000:17:22: 198100:35:54: 198200:56:31: 198301:15:57: 198401:38:53: 198502:04:19: 198602:31:57: 198702:58:21: 198803:24:50: 1989 #1980s #JohnLennon #SpaceShuttleChallenger #music #movies #sports #timeline #compilation See show notes: https://inlet.fm/weird-history/episodes/686816e8b73390cebdd5a9be Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, boys (and girls)! We're ba-aaaaaaaack!! It's time to kick the tires and light the fires, big daddies (and mommies)!  If you're excited for the 4th of July, you want to feel great about America and humanity in general, or you just want to see mid-90s Will Smith whip E.T.'s ass, then this is the commentary for you, that's all.  So strap in for the greatest, most patriotic alien invasion movie of all time, with the greatest on-screen presidential speech of all time, just in time for Independence Day.  As you can imagine, they don't let us out much... so we've made the most of our time inside by re-visiting the hottest flick of 1996.  Press play and we can guarantee your next 2+ hours will be really exciting.  And yes, that's exactly the word we'd choose to describe it.Happy listening!  Happy Independence Day!  And remember -- All you need is love.  John Lennon.  Smart man.  Shot in the back, very sad.  Peace! 

Hello, boys (and girls)! We're ba-aaaaaaaack!!It's time to kick the tires and light the fires, big daddies (and mommies)!  If you're excited for the 4th of July, you want to feel great about America and humanity in general, or you just want to see mid-90s Will Smith whip E.T.'s ass, then this is the commentary for you, that's all.  So strap in for the greatest, most patriotic alien invasion movie of all time, with the greatest on-screen presidential speech of all time, just in time for Independence Day.  As you can imagine, they don't let us out much... so we've made the most of our time inside by re-visiting the hottest flick of 1996.  Press play and we can guarantee your next 2+ hours will be really exciting.  And yes, that's exactly the word we'd choose to describe it.Happy listening!  Happy Independence Day!  And remember -- All you need is love.  John Lennon.  Smart man.  Shot in the back, very sad.  Peace! 

Musician William Doyle joins us this week to share his personal Beatles. The result was a wonderfully rambling epic chat about Ram, recreating Beatles songs for Music A-level, and the band's influence on William's early music.The extended version for subscribers also features conversation about William's work with Brian Eno, as well as a discussion of John Lennon's solo track from Imagine, Oh My Love, in this week's Pick a Song.Subscribe on Apple podcasts or Patreon now: http://patreon.com/personalbeatles.Links of note:Turnstile Made for Two: https://www.youtube.com/watch?v=RrK_HDYSIvcJack White Guessing Beatles Songs: https://www.youtube.com/watch?v=x8GeoZ97GLsWilliam's latest album, Springs Eternal: https://williamdoyle.bandcamp.com/album/springs-eternal Hosted on Acast. See acast.com/privacy for more information.

Geoffrey Giuliano: Author, Actor and MusicologistEd interviews author and actor Geoffrey Giuliano.Geoffrey Giuliano (born September 11, 1953) is an American author, radio personality, and film actor, best known for his biographies of The Beatles members John Lennon, Paul McCartney, and George Harrison, and of musician Pete Townshend. He is also known for his involvement in the Mclibel case.A biography Giuliano wrote, Lennon In America (released in 2000), was controversial. Giuliano said the book was based in part on transcripts of Lennon's journal given to him by the singer Harry Nilsson. The book was issued after Nilsson's death, and several people close to Nilsson do not believe he ever had the transcripts in his possession. Washington Post reporter David Segal quoted Giuliano's response when he was asked to corroborate his claim that Nilsson gave him the diaries. "It's obvious that I'm going to do things in an ethical manner." Segal also reported the view of Steven Gutstein, a former New York assistant district attorney who was asked to read the diaries during an early 1980s larceny lawsuit against former Lennon personal assistant Fred Seaman. Gutstein described his own memory of the diaries as "a lot of philosophical musings combined with mundane details of everyday life."http://www.geoffreygiuliano.net/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Director Alan G. Parker's newest film is a personal expression of gratitude toward John Lennon for being a figure that helped him through some difficult years when he was growing up. Borrowed Time: Lennon's Last Decade includes interviews with dozens of figures who knew him; everyone from Aunt Mimi (archival footage) to journalists like Ray Connolly, Chris Charlesworth, and Anthony DeCurtis, plus writers like Philip Norman and Ken Womack and other figures of influence, like Tariq Ali. The result is an impressionistic portrait of John's post-Beatles years, tapping the creativity that comes from working without official sanction. Parker's other work includes 2017's It Was Fifty Years Ago Today on Sgt. Pepper, plus other films and books covering punk acts including The Clash and the Sex Pistols.     

