Podcasts about John Renbourn

Hosts Nate Wilcox and Dave Thompson continue their mini-series discussing Dave's book An Evolving Tradition: The Child Ballads in Modern Folk and Rock Music -- buy the book to support the show. This episode covers the emergence of UK folk-rock out of the hippie, psychedelic ballroom scene in the late 1960s. Dave and Nate discuss the formation of Pentangle a sort of super group comprised of Jacqui McShee (vocals); John Renbourn (vocals and guitar); Bert Jansch (vocals and guitar); Danny Thompson (double bass); and Terry Cox (drums). They also discuss the formation and evolution of Fairport Convention from a band modeled on the Jefferson Airplane to the greatest and most influential of the UK folk-rock groups. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

  Intro:  One More Night – Can  California Sun – The Rivieras (2:24)                                                                                                       2.  Sunny Day – Pigbag (2:52)                 3.  British People in Hot Weather – The Fall (3:07)                                              4.  Sun Is Shining – Bob Marley & the Wailers (4:58)                                                                                        5.  Sun Giant – Fleet Foxes (2:14)                                                                                                                           6.  I Don't Believe in the Sun – Magnetic Fields (4:15)                                                                                                                                       7.  Sunny Side of Life – Blue Sky Boys (2:35)                             8.  Sunny Goodge Street – Donovan (2:57)                                                             9.  Sunshine Superman – Mel Tormé (2:55)                                                                                    The Sun and the Rain – Madness (3:28)                                                                                                                                                   11.  Sunny Afternoon – The Kinks (3:32)                                                               12.  Sun Showers – Teddy Wilson & his Orchestra (3:09)                                                                          13.  Dry Spell – The Meters (2:29)                                                                                                                          14.  The Sun is Setting on the World – Apostolos Hatzihristos (3:20)                                   15.  The Rising Sun – Texas Alexander (3:26)                                     16.  On the Sunny Side of the Ocean – John Fahey (3:13)                     17.  When the Haar Rolls In – James Yorkston (6:54)                                       18.  Weather Changes (Allaxokairia) – Kristi Stassinopoulou & Stathis Kalyviotis (4:32)                                  Soft Winds – Kenny Burrell & Jimmy Smith (5:44)                                                                                                                                                         20.  East Wind – Bert Jansch & John Renbourn (1:20)                                                                                                                                                                       21.  Gentle Rain – Astrud Gilberto (2:22)                                                                                                        22.  How Many Clouds Can You See? – John Surman (3:26)                           23.  Mist and Madrigal – Faten Kanaan (3:11)                                                                                                                                                   24.  Let the Wind Carry Me – Joni Mitchell (3:54)                                                                                                                                 25.  Sweet Rain – Michael Gibbs (6:14)                                       26.  Smog Eyes – Warne Marsh Quintet (3:32)                                 Rains on Me – Tom Waits (3:20)                                       28.  The Breeze – Family (2:48)                                                                 29.  Cloud Shaped Time – Jon Hassell (6:16)                                                                                                                                    30.  Windwind – Autechre (11:14)                                                                                                                                                                                                                                                                                                                                                                                                                                                Outro: Pogles Walk – Vernon Elliott Ensemble

Al final, el Real Madrid va a resultar como las lentejas. Es lo que hay, si te vale, bien, y si no lo dejas. Pero, en realidad, no se trata del Madrid, sino de todos aquellos que, aprovechando ese mantra, quieren hacer y deshacer lo que les venga en gana. Y si no te gusta que te apaleen sin motivo aparente, tendrás que hacer como la viuda del boticario del pueblo de Gila al que le rebanaron la cabeza con un cepo para lobos. Señora, le dijeron, si no soporta una broma es mejor que se vaya del pueblo. Min. 01 Seg. 45 – Intro Min. 07 Seg. 13 – Cinismo repugnante Min. 12 Seg. 09 – Sólo se llevan bien Min. 21 Seg. 26 – Evidentemente, es una cuestión de egos Min. 28 Seg. 52 – Siempre bien tratado por los ciudadanos periodistas Min. 38 Seg. 35 – Si no aguanta una crítica, lo mejor es que se vaya Min. 46 Seg. 31 – Si es así, no vale para jugar en el Madrid Min. 53 Seg. 00 – Relegado en todo por el club Min. 61 Seg. 18 – Despedida Bruce Springsteen & Brian Fallon - No Surrender (Glastonbury 27/06/2009) John Renbourn & Jacqui McShee (Bled, Eslovenia 02/08/2002) Lord Franklin Bunyan's Hymn > I Saw Three Ships > Stompee Watch The Stars Turn Your Money Green A Maid That's Deep In Love My Sweet Potato Lindsay My Johnny Was A Shoemaker Kokomo Blues Cruel Sister I Can't Keep From Crying Sometimes Gettin' There Runrig - Skye (Edinburgh Castle 30/08/1991)

Long-time musical collaborators Mariah Parker (piano, santur) and Matthew Montfort (scalloped fretboard guitar) share their unique blend of captivating music that is sure to uplift. Performing original compositions inspired by the musical cultures of Spain, Brazil and India mixed with the contemporary colors of jazz, the duo creates a mesmerizing sound that has been described by concert goers as ‘absolutely spellbinding' ‘dazzling and unforgettable' and ‘a transporting experience.' Mariah Parker Mariah Parker has been playing music from the time she could reach the keys on the grand piano in her family home. As a composer, pianist and bandleader her work crosses cultural boundaries with an exuberant quest for defying musical labels or categorization. Her academic tenure at UC Santa Cruz was distinguished by her involvement with ethnomusicologist Fred Lieberman and the iconic drummer Mickey Hart on the “Planet Drum” project, marking her early foray into the fusion of musical traditions. Her discography began with the critically acclaimed Sangria in February 2009, followed by Indo Latin Jazz Live in Concert in 2017 and Windows Through Time in 2024. The last two albums have both enjoyed months of prominence on the National Jazzweek Airplay chart and been celebrated globally for their innovative soundscapes and compositional brilliance. Windows Through Time (released June, 2024) “One of the most beautiful and surprising releases of 2024” — Thierry De Clemensat, US correspondent – Paris-Move and ABS magazine “Genre-bending brilliance….with Windows Through Time, Mariah Parker cements her position as a leading voice in contemporary music” — Jazz Sensibilities Matthew Montfort Matthew Montfort is the leader of the innovative world fusion group Ancient Future, and a pioneer of the scalloped fretboard guitar, an instrument combining qualities of the South Indian vina and the steel string guitar. Montfort studied intensively with vina master K.S. Subramanian in order to apply the note-bending techniques to the guitar. In 2012, he was added to the 100 Greatest Acoustic Guitarists list at http://DigitalDreamDoor.com , joining luminaries such as Michael Hedges, Chet Atkins, John Fahey, and John Renbourn. Montfort has recorded with legendary world music figures ranging from Bolivian panpipe master Gonzalo Vargas to tabla maestros Swapan Chaudhuri and Zakir Hussain. He has performed concerts worldwide, including the Festival Internacional de la Guitarra on the Golden Coast of Spain near Barcelona and the Mumbai Festival at the Gateway of India in Bombay. Find out more about The New School at Commonweal on our website: tns.commonweal.org. And like/follow our Soundcloud channel for more great podcasts. #commonweal #sacredmusic #musicthatheals #healingmusic #solsticeofheroes commonweal, sacredmusic, musicthatheals, healingmusic, solstice, summersolstice, summersolstice, winter solstice, winter

This week's show, after a 1994 Lush lulling: brand new Jesus Lizard, Black Watch, Idaho, Steve Wynn, Alejandro Escovedo, GospelbeacH, and Matt Hunter & the Dusty Fates, plus Clarence “Gatemouth” Brown, Ringo Starr, John Renbourn, Augustus Pablo, Count ...

