Podcasts about The Kinks

This week's program features tuneage from Brewer & Shipley, Janis  Joplin, Beatles, Jimi Hendrix Experience, Jefferson Airplane, Talking Heads, Donovan, Kinks, Cat Stevens, Ten Years After, Electric Prunes, Don McLean, Bachman Turner Overdrive, Brian Auger's Oblivion Express, Jeff Beck Group, John McLaughlin, Joni Mitchell, Loggins & Messina, Coldplay, Cream, Dada, Bruce Springsteen, Chicago & Crack The Sky.

Is catch and release fishing barbaric or moderately considerate?  A client has concerns and I have suggestions to make catch and release less stressful for the fish.  Who is the immoral clown to blame for having to endure Trump as President?  I name names.  Or, actually, name.  Could some of the negative attitudes towards transgender people by men be a fear of the "Lola" scenario?  Were the Kinks onto something?  Is King Ethelread the Unready the exception to my rule that leaders who act tough and sound tough (Vlad the Impaler) have a leg up with conservatives?  For better or for worse, you're not going to hear any of this from anyone else.  Subscribe and THRIVE!!!!   

In this episode of Holly Randall Unfiltered, I sit down with two of my favorite people in the adult industry—Little Puck and Shawn Alff—for a totally unfiltered, hilarious, and surprisingly deep conversation. We talk about everything from Puck's wild transformation from conservative Christian cult kid to horror cosplay queen, to Shawn's journey from sex journalist to adult performer and director. Yes, there are threesomes. Yes, there's microdosing. And yes, there's talk of anal (a lot of it). But there's also real talk about mental health, work-life balance, shame, spirituality, and the unexpected ways this industry can heal and empower. You'll hear the real story behind their infamous “bangversary,” how Shawn became the most lovable cuck in porn, and why Puck is redefining what it means to be both dominant and vulnerable. We also get into the nitty-gritty of porn writing (spoiler: most of it is bad), how they find connection on and off camera, and what it really takes to build a sustainable, creative career in adult. This one is raw, funny, touching, and weird in all the best ways—just how I like it. Watch the uncut version with bonus Q&A exclusively on Patreon. https://www.patreon.com/c/hollyrandallunfiltered ________________________________________________________ Support our show by supporting our sponsors! BlueChew is a unique online service that delivers the same active ingredients as Viagra, Cialis, and Levitra -- but in CHEWABLE tablets and at a fraction of the cost! Try BlueChew for FREE, just pay $5 in shipping when you use code HOLLY at https://bluechew.com Ready to score some exclusive deals? Head over to https://linktr.ee/HollyAds and treat yourself — because who doesn't love a little VIP hookup?  Our Sponsor, FLESHLIGHT, helps you reach new heights in self-pleasure. It's the world's #1 selling male sex toy. Use code 10HOLLY at fleshlight.sjv.io/HollyRandallUnfiltered  Hit up linktr.ee/HollyAds for exclusive deals, spicy discounts, and perks so good your wallet might blush.  Visit HollyLinks.com for access to all of Holly's platforms! Become a supporter of this podcast: https://www.spreaker.com/podcast/holly-randall-unfiltered--6630320/support.

What's the deal with hormones, anyway? DB breaks down how they impact your sex life, mood, energy, and overall health. Learn what's normal, what's not, and how to better understand what your body's telling you.  Mentioned in this episode: Rediscovering Desire: Sex, Hormones, and Libido through Middle Age and Beyond with Dr. Rebecca Levy-Gantt ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

Ever wondered why anti-depressants can impact your libido? Why your penis curves to the left (or right)? What causes thrush? Or how contraception affects your fertility? It's science week, so in this ep we answer all your sex, love, and body related science questions with Dr Eva Jackson. DM us your thoughts, questions, topics, or to just vent at @triplejthehookup on IG or email us: thehookup@abc.net.auThe Hook Up is an ABC podcast, produced by triple j. It is recorded on the lands of the Wurundjeri people of the Kulin nation. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

n this juicy episode of Kinks on a Platter, Goddess Supreme slips off the stilettos and walks you right into the sensual world of foot fetish.