Jennifer Avril, a communications professional specializing in strategic and effective change for both corporations and nonprofits, is a Senior Account Manager at Warner Communications. In this interview, she discusses the importance of effective communication in addressing climate change, how regulations can create opportunities, and the role of thought leadership in PR. She also shares stories from the summer she spent working on feminist activist Kate Millett's farm, as well as her contributions to a new e-book on movement communications and advocacy. Key Takeaways:- Lessons learned on Kate Millet's farm- How to effectively discuss climate change- Regulatory changes can create opportunitiesEpisode Timeline:1:45 Jennifer's time on Kate Millet's farm6:30 Kate's friendship with John Lennon and Yoko Ono7:30 What's happening at Warner Communications these days?9:25 How should people be talking about climate change in 2025?10:40 The current state of regulation policy11:30 The value proposition of environmentalism 12:30 The ramifications of recent political changes14:30 Talking about eco-friendly products with consumers17:00 Regulations can create new opportunities19:00 Void packaging22:30 Jennifer's thought leadership philosophy25:00 Jennifer's new eBookThis episode's guest:• Jennifer Avril on LinkedIn• Liberation Stories eBook • Warner Communications Hosted on Acast. See acast.com/privacy for more information.

Originally aired live at 9:13 AM on July 2, 2025At exactly 9:13 AM on July 2, 2005, Trail 103.3 signed on the air for the very first time. Twenty years later—down to the minute—we cracked the mic together once again to mark that moment. This short, unscripted conversation between Robert Chase, Mike Smith, and Tommy Evans isn't just a celebration of our radio station's anniversary, It's a reflection on what Trail 103.3 has become, home for eclectic music, Missoula voices, and authentic community connection.Listen in as we go live on-air and share memories of the early days, laugh about Robert's 3:30 AM breakfast routine, recall how we each found our way to the station, and take a moment to thank everyone who's been part of the journey.. on the mic, behind the scenes, and most importantly, listening.Recorded live at what we thought was the exact moment Trail 103.3 first signed on—20 years to the minute @ 9:13 am...A sincere thank you to all the listeners who took the time to send in notes and stories about what the Trail has meant to them over the years—especially to Dave Cowan, the visionary programmer, engineer, GM, and on-air voice who built the Trail from an idea into a station. Dave reached out shortly after this segment aired to let us know we got just one little detail wrong: the Trail actually signed on at 9:13 PM, not AM. Oops!Fun fact: The very first song ever played on Trail 103.3 was Mind Games by John Lennon.~Join us at Caras Park on Thursday, July 24, when we celebrate The Trail's 20th Birthday with live music by the Josh Farmer Band as part of Downtown Tonight — food trucks, art vendors, local connection, and more. And don't forget our 20‑for‑20 Giveaway: 20 pairs of tickets to 20 local events spanning August 2025–August 2026. Pop into any of our registration boxes—locations include the Trailhead, Loose Caboose, Great Harvest, Kettlehouse Taproom, Roxy, Caras Nursery, and more—or sign up online. Drawing happens live on July 24 at the Caras Park anniversary event.--

It's More Rosebud, and time for another guest with an unusual tale to tell. Julia Baird is the half-sister of John Lennon, and here she tells Gyles about her childhood, their mother (Julia Lennon, née Stanley) and what it was like to grow up alongside a future pop icon. John Lennon and Julia Baird's family was big, and complicated - their mother, Julia, was one of five girls. She met John Lennon's father, Alf Lennon, in the park when she was just 14, and the pair courted, and later married. John was born in 1940, but Alf got a job in the merchant navy and from then on was seldom home. After that, Julia had three more daughters with two different partners, but her family did not approve and John was taken to live with his aunt, Mimi. However, John and his mother never stopped seeing each other, and never stopped loving each other - and this is the story Julia Baird tells to Gyles in this episode. She also tells Gyles about John's success, about the band's rehearsals in her mum's kitchen, about John and Cynthia, and about going to see the Beatles play in Liverpool and the early days of Beatlemania.This really is a must for any John Lennon fans who want to know more about his childhood.Julia Baird's book Imagine This: Growing Up With My Brother John Lennon is available here. Tickets to Live Odyssey, an immersive exhibition about British music and featuring a new John Lennon exhibition, are available here.This episode was recorded at the JW Marriott Grosvenor House in London. Thank you very much to everyone there! Hosted on Acast. See acast.com/privacy for more information.