We had the pleasure of interviewing John Smith over Zoom video!Though he was dubbed the future of folk music by Pentangle's John Renbourn, singer-songwriter John Smith's unique synthesis of styles puts him halfway across the Atlantic. He once made an album driving round the Deep South, recording out of the boot of his car; but his new record The Living Kindis the real masterpiece in American atmospherics – a true musician's record, produced by Joe Henry, the man responsible for some of the subtlest Americana of recent times.At the start of 2022 they cooked up the idea for an intimate record together – “an acoustic album that sounded like Spirit of Eden”, Smith explains, referencing Talk Talk's 1988 classic. Along with John Martyn's Solid Air and Joni Mitchell's electro-acoustic odyssey Hejira, it was one of the three creative inspirations for The Living Kind.Like Hejira, the new album is a cohesive song-cycle that seems to be cast in one rich tone-colour, one powerful mood. At the start of the Covid pandemic, Smith's family suffered a cluster of personal crises in the space of three months. His mother began radiotherapy for breast cancer, his father was diagnosed with Alzheimer's and his wife lost a pregnancy which also endangered her life. The couple, who have a young daughter, sold their house in Sussex and relocated his parents from Spain to a new home, for treatment. After that, as he sings in his first single The World Turns, Smith had to “find a new way to feel”.Most of the songs were written in the space of just two months over Christmas last year: The Living Kind is an album made after, not in the midst, of a period of personal turmoil. It gets you right in the chest – the opener,Candle, captures the overwhelming strain of his father's diagnosis – but in its self-possession and curious positivity it feels like the culmination of many personal evolutions.The Living Kind owes much of its precision and confidence to its unique recording circumstances: it was cut over just four days in February 2023, in Joe Henry's remote home in Harpswell, Maine. With temperatures dropping to -25 outside, the band – a tight trio consisting of Henry's son Levon and bassist Ross Gallagher – didn't leave the house at all. You can hear the closeness, darkness and warmth in the new songs – the hunkeredness, the cocoon.It was the first live recording made in Joe's new “music room”, a space above the garage, and cutting a record there was a leap of faith as it was completely un-soundproofed: “if a truck came by, you'd have to stop recording”.But Henry's organic and spontaneous way of working has revolutionized Smith's own. Writing on his 1963 Martin and a new Mulecaster steel guitar, Smith tends to be led where his instrument takes him. He's always played acoustic guitars with pickups inside, and enhances the rich, three-dimensional sounds with an EBow: a vibrating magnet held above a guitar string, which produces a theremin-like wail.The Living Kind is an album from someone lucky enough to have the gift of music to help put life's greatest challenges into some kind of perspective: “I do feel without my guitar and without song-writing I would have lost my mind, many times” Smith says. Henry detected something new in his singing, a lack of self-consciousness, closer to live performance than he had ever heard him in the studio.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #SHAED #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Singer-songwriter John Smith joins us this week to talk about his moving new Joe Henry-produced album, 'The Living Kind.'   We hear about the British folk scene and John's time with John Renbourn and others; his guitar collection (including a rather unusual custom Fylde, his Mule guitars and others); the making of the new album; his thoughts on streaming; his love for pedals and the Quad Cortex and so much more.  John Smith Walks Us Through DADGAD: https://www.youtube.com/watch?v=uBahk8LBy58&t=175s John Smith on That Pedal Show: https://www.youtube.com/watch?v=ATYio-WoCvk PS: Joe Henry will be appearing at our 2024 Fretboard Summit alongside Blake Mills, Valerie June, Colin Hay and dozens of other Fretboard Journal favorites. Register here: https://fretboardsummit.org/ Subscribe to the Fretboard Journal print edition and reserve your copy of Fretboard Journal 54:  https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription This week's show is sponsored by: StewMac: https://stewmac.sjv.io/R5jvRR (Affiliate link) Collings Guitars & Mandolins: https://www.collingsguitars.com Mike & Mike's Guitar Bar: https://mmguitarbar.com Izotope: https://www.izotope.com (Use the code FRET10 to save 10%) Stringjoy Strings: https://stringjoy.com (Use the code FRETBOARD to save 10% off your first order) Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout). Love the podcast and want to support it? We have a Patreon page just for Fretboard Journal fans and loaded with bonus content. https://www.patreon.com/Fretboard_Journal  

There was a crippling blizzard in Iowa in April of 1973. Over a foot of snow fell, coupled with 50-70 mph winds. But, inside my dormitory at U of I, I was warmed by the eternal sunshine of Pentangle's evocation of the 12th century. The plangent voice of Jacqui McShee, accompanied by John Renbourn and Bert Jansch's jazz infused “baroque folk” sustained me throughout that challenging season. Not usually one to subscribe to any woo-woo, New Ageist practices, I nonetheless became convinced that I had lived before as a medieval troubadour - a sensation that recently resurfaced when I was introduced to the Witcher saga, because I strongly identified with Dandelion, that narrative's ironic balladeer. Ms. McShee was my gateway drug to the time-traveling vocal intoxications of Anne Briggs, Shirley Collins, Maddy Prior, June Tabor, Sandy Denny, Kate Rusby, and others. A.L. Lloyd and Richard Thompson became my “spirit guides” through the library of Child ballads; a path which eventually led me back home to the USA via Alan Lomax and Pete Seeger. Song research became my professional passion and mission. Willy O Winsbury (Child 100), a traditional Scottish ballad, has many variations and possible derivations, one of which originates in the recounting of James V's courtship and marriage to Madeleine de Valois of France. In Pentangle's deft retelling, Willy and Janet's love triumphs over shame and death. You cannot ask for more than that. 

The Official Folk Albums Chart Show from Folk on Foot features guest appearances from Jon Cleave of the Fisherman's Friends, reflecting on their extraordinary success and Ian A Anderson telling the story of the legendary Soho club Les Cousins which was at the heart of the folk and blues scene of the 1960s. There's  music from John Renbourn, Hack Poets Guild, Show of Hands, OXN, Martyn Joseph and the Mary Wallopers. --- We rely on support from our listeners to keep this show on the road. If you like what we do please either... Become a patron and get great rewards: patreon.com/folkonfoot Or just buy us a coffee: ko-fi.com/folkonfoot Sign up for our newsletter at www.folkonfoot.com Follow us on Twitter/Facebook/Instagram: @folkonfoot --- Subscribe to the Folk Forecast to explore all the gigs and album news we ran through in the show: https://thefolkforecast.substack.com/

Esta semana, en Islas de Robinson, recibimos a Juan Pablo Caja, autor reciente de un pequeño libro -tesoro enorme- que lleva por título "Cuerdas al Aire", una de las lecturas más evocadoras, exquisitas y especiales que hemos tenido el placer de disfrutar en largo tiempo. La selección musical de Juan (no conseguimos que sonaran todas): TONY RICE & DAVID GRISMAN - "SHENANDOAH" / STEFAN GROSSMAN - "THE ASSASINATION OF JOHN FAHEY" / RUSS BARENBERG - "WHEN AT LAST" / RY COODER - "DARK END OF THE STREET" / STEFAN GROSSMAN & JOHN RENBOURN - "WOMAN FORM DONORI" / OH! RIDGE - "NEW ORLEANS SONGBIRD" / J.D. CROWE & THE NEW SOUTH - "TEN DEGREES" / OLLIE HALSALL - "ISSUE IS, ISSUE AIN'T" / SCOTT LAW - "INSTEAD OF ME" / MALCOLBE HOLCOMBE - "I DON'T WANNA DISAPPEAR ANYMORE" / NORMAN BLAKE & TONY RICE - "D-18 SONG" / JOE K. WALSH - "NEVER MORE WILL ROAM" / CHRIS GAFFNEY - "THE GUITARS OF MY DEAD FRIENDS" / RICKY & JP - "MI VIDA".Escuchar audio

Mitch Greenhill has published a wonderful memoir of his life as a composer, musician, producer and manager. He inherited Folklore Productions from his Dad Manny and Mitch has been involved with many great artists including Doc & Merle Watson, John Renbourn, Rosalie Sorrels, Eric Von Schmidt, Mayne Smith and the Rev. Gary Davis. On this program we'll hear music from many of those artists as well as recordings by Mitch and his friends. Musical mavericks ... this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysString Madness / “Snowy Evening Blues” / Eye of the Beholder / Self-producedMitch Greenhill / “Albion Turned Away” / Blues of an Ancient Bard / FolkloreMitch Greenhill / “Mobile and Tennesee Line” / Picking the City Blues / PrestigeMitch Greenhill & Mayne Smith / “Don't You Dee That Train” / Storm Coming / BayThe Lost Frontier / “Freight Train Blues” / The Lost Frontier / Self-producedSister Rosetta Tharpe / “Just a Closer Walk with Thee” / The Decca Singles / VervePaul Robeson / “Ol' Man River” / Single / CTSRolf Cahn / “The Four Maries” / California Concert / FolkwaysString Madness / “Merlefest Ramble” / Eye of the Beholder / Self-producedThe Rev. Gary Davis / “Death Don't Have No Mercy” / Great Bluesmen-Newport / VanguardLightnin' Hopkins w/Sam Lay / “Shake That Thing” / Great Bluesmen-Newport / VanguardEric Von Schmidt / “Joshua Gone Barbados” / Living on the Trail / TomatoJim Kweskin & Geoff Muldaur / “C-H-I-C-K-E-N” / Penny's Farm / KingswoodRy Cooder / “Long Riders Theme” / The Long Riders / Warner BrothersRosalie Sorrels / “If I Could Be the Rain” / If I Could Be the Rain / Folk LegacyPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