Send us a textThis week Fresta talks to Will Samson about Vladimir Nabokov's novel Bend Sinister and the Fall record of the same name. As Fresta and Will are both avant-garde music-spazz's the conversation ends up in a discussion about other artists such as The Country Teasers, Lana Del Rey, Kanye, Pere Ubu, The Melvins, Townes Van Zandt, Oasis, Throbbing Gristle, Roky Erickson and The Kinks.Note: there are a couple of audio issues on Will's end with this one, but we prefer to think of it as authentic lo-fi experimentation.Music: Living Too Late by The Fall, Get Lost by Kanye WestWill's Instagram : https://www.instagram.com/samsonwill93/?hl=en Will's recent appearance on Bistro Californium: https://www.patreon.com/posts/ep-117-my-name-w-133687985?l=es Will's essays: https://apocalypse-confidential.com/2021/05/12/war-at-33-1-3-throbbing-gristle-public-enemy-datapanik/ https://safetypropaganda.substack.com/p/life-stinks-cuz-i-like-the-kink-byhttps://apocalypse-confidential.com/2024/05/21/paradise-stands-in-the-shadow-of-swords/Support the show

Now and then I just have to use "the referral method" on picking out guests for our show. I saw that Kaida Kinks had worked with Billy Pilgrim and Marvellee, so I thought that I'd ask her to be on our 8/3/2025 Zoom Show! We talked to Kaida on some of her past work and future plans. She's a fireball who loves horror movies and we look at meeting up with her at future shows! Along for the ride were Lorenzo and Richard Pacheco.

DJ Jesse Luscious dives into where Dub & Punk meet courtesy of the writing of Tim "Napalm" Stegall and Black Market Dub's crucial remixes of The Clash, Blondie, David Bowie, & more,  plays new tracks from Smalltown Tigers, Skold, Tony Bluetile, Slyder Smith, Whipping Boy, Micko & The Mellotronics, & Killing Kind, spins classics from Black Flag, Pinch Points, Buzzcocks, Lee Scratch Perry, Zero Boys, The Kinks, Hightechnology Suicide, Dub Syndicate, Spike And The Gimme Gimmes, Powerplant, CH3, & Rich Kids on LSD, and reveals the Luscious Listener's Choice! Black Flag- Gimme Gimme Gimme Black Flag- Police Story (Edit) Black Flag- My Rules Smalltown Tigers- I Break Free R.K.L.- Think Positive Zero Boys- Vicious Circle Zero Boys- Amphetamine Addiction Me First And The Gimme Gimmes- Jolene Channel Three- I've Got A Gun Powerplant- Good Time (Edit) Pinch Points- Stock It Skold- All Humans Must Be Destroyed Killing Kind- Desperately Holding On Micko And The Mellotronics- Would You Believe It Buzzcocks- Hollow Inside (May 1979 Peel Session) Whipping Boy- Nevermore Hightechnology Suicide- Track 3 (Cocksucker Bruce Lee) Slyder Smith- Nobody's Listening Kinks- Pressure Lee Scratch Perry And The Upsetters- Caveman Skank Dub Syndicate- Dr. Who Black Market Dub- Rudie Can't Fail Black Market Dub- Death Or Glory Black Market Dub- Rock The Casbah Black Market Dub- I Fought The Law Black Market Dub- In The Beginning There Was Dub Black Market Dub- Space Oddity Black Market Dub- Atomic Black Market Dub- Batman '66 Dub Tony Bluetile- Kinky Sex Makes The World Go Round (A Case Study)