By the time The Beatles released their twelfth and final studio album, Let It Be, the ban had already broken up.  Their official break-up was in April 1970, and this album was released in May.Much of the recording dates back over a year, and a project that Paul McCartney developed in an attempt to save the band.  The Beatles went into the studio in January 1969 to begin an album, document the development on film, and showcase the band as they return both to a simpler rock 'n' roll style and to live performance.  They started in Twickenham Film Studios, but quickly began fighting.  George Harrison left the group, only returning after they agreed to returning to Apple Studios and to bringing keyboardist Billy Preston in to assist in the process.Originally entitled "Get Back," the album was delayed multiple times as the group considered aligning with potential televised performances, and eventually postponing the release in favor of the studio album "Abbey Road."  As the demise of the group became more clear, Engineer Glyn Johns and producer Phil Spector were brought in to turn the pieces from the "Get Back" sessions into a complete album.These sessions were also the ones which included the final Beatles live performance, the "Rooftop Concert" recorded from the roof of Apple Studios on the afternoon of January 30, 1969.  This concert proceeded for 42 minutes until the police arrived and instructed the group to turn the sound down.Contemporary reviews of the album were more negative than previous Beatles albums, but those critiques have been revised upwards over time.Bruce presents this album marking the end of an era for this week's podcast.Two of UsPaul McCartney wrote most of this song which is credited to the Lennon-McCartney partnership.  The original idea was inspired by McCartney's travel adventures with Linda Eastman (to whom he was married in March 1969), but it took on more meaning as a gesture of affection to John Lennon after the group broke up.  I Me MineOne of the few non Lennon-McCartney songs on the album, this track was written by George Harrison.  It was their last new track recorded before their official break-up in April 1970.  The lyrics are a cry against the self-centeredness of mankind.  The Beatles recorded it in January 1970, by which time Lennon has privately left the group, so the three remaining members recorded it.  I've Got a FeelingThis song is actually a medley of two unfinished songs.  Paul McCartney wrote "I've Got a Feeling," and John Lennon wrote "Everybody Had a Hard Year." and the two were put together.  This was recorded during the Beatles' rooftop concert in January 1969 with Billy Preston on electric piano.Get BackThe concluding song from the album is unusual. because almost every moment of the song's development was recorded from the first riff to final mixing.  The concluding quip from John Lennon regarding hope that "we passed the audition," was taken from the Rooftop Concert and worked in by Phil Spector.  It was originally released as a single a year before in April 1969, and credited to "The Beatles with Billy Preston." ENTERTAINMENT TRACK:"Burning Bridges" (Main theme from the action comedy film Kelly's Heroes)This World War II comedy stars Clint Eastwood and Telly Savalas revolves around a gold heist as the war draws to a close.   STAFF PICKS:Question by The Moody BluesLynch brings us a song in multiple movements.  The frantic phase represents the question of why we must go to war, while the more subdued section represents love and peace.  Guitarist Justin Hayward wrote this song as a mashup of two unfinished songs which came together after observing the anxiety young US fans were experiencing regarding the draft and the Vietnam War.Proper Stranger by The Guess WhoRob features a deeper cut from the Canadian band off their "American Woman" album.  The lyrics depict the feelings of being alone in a big city where "Nobody knows my face or knows my name.  Nobody knows where I'm going or how I came.  Lost and found, no one claimed me. Alone with a million others."50,000 Miles Beneath My Brain by by Ten Years AfterWayne takes us on another deep cut.  This one is a psychedelic journey with the group that gets its name from their being founded ten years after Elvis's start.  We noticed the similarity between this song and the Rolling Stones' "Sympathy for the Devil," with which it shares a similar chord progression.Baby Hold On by The Grass RootsBruce closes the staff picks with a group that was big from 1965-1985.  The Grass Roots originated in 1965 as a project between the duo P.F. Sloan and Steve Barri.  This song went to number 35 and was included on their compilation album, "More Golden Grass," released in the fall of 1970.   INSTRUMENTAL TRACK:Genesis by Tangerine DreamWe close out this week's podcast with an early industrial track from the future jazz fusion giants. 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.