The music of Clive Carroll (playing John Renbourn), Tom Caulfield

There's a quote attributed to Louis Armstrong: “All music is folk music. I ain't never heard a horse sing a song”. Apocryphal? Who knows? Still, it does raise the question as to what folk music actually is. It can be contemporary contemporary or traditional. It can be associated with any number of cultures. It can be instrumental or songs without instrumental accompaniment. The songs can be about tales of heroes, cads, fair maidens, murder, politics, or.....that very infrequent topic of song – love. Welcome to episode 167 of Love That Album podcast. I am joined once again by Shane Pacey, singer and guitarist for The Bondi Cigars, The Shane Pacey Trio and Pacey, King & Doley. His own music may be rooted in blues (another category that's more varied than is often given credit for), but Shane has a passion and huge knowledge about English folk music. Together we discussed the music of Scottish guitarist Bert Jansch. Bert was part of supergroup Pentangle (LTA episode 134), but before, during and after that group he recorded many albums in his own name. He has been put in the “folk” caregory, but he was part of a generation of UK musicians that were keen to expand what folk music could be. Bert and contemporaries like John Renbourn, Davy Graham, Wizz Jones and John Fahey were huge fans of American blues and jazz music. They sought to put all their musical passions into a pot and stir. Bert developed a guitar style that made him a revered figure amongst rock musicians like Johnny Marr, Jimmy Page and Neil Young, yet his playing was never about the flash or histrionics. He just quietly played original and traditional songs in HIS own sweet way....and his singing voice was not a classic voice in the rock sense, and yet it draws you in – there was no one who played or sang like him. Shane and I talk about Bert as musician, our relation to his work, contemporaries, and we focus on two of his albums – 1971's “Rosemary Lane” and 1974's “L.A. Turnaround” (produced by a Monkee and featuring a 5th Beatle on bass). It's always great having Shane bring his musical expertise to the show. I hope you dig this one. You can find Shane's music on line at https://shanepaceytrio.com.au/ or https://bondicigars.com/ or https://shanepacey.bandcamp.com/album/the-gardener. Here's a link to a tribute concert to Bert that we mention in the show: https://youtu.be/Y_MyH_Uc--s Download this episode of LTA from your podcast app of choice or you can get it from the website at https://lovethatalbumpodcast.blogspot.com/2023/06/love-that-album-episode-167-bert-jansch.html Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

There's a quote attributed to Louis Armstrong: “All music is folk music. I ain't never heard a horse sing a song”. Apocryphal? Who knows? Still, it does raise the question as to what folk music actually is. It can be contemporary contemporary or traditional. It can be associated with any number of cultures. It can be instrumental or songs without instrumental accompaniment. The songs can be about tales of heroes, cads, fair maidens, murder, politics, or.....that very infrequent topic of song – love. Welcome to episode 167 of Love That Album podcast. I am joined once again by Shane Pacey, singer and guitarist for The Bondi Cigars, The Shane Pacey Trio and Pacey, King & Doley. His own music may be rooted in blues (another category that's more varied than is often given credit for), but Shane has a passion and huge knowledge about English folk music. Together we discussed the music of Scottish guitarist Bert Jansch. Bert was part of supergroup Pentangle (LTA episode 134), but before, during and after that group he recorded many albums in his own name. He has been put in the “folk” caregory, but he was part of a generation of UK musicians that were keen to expand what folk music could be. Bert and contemporaries like John Renbourn, Davy Graham, Wizz Jones and John Fahey were huge fans of American blues and jazz music. They sought to put all their musical passions into a pot and stir. Bert developed a guitar style that made him a revered figure amongst rock musicians like Johnny Marr, Jimmy Page and Neil Young, yet his playing was never about the flash or histrionics. He just quietly played original and traditional songs in HIS own sweet way....and his singing voice was not a classic voice in the rock sense, and yet it draws you in – there was no one who played or sang like him. Shane and I talk about Bert as musician, our relation to his work, contemporaries, and we focus on two of his albums – 1971's “Rosemary Lane” and 1974's “L.A. Turnaround” (produced by a Monkee and featuring a 5th Beatle on bass). It's always great having Shane bring his musical expertise to the show. I hope you dig this one. You can find Shane's music on line at https://shanepaceytrio.com.au/ or https://bondicigars.com/ or https://shanepacey.bandcamp.com/album/the-gardener. Here's a link to a tribute concert to Bert that we mention in the show: https://youtu.be/Y_MyH_Uc--s Download this episode of LTA from your podcast app of choice. The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spring can be rather fickle here in Eastern Pennsylvania, hinting at change just long enough for the crocus and daffodils to start to bloom, only to be surprised by a period of cold weather and often a bit of snow. This week we celebrate the vernal equinox with some music that suggests that change. We'll hear songs and tunes from Ken & Brad Kolodner, The Sweet & Lowdown, Tim O'Brien, Robin & Linda Williams, John Renbourn, Punch Brothers and many others. Join us as we celebrate the arrival of spring … this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwayKen & Brad Kolodner / “The Orchard” / Skipping Rocks / FenchurchThe Sweet Lowdown / “The Birds & the Bees” / Chasing the Sun / Self ProducedJoel Mabus / “Speed the Plow” / Golden Willow Tree / FossilClaudia Schmidt / “You Must Believe in Spring” / Big Earful / Red HouseShane Cook & The Woodchippers / “Meander Creek” / Be Here For a While / Slow CookerTim O'Brien / “Sod Buster” / He Walked On / Howdy SkiesPunch Brothers / “The Gardner” / All Ashore / NonesuchCarrie Elkin & Danny Schmidt / “Sky Picked Blue” / For Keeps / Red HouseKen & Brad Kolodner / “Skipping Rocks” / Skipping Rocks / FenchurchJohn Renbourn / “So Early in the Spring” / So Early in the Spring / SanctuaryThe Pentangle / “Wedding Dress” / Reflection / CastleSusan Conger / “Waiting for Fish” / Along the River / Self ProducedRobin & Linda Williams / “Across the Blue Mountains” / All Broken Hearts Are the Same / Sugar HillErin Ash Sullivan / “Spring Come Running” / We Can Hear Each Other / WilloughbyAlice DiMicele / “Every Seed” / Every See We Plant / Alice OtterPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

- Calimani, R. (2019). Storia della Repubblica di Venezia. La Serenissima dalle origini allá caduta. Milán: Mondadori. - Ferraro, J. (2016). Venice: History of the Floating City. Cambridge: Cambridge University Press. - Orlando, E. (2021). Le repubbliche marinare. Bologna: Società editrice il Mulino. Música: - “Danza Inglesa Siglo XIII” – Artefactum - “Sonata “Enharmonic” a4 in G minor” – Giovanni Valentini - “Sonata a5” – Giovanni Valentini - “Sonata à 3” – Antonio Bertali - “Sonata et Canzoni, Book 6: Sonata N. 4 a 2” – Giovanni Battista Buonamente - “Canzon Primi Toni” – Giovanni Gabrieli - “Canzona per sonare N. 27” – Giovanni Gabrieli - “Pavan d’Aragon” – John Renbourn - “El Cant Dels Ocells” – Jordi Savall - “Plyasovaya” – Andrey Vinogradov - “Saltarello I Siglo XIV” – Artefactum Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

If millions of Americans have access to classified documents, can we really call them secrets? On this week's On the Media, a former Pentagon official explains how America's bloated classification system came to be. Plus, a look at the stories we tell about Baby Boomers, and how our country might change after they're gone. 1. Oona Hathaway [@oonahathaway], professor at Yale Law School and former special counsel at the Pentagon, on the complicated nature of classified documents. Listen. 2. Noah Smith [@VildeHaya], contributing reporter for The Washington Post, on how a video game led to leaks of military documents. Listen.  3. Philip Bump [@pbump], national columnist at The Washington Post, on his latest book 'The Aftermath: The Last Days of the Baby Boom and the Future of Power in America.' Listen.  4. Brian Lehrer [@BrianLehrer], host of WNYC's The Brian Lehrer Show, on the news events that defined generations. Listen.  Music: Passing Time by John RenbournAtlantic City by Randy NewmanEye Surgery by Thomas NewmanYoung at Heart by Brad MehldauYour Mother Should Know by Brad MehldauWhen I'm 64 by Fred Hersch

Summary Episode 26: A native of Italy, D'Agostino has made his considerable international mark as a musical artist on the guitar since he arrived in America 37 years ago. In 2017 Guitar Player listed him as one of the 50 transcendent superheroes of the acoustic guitar. The CD, “Every Step of The Way,” was awarded by Acoustic Guitar's People's Choice Awards with a Bronze medal for Best Acoustic Album of All Time. His signature Seagull acoustic guitar has been voted among the ten best signature guitars by Guitar Player magazine. To date, Peppino has recorded 19 CD's, performed in over thirty-seven countries at international festivals and concert halls. He has shared the stage with such greats as Leo Kottke, Sergio Assad, Larry Carlton, Eric Johnson, Tommy Emmanuel, Martin Taylor, Roland Dyens, David Tanenbaum, and many more. https://vimeo.com/790739398 (Timestamps are for audio version of the podcast.) 00:25 Introducing Peppino D'Agostino 1:49 Greetings! 2:35 Peppino's early influences 3:53 How he listened to Santana, John McLoughlin, John Renbourn, Leo Kottke & more... 4:51 Peppino's unconventional musical education - learning without formal lessons 5:42 How orchestras and bands drive his musical inspiration 12:18 Peppino talks about his classical guitar approach to steel string guitar 18:43 An adventure into recording a jazz rock / acoustic fusion album 20:22 Learn about Adam & Peppino's "Sicily Guitar Retreat" September 11-15, 2023 (more info available at musicworldretreats.com) 27:14 Peppino's 5 unexpected favorite albums of all time... 31:28 What is Peppinoi practicing currently 34:45 Peppino's final advice for guitarists Peppino's Links Peppino's Website Peppino's Guitar Workshops and Music World Retreats Youtube Facebook Instagram Twitter https://www.youtube.com/watch?v=Pn8V07VZLE4 https://www.youtube.com/watch?v=RESPkp0IlcY Never Miss an Episode - Subscribe NOW!