Welcome to The Money Trench! This week, Mark is joined by Alistair Norbury, President of UK, Europe and Asia-Pacific at BMG.  Together, they explore how one of the world's biggest music companies is rethinking deals, rights, and the artist-label relationship. From signing Kylie Minogue, Louis Tomlinson, and Craig David, to reviving classic catalogues from Black Sabbath, The Kinks, and Gary Numan, Alistair walks us through BMG's artist-friendly ethos and global strategy. NEWSLETTER ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sign up HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for the TMT newsletter - featuring each week's hottest music industry stories. SOUNDON The Money Trench is sponsored by ⁠⁠⁠⁠⁠SoundOn⁠⁠⁠⁠⁠. TIXEL The Money Trench is sponsored by ⁠⁠⁠⁠⁠Tixel⁠⁠⁠⁠⁠. PPL  The Money Trench is sponsored by the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PPL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. KEEP UP TO DATE For the latest podcast and music business updates, make sure to follow us on:  Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@the_money_trench⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ LinkedIn: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Money Trench⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Money Trench⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET IN TOUCH If you have any feedback, guest suggestions or general comments? We'd love to hear from you! -⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get in touch here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thanks to our partners ⁠⁠⁠⁠⁠SoundOn⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Tixel⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PPL ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Earth/Percent⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tom A Smith⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Aimless Play⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fourth Pillar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sennheiser⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Junkhead Studio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tape Notes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Executive Producer: Mike Walsh Producer: Tape Notes 

This throwback 2023 episode is a whirlwind of bad timing, bad boys, and the best fantasy ever. A sexy stranger left his digits on my car (panty-melting moment), and I didn't call. But don't worry, Nico's over here plotting how to watch me get stuffed full while he's tied up and caged.

Film producer John Wood joins Nick to talk about his documentary The Session Man (2023), which is about the career of rock-and-roll pianist and organist Nicky Hopkins. We talk about Hopkins' pending induction into the Rock & Roll Hall of Fame later this year, the making of The Session Man, and our favorite songs that Hopkins played on.Hopkins has worked so many legendary artists including The Rolling Stones, The Beatles, The Who, The Kinks, Rod Stewart, Joe Cocker, Cat Stevens, Jeff Beck, Peter Frampton, Carly Simon, and so many others.For more information about The Session Man, visit their official website.Support the show

This week on CockTales: Dirty Discussions, Kiki and Medinah are keeping it real with no guest and plenty of laughs. The cocktail of the week is “Slippery When Lit,” a whiskey-based drink that sets the mood for updates on Vibe Fest in Sedona, Podcast Movement, and upcoming trips with the Travel Tribe and Worst Behavior Tour. The ladies share outfit dilemmas, beauty tips, and the importance of wellness check-ins with LifeRX, plus new book club updates and future group trip ideas.Things take a turn with the Weird Sex segment, featuring one of the strangest kinks yet: feeding Cheetos with toes. The hosts also dive into sex education, what they wish they'd learned earlier, and the challenges of setting boundaries in and out of the bedroom. It's a mix of comedy, cocktails, and candid girl talk you won't want to miss.

This episode is sponsored by BetterHelp. Give online therapy a try at https://www.betterhelp.com/NOTFOREVERYONE and get on your way to being your best self.***In this episode, Jess and Caroline unpack the “red flags” that might not be red flags at all — or at least, not dealbreakers. What if your date has never been in a serious relationship? What if they voted differently than you in 2016? What if there are some glaring differences? The girls get into the nuance of context, the difference between patterns and one-offs, and how to tell if you're seeing a warning sign or just someone's humanity showing. Spoiler: not every flag requires a full evacuation. Some just require a little more digging.Whether you're a walking green flag or proudly toxic with a spreadsheet, this one's for anyone who's tired of pretending we're all dating in a vacuum. Let's talk about when it's okay — maybe even wise — to stay.***Check out Jess' solo podcast PEAKING!!! - everywhere you get podcasts :)

Episode 144. The Emporium brings you the music of  Primal Scream, Marillion, The Kinks, Bruce Springsteen, Terry Hall, Bananarama, Gary Moore, Dollar, The Sugababes, Nick Drake, En Vogue, Chris Rea and Kim Wilde.