4th Wall: Conspiracies - MK Ultra, Stephen King, John Lennon, Tesla, The Smithsonian, Eygpt, The Grand Canyon, The Moon, and Dinosaur bones..... Put on your tin foil hats! TNC: https://linktr.ee/thenightclub -Letterboxd- Travis: https://letterboxd.com/thenightclub/ Ricky: https://letterboxd.com/fvlsekvltrick/ Trevor: https://letterboxd.com/darkfixius/ Cody: https://letterboxd.com/codyco/

Amazon Music SpotifyMore about artist BioBack in the mid-'80s, James Sifuentes began writing and recording some pretty goodpop rock. He and Bill, his brother and bandmate, dreamed of getting the songs re-recorded professionally, but life, other interests and careers intervened.Then came more life: age 50, cancer, Hodgkins's lymphoma. He beat that. Ten yearslater, July 2023, turmoil at the hospital where he had been an executive for 19 yearsresulted in his firing. A few months after that, January 2024, he suffered a heart attackwhile interviewing for his current regional manager position with the Chicago ParkDistrict.He didn't know about the heart attack until he went to urgent care after the interview.At this point, he tells himself that if he's going to put out his music, he ought to do it, andby March, he persuades himself to get it done.Then, January 2025, disaster for the second January in a row. He is diagnosed withstage 4 pancreatic cancer, but now he is seriously committed to putting out his music.And the result, a year later, is “Summertime,” the single, a jazzy pop-rock anthem to theseason, and Summertime, a 12-track album of some pretty good pop rock transformedinto seriously good pop rock.It's all under the name Sifuentes. It features Jim, his brother Bill on guitar, and MattRiggen, a multi-talented colleague from the park district, on drums, brass and piano.“Overall, it's pop rock, but there's some stuff that fits in different genres.”The single features the rocking guitar and beat you would expect from someoneinfluenced by the Beatles, especially John Lennon and Paul McCartney, funkadelic,(Parliament) and R&;B.And it also has some swinging brass work too.“The '60s, I was only a little kid,” said Sifuentes. “My dad actually bought Beatlesalbums, and we were just listening to them and, yeah, they became it.”Growing up, living and working in Chicago, “Summertime,” to him, means the end of theice, snow and cold of winter and the “beauty, the energy when people get to go out,wear shorts, barbecue, head to the beach and enjoy a different feeling.”“It's just trying to capture that feeling and make people feel good when they listen to thesong.”He has been writing, composing, playing and recording music ever since he and hisbrother were teens. At one time, he wanted to do that full time.“We just didn't pull the trigger, my brother and I. We wanted to get into the studio torecord these songs. We wanted to hear what they would have sounded likeprofessionally.”After the heart attack last year, “I said, ‘I'm gonna get these songs done.' In March oflast year, I said I'm gonna put out an album, so I set the goal.”But doubts set in: already 60, health not good, and though the music he had written andrecorded was good, he hadn't been playing much, or singing.Somewhere in here, his daughter Amanda says to him about “Summertime,” which hewrote in his 40s, “I love that song, Dad. You should finish it.”“And I said, ‘You know what? I'm going to do this album. I will release it aroundsummertime, so, I want that to be the title.”He began work, getting back into musical shape, working over his songs, and byNovember, he was back in the studio.Then January, and this time it's pancreatic cancer. But, “I'm always one to finish a goal.”Now it's June, and the album is out.“And I celebrated yesterday,” he said. “My staff here at the park district, we held alistening, they called it a listening event, and they played the album. My brother, Mattand I did some of the songs, five of them, just acoustic versions, but it was really nice.”And that's the story, he said. The love of music, the talent, the gift, has always beenthere, waiting to be unveiled.That's what he calls it, an unveiling.“People know I play guitar, kind of, but didn't know this other part of me, that I couldsing, or I can record, and I compose songs. It's an unveiling of another part of Jim thatpeople might not know.”He wrote most of the songs when he was 18-25. “The Memory” is about where he grewup, “walking around the park, going to school.” “Searching for Another Day” he wrotewhen he was 18.“Life,” coming more than 30 years later, after the first bout with cancer, “kind ofcomplements that song, saying, like, ‘After your search, this is where you're at.'”“Will You Be Mine” is R&B, “kind of a stepper.” “Loving You Dear,” “a catchy little clubsong.” The last song, “Yes, It's Me,” started out as a love song to a woman namedOrquídea, orchid in English. It features a Latin flavor and Sifuentes on guitar.“But it became in many ways more about me, showing everyone that it's me singing,recording, unveiling parts of me that were hidden, and still living fully.”He wrote other songs for people like him and his brother, people who grew up duringthe same period and listened to The Beatles, Elton John, The Who and others.“I'm hoping as they've grown and listened to music, it fits right into their lives.”One song, “Rumors,” a fast-moving rocker, is in its original recording of the Sifuentesbrothers from the late '80s, early '90s.“I just threw it in because I wanted to get 12 songs done, and it fits the mood of thealbum perfectly.”“Life,” a soft, lovely ballad, has special meaning.“It's the question every kid gets: What do you want to be in life? I just wanted to befamous and write songs, but you got to live your life for real.”The last lines are:Now that I'm older, I've come to beAll the gifts life has given meStill life comes asking one more thingIs this really what it means to be“I have this gift, and I wanted to share it, what I think my brother and I wanted to doback when. When you get that opportunity, like now, go ahead and make that happen.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