The Fretboard Journal is proud to welcome you to the very first episode of Life on the Fretboard, a new podcast hosted by British guitarist, filmmaker, and writer Michael Watts.  For his first episode, Michael talks with the astonishing Scottish guitarist Tony McManus. Described by the late John Renbourn as “The Best Celtic Guitarist in the World,” McManus has toured the world delighting audiences with a combination of extraordinary musicianship and a deep connection with the music of Scotland.  The conversation flows from an impromptu meeting with the most famous man in Scotland; to heroes such as Renbourn, Bert Jansch, and Isaac Guillory; taking the stage after John McLaughlin and Carlos Santana; adapting Scottish bagpipe pieces for solo guitar; the unforeseen effects of meeting Pat Metheny; and what it means to live a Life on The Fretboard. Life on the Fretboard is sponsored by The Archtop Foundation www.theblueguitars.com and Microtech Gefell Microphones www.microtechgefell.de and brought to you by the Fretboard Journal magazine. https://www.tonymcmanus.com/ www.michaelwattsguitar.com  https://www.fretboardjournal.com/  

As you may already know, I have a fondness for folk music from the United Kingdom. This week we sample some new and some classic U.K. folk. We'll hear new music from Fay Hield, Martin Simpson, Ye Vagabonds, John Smith and Alasdair Fraser & Natalie Haas. Also included are selections from John Renbourn & Wizz Jones, Dave Swarbrick, Nic Jones, The Unthanks and more. Take a trip across the big pond from the comfort of your living room … this week on the Sing Out! Radio Magazine. Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkwaysAlasdair Fraser & Natalie Haas / “Caledonian Carolina” / Syzygy / CulburnieFay Hield / “Cruel Mother” / Wrackline / TopicJohn Renbourn & Wizz Jones / “Hey Hey” / Joint Control / RiverboatRichard Thompson / “The Light Bob's Lassie” / Vision & Revision / TopicDave Swarbrick / “The Teetotalers Medley” / Rags, Reels & Airs / TopicMartin Simpson / “3 Day Millionaire-Don't Put Your Banjo in the Shed Mr. Waterson” / Home Recordings / TopicThe Unthanks / “What Can a Song do to You?” / The Songs and Poems of Molly Drake / RabbleRouserNic Jones / “The Little Pot Stove” / Penguin Eggs / TopicAlasdair Fraser & Natalie Haas / “Moccasin Walk-Ackley Lake” / Syzygy / CulburnieJohn Smith / “Star-Crossed Lovers” / The Fray / CommonerThe Furrow Collective / “Hind Horn” / At Our Last Meeting / FurrowYe Vagabonds / “The Foggy Dew” / The Hare's Lament / River LeaJohn Doyle / “The Rambler from Clare” / The Path of Stones / CompassPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways

In this week's January 6th committee hearings, a documentary selling election conspiracies was laughed off by the likes of Bill Barr. But myths about a stolen election are no joke. On this week's On the Media, hear about a pundit's efforts to revitalize and repackage The Big Lie. Plus, one man's escape from the conspiracy theory machine.  1. Philip Bump [@pbump], national correspondent at The Washington Post, on debunking election myths made for the silver screen. Listen. 2. Nina Jankowicz [@wiczipedia], former head of the Disinformation Governance Board, on the lessons learned from government-led attempts to counter disinformation. Listen. 3. Josh Owens [@JoshuaHOwens], former staff member at InfoWars, on what made him leave, and how he's come to terms with his past role in dangerous movement. Listen. Music in this Week's Show:Ava Maria D. 839 - Pascal Jean and Jean BrendersFirst Drive - Clive Carroll and John RenbournBoy Moves the Sun - Michael AndrewsExit Music (For A Film) - Brad Mehldau Trio

With Roe v Wade under threat, some politicians and media outlets are trying to turn the national conversation away from abortion and toward civility. On this week's On the Media, how the GOP has mastered the art of setting the narrative. Plus, how moral panics surrounding dangerous TikTok trends follow a century-old pattern of blaming new technology for the deviant behavior of teenagers. 1. Paul Waldman [@paulwaldman1], opinion writer for the Washington Post, on Republicans decrying the draft opinion leak and protests to motivate their base ahead of the midterms. Listen. 2. Micah Loewinger [@MicahLoewinger], OTM correspondent, on alarmist news coverage of TikTok challenges and its misleading influence on panicked parents. Listen. 3. Brandy Zadrozny [@BrandyZadrozny], senior reporter for NBC News, on the story of Tiffany Dover, and how misinformation about her death fueled anti-vax messaging. Listen. Music: Fallen Leaves by Marcos Ciscar The Camping Store by Clive Carroll and John Renbourn Coffee Cold by Galt MacDermot Middlesex Times by Michael Andrews 

Congress is threatening to cut billions in COVID aid even as a new variant emerges. On this week's On the Media, how our policy debate reveals an indifference for long COVID disabilities and death on a staggering scale. And, how that apathy tracks with a pattern of past pandemics. Plus, a look at the novelist Kurt Vonnegut's theory of storytelling, and what it tells us about why so many Americans have stopped paying attention to the virus. Ed Yong [@edyong209], staff writer at The Atlantic, on why mass deaths from COVID have failed to provoke a strong political and social reckoning. Listen. Laura Spinney, [@lfspinney], author and science journalist on how pandemics have historically disabled people, and what this teaches us about Covid long-haulers. Listen. Micah Loewinger [@MicahLoewinger], OTM correspondent, on how to make sense of Covid's ever-changing plot, using Kurt Vonnegut's theory of "the shapes of stories." Listen. Music:Agnus Dei by Martin PalmeriLove Theme from Spartacus by Fred HerschPassing Time by John RenbournMisterioso by Kronos QuartetBewitched, Bothered and Bewildered by Brad Mehldau Trio    

Spring can be fickle here in eastern Pennsylvania, hinting at change just long enough for the crocus and daffodils to start to bloom only to be surprised by a period of cold weather and often a bit of snow. This week we celebrate the vernal equinox with some music that suggests those changes. We'll hear songs and tunes from Ken & Brad Kolodner, The Sweet & Lowdown, Tim O'Brien, Robin & Linda Williams, John Renbourn, Punch Brothers and other musical artists. We celebrate the arrival of Spring ... this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysKen & Brad Kolodner / “The Orchard” / Skipping Rocks / FenchurchThe Sweet Lowdown / “The Birds & the Bees” / Chasing the Sun / Self ProducedJoel Mabus / “Speed the Plow” / Golden Willow Tree / FossilClaudia Schmidt / “You Must Believe in Spring” / Big Earful / Red HouseShane Cook & The Woodchippers / “Meander Creek” / Be Here For a While / Slow CookerTim O'Brien / “Sod Buster” / He Walked On / Howdy SkiesPunch Brothers / “The Gardner” / All Ashore / NonesuchCarrie Elkin & Danny Schmidt / “Sky Picked Blue” / For Keeps / Red HouseKen & Brad Kolodner / “Skipping Rocks” / Skipping Rocks / FenchurchJohn Renbourn / “So Early in the Spring” / So Early in the Spring / SanctuaryThe Pentangle / “Wedding Dress” / Reflection / CastleSusan Conger / “Waiting for Fish” / Along the River / Self ProducedRobin & Linda Williams / “Across the Blue Mountains” / All Broken Hearts Are the Same / Sugar HillErin Ash Sullivan / “Spring Come Running” / We Can Hear Each Other / WilloughbyAlice DiMicele / “Every Seed” / Every See We Plant / Alice OtterPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

059 - John SmithOn the new episode of “Have Guitar Will Travel,” host James Patrick Regan speaks with singer/songwriter John Smith, whose playing is influenced by master guitarists ranging from Nick Drake and John Renbourn to Ry Cooder and Jimmy Page. They discuss John's new album, “The Fray,” touch on the guitars in his collection, and dig into his history in the music business. Please like, comment, and share this podcast! Download Link

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

Recuerdo a Charlie Watts. The Rolling Stones. Let it Bleed, 1969. Steve Hackett. Selling England By The Pound & Spectral Mornings: Live At Hammersmith, 2020. Mother Love Bone. Stardog Champion, 1992. Mr. Bungle. The Raging Wrath of the Easter Bunny Demo, 2020. John Renbourn. Sir John Alot of Merrie Englandes Musyk Thyng & ye Grene Knygte, 1968.

Recuerdo a Charlie Watts. The Rolling Stones. Let it Bleed, 1969. Steve Hackett. Selling England By The Pound & Spectral Mornings: Live At Hammersmith, 2020. Mother Love Bone. Stardog Champion, 1992. Mr. Bungle. The Raging Wrath of the Easter Bunny Demo, 2020. John Renbourn. Sir John Alot of Merrie Englandes Musyk Thyng & ye Grene Knygte, 1968.