Sex gets better with age...if we let it! In this episode, DB sits down with her mom, badass OBGYN Dr. Rebecca Levy-Gantt, to talk all about sex and aging, They get into responsive desire, menopause, hormones, vaginal estrogen (gamechanger!), and why more women than ever are asking for what they want in the bedroom. Plus: how to talk to your doctor about your pleasure! GUEST DETAILSDr. Rebecca Levy-Gantt is an obstetrician and gynecologist who has been taking care of women of all ages for more than thirty years. She is on LinkedIn, and her practice website is Premierobgynnapa.com. ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

This week on Eavesdroppin', Geordie & Michelle look at celebrities who had a brush with the grim reaper…How would you expect the wild man of rock, Keith Richards, to meet his maker? This week, Michelle looks at the silly stunt that was nearly his undoing... Plus, she also looks at the time Leonardo DiCaprio decided to treat himself to a sky-diving adventure that ended with him just seconds away from death, and the ocean incident where Liam Hemsworth almost met his maker.Geordie follows with an insane survival story from the legend that is Clint Eastwood; the time Debbie Harry met an unsavoury character in the back of a car; the heartbreaking tragedy that befell the iconic singer Curtis Mayfield, and the creepy encounter The Kinks had that could have gone horribly wrong.So pop on your headphones, grab a brown lemonade and join Geordie & Michelle for this week's episode, plus chat about smoker-girl toilets, forced adoption, anti-telly recs and more, only on Eavesdroppin' podcast. And remember, wherever you are, whatever you do, just keep Eavesdroppin'!*Disclaimer: We don't claim to have any factual info about anything ever and our opinions are just opinions not fact, sooorrrryyy! Don't sue us!Please rate, review, tell your friends and subscribe in all the usual places – we love it when you do!Vote for us in the British Podcast Awards: https://www.britishpodcastawards.com/votingSupport us on Patreon: https://www.patreon.com/eavesdroppinDo write in with your stories at hello@eavesdroppinpodcast.com or send us a Voice Note!Listen: http://www.eavesdroppinpodcast.comorhttps://podfollow.com/eavesdroppinYouTube: https://www.youtube.com/channel/UCqcuzv-EXizUo4emmt9PgfwFacebook: https://www.facebook.com/eavesdroppinpodcast#nearmisses #truecrime #almostdied #brushwithdeath #reallife #truestories #eavesdroppin #eavesdroppinpodcast #eavesdroppincomedypodcast #podcast #comedy Hosted on Acast. See acast.com/privacy for more information.

Travel, work, and stress can all leave their mark on the body...this practice will help you unwind and destress with gentle mobility, stretchy flow, and relaxing restorative postures.  Enjoy! Thanks so much for listening...and playing along!   Looking for a friendly neighborhood yoga studio in Santa Rosa, CA? Come on over to 1617 Terrace Way. Beginners are welcome in every class...and experienced flow junkies will feel right at home, too!   Got questions? Want to chat about yoga? Email us! info@threedogyoga.com   Want more? Join our live stream classes offered in real time over Zoom.   Drop-in passes and memberships are available for every body. Please visit www.threedogyoga.com to learn more.

En El Faro 'sonido' Igor Paskual nos propone a varios grupos que rompieron moldes y sirvieron de inspiración a los siguientes. Desde los Kinks y sus guitarras distorsionadas hasta la música para perros que idearon los Beatles.

We ran out of time squeezing all our memories onto the JOY airwaves for our 200th Anniversary Special so Tim Little has a few S EXTRA tit bits just for you! Including Trough @ Club 80 (R.I.P), our content creator panel and Rocco Steele's incredibly dulcet radio tones. We have it all! Follow Tim instagram.com/beatzradio/ This episode was recorded on the lands of the Yalukut Weelam clan of the Boon Wurrung peoples. We pay our respects to their elders, past, present and emerging, and acknowledge that sovereignty was never ceded. Find other JOY podcasts at joy.org.au  