May Pang was John Lennon's companion for the late-1973-to-early-1975 period that has become known as Lennon's “lost weekend.” Although Pang has used that phrase for her documentary and photo exhibition, she doesn't see this time as “lost” for Lennon. Not only did he record two albums (Walls and Bridges and Rock ‘n' Roll) and produce another (Harry Nilsson's Pussy Cats), but Pang reunited him with his son Julian and was there when he reconnected with Paul McCartney and considered writing with him again. She puts Lennon's Los Angeles nightclub antics in context, describes Rock ‘n' Roll producer Phil Spector's crazed behavior and details the night she and Lennon saw a UFO from their New York City balcony. She also recounts interactions with Yoko Ono, who set her up with her husband when Pang was the couple's assistant, and offers a surprising take on the recent Beatles release “Now and Then.” And she explains why George Harrison ripped Lennon's glasses off his face. (Photo by Scott Segelbaum.)

What do J.D. Salinger's Catcher in the Rye and the Holy Bible have in common? They both contain explicit instructions to kill John Lennon—or at least, according to Mark David Chapman, they do. And guess what? Chapman's been up to some stuff since that fateful day in 1980 when he snuffed out the life of the quote-unquote “Smart” Beatle. In this episode, the boys find out exactly what the fame-hungry murderer has been up to since our original coverage of him in Episode 315 on the Last Podcast on the Left—which includes being denied parole a grand total of THIRTEEN TIMES. Maybe he should've given peace a chance, huh? For Live Shows, Merch, and More Visit: www.LastPodcastOnTheLeft.comKevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Subscribe to SiriusXM Podcasts+ to listen to new episodes of Last Podcast on the Left ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

GGACP celebrates the birthday (b. June 22) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher by presenting this ENCORE of an interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Peter “inspires” Austin Powers, Linda Ronstadt teams with Nelson Riddle and Peter and Gordon play the '64 World's Fair. PLUS: Spike Milligan! Del Shannon! Jackie Gleason acts out! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts!  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Tony Brueski digs into the chilling mysteries surrounding The Dakota, one of New York's most iconic and enigmatic buildings. From its origins as a luxurious Upper West Side residence to its association with John Lennon's tragic murder, The Dakota carries a legacy of both history and hauntings. We explore the tales of spectral figures like the Crying Lady and a ghostly young girl, alongside Lennon's own eerie encounters in the building. Are these events a result of lingering energies from its storied past, or is there a psychological explanation tied to its fame and architecture? Join Tony Brew-ski as he delves into the eerie phenomena and unresolved mysteries that make The Dakota an enduring fascination for believers and skeptics alike.

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

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In this episode, Tony Brueski digs into the chilling mysteries surrounding The Dakota, one of New York's most iconic and enigmatic buildings. From its origins as a luxurious Upper West Side residence to its association with John Lennon's tragic murder, The Dakota carries a legacy of both history and hauntings. We explore the tales of spectral figures like the Crying Lady and a ghostly young girl, alongside Lennon's own eerie encounters in the building. Are these events a result of lingering energies from its storied past, or is there a psychological explanation tied to its fame and architecture? Join Tony Brew-ski as he delves into the eerie phenomena and unresolved mysteries that make The Dakota an enduring fascination for believers and skeptics alike.