As you may already know I have a fondness for folk music from the UK. This week we sample some new and classic UK Folk on the show. We'll hear new music from Fay Hield, Martin Simpson, Ye Vagabonds, John Smith and Alasdair Fraser & Natalie Haas. Also included will be selections from John Renbourn & Wizz Jones, Dave Swarbrick, Nic Jones, The Unthanks and more. Take a trip across the big pond from your living room … this week on The Sing Out! Radio Magazine. Episode #21-19: New & Classic UK Folk Host: Tom Druckenmiller The Sing Out! Radio Magazine is broadcast weekly on the finest public radio stations nationwide and syndicated on iTunes, Stitcher, Podomatic, Bluegrass Planet, The Folk Music Notebook and on the Sing Out! website www.singout.org Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways Alasdair Fraser & Natalie Haas / “Caledonian Carolina” / Syzygy / Culburnie Fay Hield / “Cruel Mother” / Wrackline / Topic John Renbourn & Wizz Jones / “Hey Hey” / Joint Control / Riverboat Richard Thompson / “The Light Bob's Lassie” / Vision & Revision / Topic Dave Swarbrick / “The Teetotalers Medley” / Rags, Reels & Airs / Topic Martin Simpson / “3 Day Millionaire-Don't Put Your Banjo in the Shed Mr Waterson” / Home Recordings / Topic The Unthanks / “What Can a Song do to You?” / The Songs and Poems of Molly Drake / RabbleRouser Nic Jones / “The Little Pot Stove” / Penguin Eggs / Topic Alasdair Fraser & Natalie Haas / “Moccasin Walk-Ackley Lake” / Syzygy / Culburnie John Smith / “Star-Crossed Lovers” / The Fray / Commoner The Furrow Collective / “Hind Horn” / At Our Last Meeting / Furrow Ye Vagabonds / “The Foggy Dew” / The Hare's Lament / River Lea John Doyle / “The Rambler from Clare” / The Path of Stones / Compass Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Follow You by Arthur Russell on Iowa Dream (Audika) 10′17″ Bliss by Pete La Roca on Turkish Women at the Bath (Douglas SD 782) 15′11″ Alt Starter Med Regn by Koboku Senju on Selektiv Hogst (SOFA) 23′50″ In My Arms, Many Flowers by Daniel Schmidt on In My Arms, Many Flowers (Recital) 30′35″ Love On a Concrete Floor by Alina Kalancea on Impedance (Important Records) 37′37″ Red Planes by Weekend on The '81 Demos (Blackest Ever Black) 46′34″ Soprano / Echoplex Number 3 by Joe McPhee on Sound on Sound (Catalytic Sound) 49′56″ Mutual Aid Music III-I by Nate Wooley on Mutual Aid Music (Pleasure of the Text) 57′39″ Untitled 6 by Svitlana Nianio & Oleksandr Yurchenko on Znayesh Yak? (Night School) 62′30″ The Time Has Come by Bert Jansch & John Renbourn on Bert & John (Transatlantic) Check out the full archives on the website.

We borrowed the title for this week's program from a wonderful just-published memoir by Mitch Greenhill that chronicles his life as a composer, musician, producer and manager. Mitch inherited Folklore Productions from his dad, Manny, and his life has been involved with many great artists including Doc & Merle Watson, John Renbourn, Rosalie Sorrels, Eric Von Schmidt, Mayne Smith and the Rev. Gary Davis. On this program, we'll feature many of those artists, as well as recordings by Mitch and his friends. Celebrating the Greenhills and Folklore Productions ... this week on The Sing Out! Radio Magazine. Episode #21-11: Raised by Musical Mavericks Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways String Madness / “Snowy Evening Blues” / Eye of the Beholder / Self-Produced Mitch Greenhill / “Albion Turned Away” / Blues of an Ancient Bard / Folklore Mitch Greenhill / “Mobile and Tennesee Line” / Picking the City Blues / Prestige Mitch Greenhill & Mayne Smith / “Don't You Dee That Train” / Storm Coming / Bay The Lost Frontier / “Freight Train Blues” / The Lost Frontier / Self-Produced Sister Rosetta Tharpe / “Just a Closer Walk with Thee” / The Decca Singles / Verve Paul Robeson / “Ol' Man River” / Single / CTS Rolf Cahn / “The Four Maries” / California Concert / Folkways String Madness / “Merlefest Ramble” / Eye of the Beholder / Self Produced The Rev. Gary Davis / “Death Don't Have No Mercy” / Great Bluesmen-Newport / Vanguard Lightnin' Hopkins w/Sam Lay / “Shake That Thing” / Great Bluesmen-Newport / Vanguard Eric Von Schmidt / “Joshua Gone Barbados” / Living on the Trail / Tomato Jim Kweskin & Geoff Muldaur / “C-H-I-C-K-E-N” / Penny's Farm / Kingswood Ry Cooder / “Long Riders Theme” / The Long Riders / Warner Brothers Rosalie Sorrels / “If I Could Be the Rain” / If I Could Be the Rain / Folk Legacy Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Paco Ibáñez ofreció seis conciertos largamente esperados entre el 16 y 22 abril 2021. Fue su primera visita tras la muerte del Dictador. Este Concierto Tesoro se grabó el primer día. Estuvo él solo con su guitarra. En esta segunda parte oímos los bises. PACO IBAÑEZ: RECITAL EN DIRECTO DESDE EL TEATRO ALCALA PALACE DE MADRID (1979) 16 abril 1979. Segunda parte 16.- PUEDE SER, NO PUEDE SER 17.- MI NIÑA SE FUE A LA MAR García Lorca 18.- A GALOPAR Rafael Alberti 19.- ANDALUCES DE JAÉN Miguel Hernández Paco Ibáñez, voz y guitarra El largo resto del programa se lo dedicamos al concierto de John Renbourn que nos ha servido de comodín varios días. Lo acabamos. JOHN RENBOURN GROUP incluyendo a JACQUI McSHEE: RECITAL EN DIRECTO. 1981. TEATRO ALCALÁ PALACE MADRID 26 mayo 1981. Cuarta parte. 14.- DANZAS BRETONAS (3:28) 15.- HIGH GERMANY (4:20) 16.- SIDI BRAHIM (10:45) 17.- FAIR FLOWERS OF NORTHUMBERLAND (7:00) 18.- JOHN BARLEY CORN (3:45) 19.- MAID ON THE SHORE (4:00) Formación: John Renbourn – Guitarra, Voz Jacqui McShee – Voz solista (Era la solista de Pentangle) Tony Roberts – Flauta, Cromorno, gaita, Voces John Molineaux – Dulcimer, Violín y Mandolina Keshav Sathe – Tabla Mañana iniciaremos una serie de tres programas dedicados a la Historia del Folk y el Blues, según los discos publicados en 1970 por el periodista y escritor francés Jacques Barsamian. Escuchar audio

Terminamos el concierto de Ganbara que pusimos el viernes, dentro de las "II JORNADAS DE MÚSICA POPULAR DEL PAÍS VASCO" GANBARA: RECITAL EN DIRECTO. 1985. COLEGIO MAYOR SAN JUAN EVANGELISTA (MADRID) 18 octubre 1985. Producción propia de RNE. 12.-BANAN BANAN (2:42) 13.-BERETERRETXEN KANTHORIA (5:42) 14.-BERMIOKO UHOLDEAK (3:42) 15.-LA BATALLA DE AURGHAM (4:40) 16.-MARIA SOLT ETA KASTERO (4:50) Formación: Maria Eugenia Etxeberria, voz Angel Unzu, guitarra Joxean Martin Zarco, guitarra Eduardo Salvador, bajo Josetxo Fernández, teclas Juan Eceiza, violín, txirula... Al terminar completamos con: JOHN RENBOURN GROUP incluyendo a JACQUI McSHEE: RECITAL Teatro Alcalá Palace de Madrid, 26 mayo 1981 07.- Pavana (5:17) 08.- Dos danzas bretonas (5:53) 09.- Van Dleman's Land (6:17) 10.- Green Wood Site (2:52) 11.- John Dory (3,00) cantado por John. Formación: John Renbourn – Guitarra, Voz Jacqui McShee – Voz solista (Era la solista de Pentangle) Tony Roberts – Flauta, Cromorno, gaita, Voces John Molineaux – Dulcimer, Violín y Mandolina Keshav Sathe – Tabla Escuchar audio