The CAT Club presentsAn Audience withPAUL JONESNine top 10 singles (including two number ones) as a member of one of the iconic bands of the sixties and also as a solo singer and so much more . . .Paul Jones was the original frontman of Manfred Mann from 1962 to 1966 and co-wrote the signature tune for Ready, Steady, Go! Paul, who is also one of the great harmonica players, was at the forefront of the sixties pop revolution, with million-selling and number one records alongside the likes of The Kinks, The Beatles, The Rolling Stones, The Yardbirds and The Animals.After leaving Manfred Mann, Paul scored solo hits and embarked on a successful acting career. He formed the highly regarded Blues Band in 1979 and toured and recorded with them for over forty years. Paul presented The Blues Show on BBC Radio 2 from 1986 to 2018. With the Manfreds, he still is touring alongside various members of Manfred Mann.In the interviewer's chair was JASON BARNARD from The Strange Brew Podcasts..This event took place on 19th June, 2025 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire.This podcast has been edited for content and for copyright reasons.To find out more about the CAT Club please visit: www.thecatclub.co.ukHappy Trails.

To celebrate 200 episodes of Hide and Seek, we're diving into our most iconic, outrageous, and heartfelt moments. From douching advice to sex injuries, underwear theft to cloning willies and radio porn, this episode is a wild ride through queer sex history.   Follow Tim instagram.com/beatzradio/ Follow Jon instagram.com/barbarylion/ Follow Craig instagram.com/white.dragon.339/ Follow Michael linktr.ee/muchmoreamusing  This episode was recorded on the lands of the Yalukut Weelam clan of the Boon Wurrung peoples. We pay our respects to their elders, past, present and emerging, and acknowledge that sovereignty was never ceded. Find other JOY podcasts at joy.org.au

Can you really come again… and again… and again? Hell yes you can! DB is here to break down the science of multiple orgasms and what actually helps make it happen (hint: it's not just willpower).  Mentioned in this ep: The Orgasm Gap with Laurie Mintz Three Secrets to a Thriving Sex Life with Dr. Emily Nagoski Toy recs to get you there again and again and again: The Womanizer Premium Lela Ena Remember to use code SEXEDWITHDB for 15% off! ABOUT SEASON 12Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