STAR WARS: STARFIGHTER will go in front of cameras later this year and we have fresh casting info, rumors and speculation about this upcoming film starring Ryan Gosling. Mark Hamill is on a media tour to promote his new film “The Life Of Chuck” but that doesn't stop interviewers from asking him about his Star Wars history. Mark addresses rumors that he's done playing Luke Skywalker and provides insight into that famous wardrobe malfunction from earlier this year when his pants fell down in front of an audience of his peers at the BAFTA awards. We also have fresh interview highlights from Andor showrunner Tony Gilroy, Bail Organa actor Benjamin Bratt, and Sam Witwer, who talks about the upcoming series, MAUL: SHADOW LORD. And for something completely different, we present you with a connection between John Lennon and STAR WARS that you may never have known before. 

MUSIC The Muny opened its 107th season this week with Bring It On: The Musical, which stars Kennedy Holmes, a Florissant native who rose to fame on NBC's The Voice in 2018, where she finished as a finalist in fourth place. This new season opened despite the tornadoes that Forest Park endured, where a tree crushed the venue's pre-show stage, and luckily No major structural harm was reported, and thanks to an enormous citywide effort, opening night never had to be postponed. For the first time ever, three of the Beatles' offspring have collaborated on a song. Sean Lennon, James McCartney, and Zak Starkey posted part of their song, "Rip Off". From Starkey's band Mantra of the Cosmos titled "Rip Off" featuring Paul McCartney's son James and John Lennon's son Sean on vocals. TV Eric Dane from "Grey's Anatomy" sat for an interview with Diane Sawyer to discuss his battle with ALS . . . also known as Lou Gehrig's disease. Eric revealed that he has only "one functioning arm." Quote, "My left side is functioning, my right side has completely stopped working. Martha Stewart recently rescued three orphaned squirrels. “They were inside a fallen tree,” Stewart said of how she discovered them. MOVING ON INTO MOVIE NEWS: Al Pacino met Pope Leo at the Vatican, as Pacino was a part of a delegation from the film Maserati: The Brothers.Will Smith turned down Christopher Nolan's offer to be in the blockbuster film, Inception. The first full trailer for the "Naked Gun" remake with Liam Neeson is out. Pamela Anderson is featured in a couple sight gags. Here's a quick example of the puns to come.· Here are 10 famous people who have, or had, unusual animal companions:1. Kristen Stewart: She grew up raising wolf-hybrids. a. In 2013, she had to go to court with a neighbor who wasn't cool with the two that she had on her property. She said, quote, "They're loyal, they're big, they're completely socialized, they're licensed, they're legal for me to have them, and I love them!"2. Kirstie Alley: Before she died, she owned 14 lemurs . . . which she fell in love with while doing conservation work in Madagascar.3. Salma Hayek: She adopted a rescue owl in 2019. Her name is Kering, after a company Salma's husband owns. She says, quote, "[She's often] on my head or my shoulder, my arms. Sometimes, when she is really close to me, I can feel her rubbing against me, which is really nice. And I feel so blessed."4. Paris Hilton: Years ago, she got herself a little rainforest mammal called a kinkajou. She named it Baby Luv. In 2006, she had to get a tetanus shot after it bit her. At one point she actually owned two of them.5. Leonardo DiCaprio: In 2010, he attended the North American Reptile Breeders Conference and Trade Show . . . and left with a 10-year-old tortoise. There's no word if he still has it, but they can live to be 80 years old.6. Tyga: He owned an actual tiger, even though they're illegal in California. When the cops came after him, he gave it to an animal shelter.7. Ice-T: He had a shark tank in his home recording studio, but that's gone now. He still has a regular aquarium, though.8. Tracy Morgan: He had to spend $400,000 on a 2,700-gallon tank for his giant Pacific octopus named Bwyadette.9. Nicolas Cage: Where do you start? He's owned sharks, an octopus, a 5-foot monitor lizard, and two venomous albino king cobras named Moby and Sheba. He had them locked behind bulletproof glass and kept antivenom handy. He once said, quote, "If they bite me . . . I have 15 minutes to live."10. Vanilla Ice: He once owned a wallaroo, which is a cross between a wallaby and a kangaroo. He sent it to a farm in Florida after it got too big for his property. AND FINALLY As Marvel prepares for an 'X-Men' reboot, these actors have been rumored to star in the mutant franchise: 'Breaking Bad' star Bryan Cranston as Mister SinisterDenzel Washington as MagnetoAnya Taylor-Joy as MagikHarris Dickinson as CyclopsMargaret Qualley as RogueColman Domingo as Professor XHunter Schafer as MystiqueNathalie Emmanuel as StormSadie Sink as Jean GreyHugh Jackman as WolverineAND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.