Segunda parte del concierto de Oskorri en el Johnny dentro de las "I JORNADAS DE MÚSICA POPULAR DEL PAÍS VASCO". OSKORRI: RECITAL EN EL COLEGIO MAYOR SAN JUAN EVANGELISTA PARA RADIO 3. 17 noviembre 1984 Segunda parte. "I JORNADAS DE MÚSICA POPULAR DEL PAÍS VASCO" 12.- XIKITO (2:00) 13.- EUSKALERRIAN EUSKARAZ 14.- AITA SEMEAK (3:25) 15.- TIRAUKI (6:40) 16.- FURRA FURRA (3:40) 17.- VIOLETAREN MARTXA (3:40) 18.- KATTALIN (4:00) OSKORRI: Natxo de Felipe, acordeón, guitarra, voz; Antxon Latxa, guitarra, voz; Vicente Martínez, mandolina, guitarra; Fran Lasuen, violín, voz; José R. Fernández, vientos, pandereta; Carlos de Pablo, bajo; Jean Phocas, técnico de sonido. Al terminar completamos con: JOHN RENBOURN: RECITAL Teatro Alcalá Palace de Madrid, 26 mayo 1981 02.- DOUCE DAME JOLIE (3:06) 03.- LINDSAY (4:34) 04.- PLAINS OF WATERLOO (8:02) Escuchar audio

Lizzie & I bring 2020 to a close with some top party tunes! Wear headphones.  Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Running Fast by Stefano Torossi on Feelings (Carosello Records) 8′19″ Control by French II on Control (Intercept) 🆕 10′42″ Highway by John Beltran on Highway EP (Seventh Sign Recordings) 🆕 17′21″ Life's Alright by Jesse Bru on Life's Alright (Hapiness Therapy) 🆕 22′42″ Feel For You (feat. Bisi) - Ron Basejam Remix by Black Hawks of Panama; Bisi; Ron Basejam on Feel For You (feat. Bisi) (Future Disco) 🆕 26′53″ Rotting Hills by Avalon Emerson on Rotting Hills (AD 93) 🆕 38′00″ Afrofunktion by Dj Bemi on Afroteknicity 02 (N-Delta Sounds) 🆕 43′51″ Whisper by Zaliva-D on Cache 02 (SVBKVLT) 🆕 46′37″ Harmony by Clubroot on Clubroot - Surface Tension: III (LoDubs Music) 🆕 53′25″ Fantasy by Against All Logic on 2017 - 2019 (Other People) 58′11″ Odyssey by Yussef Davis on Welcome To The Hills (Cashmere Thoughts) 🆕 65′28″ The Creator Has a Master Plan by Dezron Douglas; Brandee Younger on Force Majeure (International Anthem) 🆕 68′09″ Incantation for the Death of Self by Entourage Music and Theatre Ensemble on The Neptune Collection (Smithsonian Folkways Recordings) 72′34″ Bassmeant Blues at The Apocalypse by Lloyd Miller; Adam Michael Terry; Ian Camp on At the Ends of the World (Fountain AVM) 79′52″ Portrait of a Village by John Renbourn on Kpm 1000 Series: The Guitar of John Renbourn (KPM Music) 81′41″ Jandira by Luiz Henrique on Mestiço (Luiz Henrique) 87′37″ Viberian Waves - Pt. 1 & 2 by Jneiro Jarel; Capitol Peoples on Viberian Waves (Pt. 1 & 2) (Far Out Recordings) 🆕 96′28″ Cardboard Castle by Nana Adjoa on Big Dreaming Ants (Bloomer Records) 🆕 97′19″ Todo Parao by Conjunto Papa Upa on Todo Parao (Music With Soul) 105′08″ Sleep by Godspeed You! Black Emperor on Lift Your Skinny Fists Like Antennas to Heaven (kranky) Check out the full archives on the website.

Clive Carroll talks about his acoustic guitar lessons available on TrueFire, performs, and answers questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Clive:Guitar phenomenon Clive Carroll’s masterful compositions, coupled with his versatility and unparalleled technical virtuosity, have rendered him one of today’s most admired and respected guitarists.Born in England, Clive began his musical journey in Chelmsford, Essex. His parents had a taste for American country and old time music and it wasn’t long before Clive was playing in the family band on a homemade banjo. By his early teens, guitar in hand, Clive was traversing the worlds of soul, pop, funk, and traditional Irish music, balancing his affinity for Slayer with the etudes of Tárrega. This breadth of musical curiosity was to become one of his strengths; even as a child Clive was as comfortable accompanying a group of folk singers as he was jamming along to Nirvana or performing standards with the Essex Youth Orchestra.Clive went on to earn a 1st Class Honours Degree in Composition and Guitar from the famed Trinity College of Music in London, all the while balancing his classical work with forays into the world of the steel string guitar. By the time he graduated from Trinity, Clive had not only penned orchestral works, he had written an album’s worth of solo acoustic guitar music. A chance meeting with English guitar legend John Renbourn proved the catalyst for Clive’s debut album, “Sixth Sense”, which Renbourn deemed “a milestone in the journey of the steel-string guitar”. He subsequently took Clive on the road with him and the pair toured North America and Europe together, launching Clive’s solo performing career.Since then, Clive has established himself as one of the world’s premier acoustic guitar players. He has toured across Europe, Australia, the Middle East and North America, garnering praise for his sublime performances of everything from 16th and 17th century lute music to Jazz standards, Blues, Irish reels and his own groundbreaking compositions. Lauded guitarist Tommy Emmanuel has also taken Clive on the road, and similar nods to Clive’s musicianship have been given by everyone from classical guitarist John Williams to Madonna, Guy Ritchie, Michelin award-winning chef Jean-Christophe Novelli, and the Sultanate of Oman.To date, Clive has released four solo albums; “Sixth Sense”, “The Red Guitar” (which Tommy Emmanuel cites as one of his desert island discs!), “Life in Colour” and "The Furthest Tree". Clive has also written music for television and film, most notably composing the music for the film “Driving Lessons”, which features Julie Walters and Rupert Grint of Harry Potter fame.Clive newest CD, “The Furthest Tree”, was released in May 2016 and is already being hailed as some of his finest work to date.

                                       Copperplate Time 324                                                                             presented by Alan O'Leary                                    www.copperplatemailorder.com                                                1. The Bothy Band:   Green Groves of Erin/Flowers of Red Hill.                                     1975 2. Trian:   The Poor Mans Fortune/The Fiddler’s Key/                   The Blessings of Silver.  Trian 2                                               3. Moving Cloud:  Paddy Fay’s/Whistle & I’ll Come/            Woods of Old Limerick .  Foxglove4. Brian O’Rourke: A Loaf in the Post. A Loaf in the Post 5. The Drunken Gaugers:      The Drunken Gauger/O’Sullivan’s                 March/ Humours of Aylehouse.   The Drunken Gaugers 6. Karen Ryan:   Mrs Lawrie/Karen Ryan’s.  The Coast Road 7. Eilis Kennedy:             The Emily Ann( A Greenhorn’s Tale).   So Ends This Day 8. Nancy Costello:             Lucy Farr’s/The Teelin Polka.  Draiocht na Feadoige 9. Noel Hill & Tony McMahon:            Lark in the Morning/Joe Cooley’s Jig. Aisling Ceoil 10. Sean  McDonncadha:             The Whistling Thief.   The Lark in the Morning 11. Bobby Casey: Toss the Feathers/The College Groves. Maestro 12. Mary MacMahon & Martin Hayes:    Humours of Castlefinn/              Glen of  Aherlow/The Killarney Boys of Pleasure.                                           Mary MacNamara 13. Donal Clancy:             The Lowlands of Holland.     On The Lonesome Plain 14. O’Brien/Gourley/Sproule:                The Balmoral/Dowd’s Favourite.   Bright & Early 15. James Morrison:   The Tap Room/The Moving Bogs.              From Ballymote to Brooklyn 16. Kev Boyle :    Bon Cabbage.    Palestine Grove 17. Doc Watson:                  The Girl in the Blue Velvet Band.   The Vanguard Years 18. Bert Jansch:    Blues Run the Game.   Live in Australia 19. John Renbourn:   My Sweet Potato.   Live in Italy 20. Eilis Kennedy:   Who Knows Where The time Goes.                 Time to Sail 21. Fairport Convention:   Meet On The Ledge.   An Introduction  22. The Bothy Band:   Green Groves of Erin/Flowers of Red Hill.  1975

The press called out President Trump after he dismissed an alarming coronavirus statistic on – quote – a “hunch.” On this week’s On The Media, what both Trump and his critics miss in their pursuit of certainty. Plus, why the political scientist who predicted the 2018 midterms thinks Democrats will beat Trump in 2020. And, how the White House is seeking to re-write international norms about “women’s health,” “women’s rights,” and “gender equality” by avoiding those very words. 1. Jon Cohen [@sciencecohen], staff writer for Science, on the various difficulties of reporting on COVID-19. Listen. 2. Frank Snowden, professor emeritus of medical history at Yale University, on the lessons from historical epidemics. Listen. 3. Rachel Bitecofer [@RachelBitecofer], political scientist at Christopher Newport University, on what she sees as Super Tuesday's clear lessons. Listen. 4. Jessica Glenza [@JessicaGlenza], health reporter for The Guardian, on the embattled language of women's health. Listen.  Music from this week's show:Accentuate the Positive by Syd Dale Double Dozen and Alec GouldCarmen Fantasy by Anderson and RoeCellar Door by Michael AndrewsChicago Sunset by Charlie MusselwhiteFirst Drive by Clive Carroll and John RenbournFallen Leaves by Marcus CiscarStarlings by Vijay Iyer Trio

The sloppy roll-out of Iowa results prompted disinformation and confusion over the mechanics of the caucus system. This week, On the Media looks at the origins of the nomination process to explain how we got here. Plus, local reporters in New Hampshire examine the power struggle at the heart of the upcoming contest.  1. Galen Druke [@galendruke] on the history of America's unique primary system. Listen. 2. Stranglehold reporters Jack Rodolico [@JackRodolico], Lauren Chooljian [@laurenchooljian], and Casey McDermott [@caseymcdermott] on Dixville Notch's mythical status. Listen.   3. Lauren Chooljian [@laurenchooljian] examines how New Hampshire's local press benefits from being a first-in-the-nation primary. Listen. Music from this week's show:  Sacred Oracle by John ZornYoung at Heart by Brad MehldauThe Camping Store by Clive Carroll and John RenbournMilestones by Bill Evan Trio

As House leaders begin drafting articles of impeachment, examples from the Nixon and Clinton eras abound. This week, On the Media rewinds to the 19th century — and the turbulent impeachment of Andrew Johnson. Plus, what a debate between two right-wing intellectuals means for the future of conservatism. 1. Brenda Wineapple, author of The Impeachers, on the acrimonious trial of Andrew Johnson. Listen. 2. Matthew Sitman [@MatthewSitman], co-host of the Know Your Enemy podcast, on the rise of illiberalism among the conservative intelligentsia. Listen.  Music: It's Beginning To Look A Lot Like Christmas by Black Dyke BandGormenghast by John ZornPassing Time by John RenbournPrelude of Light by John ZornPsalom by Kronos QuartetPurple Haze by Kronos Quartet

An unexpected album from the UK folk "supergroup" featuring Bert Jansch, John Renbourn and Jacqui McShee that moved folk into jazz territory with flourishes of psych.

A controversial bill in Alabama is the latest in a wave of different abortion bans sweeping the country. This week, On the Media looks at the influence of Janet Porter, a little-known lobbyist who has been pushing what are misleadingly referred to as “heartbeat” laws. And, a deep dive into the rise of Hungarian Prime Minister Viktor Orbán, and what his autocratic regime tells us about the future of Europe. Plus, a new book reveals how conspiracy theories became a fact of American life. 1. Jessica Glenza [@JessicaGlenza], health reporter at the Guardian US, on the influence of Janet Porter, the lobbyist behind the so-called "heartbeat" abortion laws. Listen. 2. Paul Lendvai, author of Orbán: Hungary's Strongman, on the rise of Hungarian Prime Minister Viktor Orbán. Listen. 3. Anna Merlan [@annamerlan], author of Republic of Lies, on the long arc of conspiratorial thinking in the United States. Listen. Support On the Media today at onthemedia.org/donate.  Songs:  Dame tu Mano by Combo Chimbita Passing Time by John Renbourn The Glass House by Marjane's Inspiration Califone by Burned by Christians We Insist by Zoe Keating Green Onions by Booker T. and The MG's X-File Theme High Water Everywhere Part 1 by Charlie Patton Bullwinkle, Part II by The Centurians

Stefano Lentini is a music composer based in Rome, Italy. He has produced music extensively for film, television and documentary. As a multi-instrumentalist, Lentini is known for blending classical music with folk and electronic influences through the use of multi-track recording. His main combinations include acoustic guitars in a John Renbourn's fingerpicking style with electric bass, piano and string orchestrations. He additionally mixes sampler and synth sonorities with electric guitars. Some of his other film work include music for “The Nest of the Turtledove, The Ballerina, Shooting Silvio, and Grazing the Wall.In this episode, Stefano Lentini talks about his unusual path to writing music for film and television starting with a piece he wrote for the Italian television series, LA PORTA ROSSA (which was nominated for Best Soundtrack at the Fimucite Film Festival. He then reveals how he was able to get the Stabat Mater he composed to be used in Wong Kar Wai's 2013 feature film THE GRANDMASTER. And coming in a BONUS EPISODE of The Annotator, you will hear Lentini talk about several pieces of his 2018 release, “Fury.”ANNOTATED TRACKS AND SEGMENTS01:37 - "La Porta Rossa"04:48 - "Stabat Mater" - The Grandmaster07:38 - "Stabat Mater" for Violin and String OrchestraOTHER TRACKS09:56 - "R73" - FurySOUNDTRACKHis latest album “Fury” was released November 6, 2018. You can find it on Amazon.com, iTunes, Spotify and Apple Music. MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Stefano Lentini at his official site http://stefanlentini.net.ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

I sat down for a conversation with Gordon Giltrap in May 2018 during the 21st annual UK gathering of the RMMGA newsgroup, at which Gordon was the weekend guest. Speaking to Gordon was a real treat for me as he was part of the 60s acoustic folk boom in London in the late 1960s and played in the company of Bert Jansch and John Renbourn. I bought my first guitar after hearing Bert's documentary Acoustic Routes. We spoke of many things, including the London scene and his new signature Fylde guitar. Gordon's website is at https://www.giltrap.co.uk/.

a cura di Alessandro Achilli. Musiche di Richard Thompson & the Fairport Rhythm Section, Pentangle, Dagmar Krause, Elliott Sharp Carbon (prima parte)

a cura di Alessandro Achilli. Musiche di Richard Thompson & the Fairport Rhythm Section, Pentangle, Dagmar Krause, Elliott Sharp Carbon (prima parte)

AVISO: SPOILERS a saco para quienes no hayan visto la serie The Terror o leído el libro de Dan Simmons. Para los Marcianos, la de AMC es una de las mejores series de 2018 y se merece un programa a la altura. Hablamos de la Expedición Franklin y otras exploraciones polares, del arte y literatura que generaron y, por supuesto, de esta excelente obra televisiva. Únete a nosotros en Telegram: t.me/marcianosenuntren Modera: Gonzalo Merat Participan: Andrés Merchán y Jose Ceballos Edición: Jose Ceballos Música: Jose Ceballos Temas: Gurt Lush Choir, Marcus Fjellström, Stan Rodgers, CapU Choral, Johnny Collins, Finnian McGurk, Elena Cinto, Moloney/O´Donnell/Egan, Seamus Egan, Pentangle, John Renbourn, Lea Sannacore, Wallace/Barham/Miller, Micheál O´Domhnaill, Cryo Chamber, Moya Brennan, Davide Saporito, Madi, Derek & Brandon Fiechter, Mark Snow, Soria Eyituk & Lusi Kuni, Tanya Tagaq, Buffy Saint Marie & Tanya Tagaq Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Vägen vindlar från en av operahistoriens mest magiska arior - med oväntad politisk undertext - över poeten WILLY GRANQVISTs kärleksförklaring till nyrökt sik, ackompanjerad av gitarrfenomenen BERT JANSCH & JOHN RENBOURN, till kompositören JOHAN-MAGNUS SJÖBERG, som med sin vinterkantat fick librettisten att utbrista att "vartenda kommatecken tonsatts!" Vi toppar med UFO-rock från Skånes tak med Linderöds Spelmanslag(!) You ain´t heard nothing like it, folks...

A song sampled by soul duo Gnarls Barkley. A track by a guitarist who toured with the Grateful Dead. And lots more music from production music legends Barbara Moore, Robert Farnon, Gert Wilden, and more! All pieces featured here are library tracks originally written to be used in film and television productions during the 1960s, 70s, & 80s. For more details check out the complete show notes at www.rarefiedairpod.com   01. Preacher’s Club, Jack Arel & Pierre Dutour; 00:22 (Chappell)   02. Light Traveller, John Renbourn; 04:12 (APM)   03. Going Places, Philip Lane; 07:35 (APM)   04. Scamp, Simon Park; 11:14 (De Wolfe)   05. Junior Jet Set, Keith Mansfield; 14:16 (APM)   06. Miss Belly Button, Gert Wilden; 17:44 (Megatrax)   07. Schluf, Schluf, Schluf, arr. Gert Wilden; 18:53 (Megatrax)   08. His Name Was, Barbara Moore; 20:49 (De Wolfe)   09. Always, Roger Webb; 24:48 (De Wolfe)   10. Bubble Ballet, Robert Farnon; 29:02 (Firstcom)  

Mundofonías #5 Nov 2015 - Mundial Montréal y otra fauna - Mundial Montréal and other fauna Abrimos con el nuevo disco de la chilena Pascuala Ilabaca y continuamos con diversos artistas presentes en el encuentro Mundial Montréal. Llegan los sones de las guitarras acústicas, con el disco póstumo de John Renbourn y producciones del sello alemán Acoustic Music Records, para continuar con aires orientales y klezmer. We open with Chilean Pascuala Ilabaca's new album and we continue with some artists to be playing at Mundial Montréal. Then, some acoustic guitar tunes, with John Renbourn's posthumous album and some German label Acoustic Music Records' releases, to continue with Oriental and klezmer tunes. Pascuala Ilabaca y Fauna - Santa caravana (Rey loj) Bïa - Navegar (Mundial Montreal #5) Monsoon - Mosaic (Mundial Montreal #5) HAJAmadagascar - Seriko (Mundial Montreal #5) John Renbourn - Anji (The attic tapes) Dyla Fowler, Ian Melrose & Soïg Sibéril - Gavotte & reel set / Black mountain gavotte / McPhatter's reel / Nyth y gwcw (Celtic guitar journey) Rhythm Shaw - Black and blues (Opening act) Eran Zamir - Seven moments (Complementary opposites) Africairo - Bahr ahmar (Rouh wa jasad) Taxídi - Klezmicosmic (Dreamy train) Geoff Berner - When DD gets her donkey, everything will be alright (We are going to Bremen to be musicians)

FolkCast's Ken Nicol pays tribute to one of his greatest guitar influences: John Renbourn. Plus the pick of the latest releases, and Story Behind The Song delves into a legend that has been 700 years in the making! FolkCast is produced and presented by "Folkie" Phil Widdows Music featured: North Sea Holes by Boreas Digital single release (released September 2015) Tuesday Night Troubadour by Andy Harding Unreleased Don't Forget by Beggar's Bridge from the album "Short Stories, Tall Tales" (September 2015) Craro by Scott Wood Band from the album "Upsurge" (September 2015) The Rain by Wood, Wire & Words from the album "It's A Barbecue Day" (2015) Cat Nip Rag by Ken Nicol from the album "Things" (September 2015) Ken's Classic A Tribute To John Renbourn Recorded and produced by Ken Nicol exclusively for FolkCast Watershed by Phillip Henry & Hannah Martin from the album "Watershed" (September 2015) Snow Blind by NE3Folk from the album "Show Us Your Reds" (September 2015) Small Town Man by Nigel Brown from the album "Time Looks On" (September 2015) The Story Behind The Song presented by Babba Dunwich Bells by Union Jill from the album "Respectable Rebellion" (2013) Close To The Wind by Celandine from the album "She's Like The Swallow" (August 2015) Lord Randall by Lucy Ward from the album "I Dreamt I Was A Bird" (October 2015) For full details and links to artists’ websites, see the ShowNotes at www.folkcast.co.uk

Mundofonías #2 Abr 2015 | Korrontzi y homenajes - Korrontzi y homenajes - Korrontzi and tributes Pentangle - A maid that's deep in love [John Renbourn in memoriam] Bidinte - Rosa di n'tacha [in memoriam] BLICK BASSY - Mama A Presença das Formigas - Bolinhas de sabão Orblua - Diabo da velha Liana (Liana Fado) - Fora de horas Korrontzi & BOS - Aitxitxe mukurrunduko Korrontzi & BOS - Xoxua Korrontzi & BOS - Sardos-k & Belardi Entrevista / Interview: Agus Barandiaran (Korrontzi) Radio Círculo (Madrid, ES) Radio Universidad de Guanajuato (MX) Multicult.fm (DE) 88vier (Berlin/Potsdam, DE) Radio UNAM (México DF, MX) UABC Radio (Baja California, MX) Ràdio País (Gasconha, FR) RCFM (ES) Rádio Filispim (Galiza, ES) Radio Groovalización (FR) Ràdio Klara (València, ES) Radio Universidad de Atacama (CL) Radio Artigas (UY) Radio París La Paz (BO) TTRadio (ES) Radio Universidad de Puerto Rico (PR) Radio Kolor (Cuenca, ES) Radio Universidad Autónoma de Yucatán (MX) Radio Filarmonía (Lima, PE) Radio Aukan (CL) Radio Inter S'cool (GP) Radio Educación del Mayab (MX) Rádio Zero (PT) Radio Universidad de Concepción (CL) Radio Universidad de Salamanca (ES) Onda Polígono (Toledo, ES) Onda Campus (Extremadura, ES) WLCH Radio Centro (Pennsylvania, US) Radio Isora (Canarias, ES) Radio Sonora Internacional (CO) Radio Fuga (Madrid, ES) Radio Camino (ES) Radio La Voz de Guamote (EC) Mundofonías Radio (ES) OK Radio (VE) Almargen Radio (Andalucía, ES) Unicauca Estéreo (CO) #musicasdelmundo #musicasdomundo #worldmusic #folk #musicadomundo #musiquedumonde #musiquesdumonde

When I did this weekly song project first time around in '11, Bert Jansch sadly passed away. This time, the news of John Renbourn passing away reached me today. A true guitar hero and songwriter, founder member of Pentangle, teacher, solo performer. Amazing dude. I luckily had occasion to meet him a couple of times, sweet guy. RIP This is a song I wrote this morning thinking about his passing

Nalle, Juana Molia and Tunng live Green Man Festival Special Podcast August 2006 This show brings together some highlights from this year's Green Man festival, held in the dramatically beautiful surrounds of the Brecon Beacons in late August. For the last four years the festival has grown in size, bringing together a diverse selection of artists all influenced in some way by folk and roots music, from the percussive and hypnotic electronics of Steve Reid and Keiran Hebden to the sublime folk / blues explorations of folk-revival legends Bert Jansch and John Renbourn, with countless acoustic singer-songwriters. www.youarehear.co.ukhttp://www.myspace.com/youarehearFor this show, we have chosen to present highlights from the live sets of Nalle, Juana Molina and Tunng.Glasgow's Nalle comprise former members of the extended folk-improv-drone-jazz outfit Scatter, continuing and focussing many of the collective's preoccupations: drawing on traditional folksong, psychedelic minimalism, in a spirit of playful experimentation and structural freedom. The voice of Hanne, at once soothing and astringent, meshes with shruti box drones, wooden and straw percussion, viola, bouzouki, oud and other instruments yet more exotic to create a beautifully haunting and uncanny atmosphere.www.nalle.co.ukwww.pickled-egg.co.uk/nalleJuana Molina, an extraordinary singer-songwriter from Buenos Aires, whose graceful and hypnotic music, flows from her acoustic guitar, askew live electronics and her mesmerising voice. Formerly a celebrated TV comic in her native Argentina, she has released several albums since 1996, three of which have been released on Domino Records in the UK, the most recent being 'Son' from which much of her Green Man set was taken.www.juanamolina.comwww.myspace.com/juanamolinaTunng play a mesmerising mix of folk-influenced acoustic music and busy electronica, overlaying electronic crackles, vocal harmonies, bewitching mantras and synthetic rhythms. Their two albums on Static Caravan and their prolific touring schedule have gathered them a substantial following.www.tunng.co.ukwww.myspace.com/thisistunngEnter your email address:Delivered by FeedBurnerPodcast of the week Time Out London!! " excellent alternative music show" "Critics Choice" The Independent

Nalle, Juana Molia and Tunng live Green Man Festival Special Podcast August 2006 This show brings together some highlights from this year's Green Man festival, held in the dramatically beautiful surrounds of the Brecon Beacons in late August. For the last four years the festival has grown in size, bringing together a diverse selection of artists all influenced in some way by folk and roots music, from the percussive and hypnotic electronics of Steve Reid and Keiran Hebden to the sublime folk / blues explorations of folk-revival legends Bert Jansch and John Renbourn, with countless acoustic singer-songwriters. www.youarehear.co.ukhttp://www.myspace.com/youarehearFor this show, we have chosen to present highlights from the live sets of Nalle, Juana Molina and Tunng.Glasgow's Nalle comprise former members of the extended folk-improv-drone-jazz outfit Scatter, continuing and focussing many of the collective's preoccupations: drawing on traditional folksong, psychedelic minimalism, in a spirit of playful experimentation and structural freedom. The voice of Hanne, at once soothing and astringent, meshes with shruti box drones, wooden and straw percussion, viola, bouzouki, oud and other instruments yet more exotic to create a beautifully haunting and uncanny atmosphere.www.nalle.co.ukwww.pickled-egg.co.uk/nalleJuana Molina, an extraordinary singer-songwriter from Buenos Aires, whose graceful and hypnotic music, flows from her acoustic guitar, askew live electronics and her mesmerising voice. Formerly a celebrated TV comic in her native Argentina, she has released several albums since 1996, three of which have been released on Domino Records in the UK, the most recent being 'Son' from which much of her Green Man set was taken.www.juanamolina.comwww.myspace.com/juanamolinaTunng play a mesmerising mix of folk-influenced acoustic music and busy electronica, overlaying electronic crackles, vocal harmonies, bewitching mantras and synthetic rhythms. Their two albums on Static Caravan and their prolific touring schedule have gathered them a substantial following.www.tunng.co.ukwww.myspace.com/thisistunngEnter your email address:Delivered by FeedBurnerPodcast of the week Time Out London!! " excellent alternative music show" "Critics Choice" The Independent

John Renbourn continues his exploration into 19th Century parlor guitar, which influenced blues and other rural styles. This time the song is Sebastopol,' later called 'Vastopol,' which was originally played in open-D tuning (D, A, D, F#, A, D). Renbourn's version is in open-E (E, B, E, G#, B, E) - no matter, the intervallic relationships are identical. As usual, the song has quaint charm and a bit of guts. This lesson includes Power Tab and is featured on the following CD compilations: ACOUSTIC U.