Dear Wonderful Readers,We did it! The first draft of The Sex Journal is done, and headed to the printers today! It's 140 pages long, so my estimate of 70 sheets at the printers was bang on. As I write this, I realize I'm probably going to regret not having any reader feedback before printing the first draft. Still, I look forward to learning that lesson the hard way when I return in August to examine the samples.It's not too late to sign up to be a beta reader of The Sex Journal! My offer still stands:* If you're a free subscriber, you can get 3 months of Misseducated's paid tier comped in exchange for your feedback* If you're a paid subscriber, you'll get a discount on the final journal once it's releasedI'll be back in late August with more updates about starting preorders. If you're truly dying to get your copy and don't want to miss a second of updates, you can respond “Preorder!” to this email, and I will put you on a special separate list.Share this with your favorite person…Let me just say, if there's one thing I've learned through this process, it's that creating a journal is WAY easier than writing a novel. WAY easier. It took me two years to complete the first draft of my novel, and 14 years to publish it. I completed the first draft of the sex journal in about a month. It's insanely faster. I'm grateful for that.A month ago, I looked at this pretty massive mountain in front of me and I thought: how the f**k am I going to do this? Well, it's been quite the creative rollercoaster, but somehow I pulled it together. For anyone who wants to try this at home, I'd recommend making your project your full-time job temporarily, picking an absolutely ridiculous deadline that you're not sure you can meet, and of course choosing to focus on a project that you are actually dying to do. I think the fact that I want this sex journal to exist and I have a seriously limited amount of time to create it before I go on holiday / run out of money has been the perfect recipe for getting s**t done. It enabled me to blast through any and all gatekeepers and limitations that were standing in my way.Now, I am not going to lie. I'm absolutely fried right now. I really wanted to write a funny, actually useful article for you today, but my brain is literally shutting down. On this home stretch, I've started sending emails to potential clients with spelling errors! For me, this is a small travesty and a sign. I can't go on.The good news is that I have SO many fun upcoming articles planned for you. Here are a few hints:* “My 5 Kinks and Why”: I want to revisit a classic topic and delve deeper into the quirky psychologies I developed in my childhood. Thank you, Freud!* “The Hot Gal's Guide to Sex in Mexico City”: Echoing my piece about dating Mexican men, I'm creating a guide for the girls, the gays, and the theys (à la Blakely Thornton) based on my experiences of living in Mexico City for three years as a single person wedged in the dating scene. This guide will be full of local lore that you can't find anywhere else, including which locations, bars, restaurants, and gyms you should frequent, depending on the type of person you're looking to bang. This piece makes me smile every time I think about it.* “We are the village”: This will be a more tender piece about how we can shamelessly support the young women in our lives with issues like sex, birth control, and healthy romantic relationships. I'll be coining an unscientific term of “life auntie”, a role which I've accidentally taken on. It's an ode to remembering that we matter when it comes to being there for younger people. It's also an antidote to the insanely uncertain shitstorm of the world right now, because it's a direct impact we can have on the lives of others and something we can control.* Do you have a burning question or a topic you want me to write about? Leave me a comment, a DM, or a quick response to this email, and I'll make it happen.The bad news is that I am indeed going on holiday for almost a month. You can expect the next Misseducated update from me on Tuesday, August 19th. I know that is an age away. I will miss you because I love writing this newsletter. But the truth is that aside from the week-long creative orgasm of my sex journal, I have been struggling creatively. This is because of at least two major factors:* I started using AI to help me edit my work. I started paying for Claude and ChatGPT, and while it's been helpful to tighten my paragraphs for clarity and make it easier to find research articles for The Sex Report, for example, I feel like I've lost the way. I'm obviously a bit of a writing purist, so I only use AI to help me edit my work, but still. I don't like the quality of the things I've been producing with its help. Looking back, I don't like it's ideas of what's optimal. I need to take time away from the internet. Luckily, I'm going to the mountains of California with literally nothing but my own thoughts to nag me for almost two weeks. It's the reset I need. Wish me luck.* I've started stressing about growth metrics too much. Just like the type-A Wharton graduate I am, or like anyone who's hooked on social media, I've been checking engagement, clicks, views, subscriptions, and all that crap of this newsletter for a few months now. I've noticed some trends as to what people like, but it's started to consume me. I've literally forgotten about the fun things that I want to write about. I've become too focused on the outcomes, as opposed to just enjoying the creative process. According to Rick Rubin, James Clear, and a variety of modern-day gurus, obsessing about the outcomes and the performance of your work is literally the worst thing you can do, for your work itself and your creativity. And I've got a pretty heavy case of the outcomes obsessions. Here are some relevant Rick Rubin quotes:“The best work is the work you are excited about.”“Your trust in your instincts and excitement are what resonate with others.”“If we second-guess our inner knowing to attempt to predict what others may like, our best work will never appear.”And of course, it's all exacerbated by comparing myself to other Substackers! Social comparison is the worst. I still haven't learned my lesson. So a break from social media will also hopefully help me with that. The point is, I'm hoping a couple of weeks driving around in the Western United States, and retreating to the mountainous forests of Northern California, will help me remember why the hell I am doing this and what kind of writing excites me the most. I am not giving up.Anyway, I want to say a big thank you for reading and being here with me for this ride! Your support helps to keep me going, reminds me to keep learning, and keeps me honest in the process.I hope you all have a relaxing, creative couple of weeks, and I can't wait to connect with you again soon once I'm back!Lots of love,Tash

Send us a textSingles Going Around- The Kinks 1966-1968DandyHouse In The CountryDavid WattsNo ReturnThe Village Green Preservation SocietyPicture BookHoliday In Waikiki Little Miss Queen Of DarknessLove Me Till The Sun ShinesLazy Old SunJohnny ThunderLast Of The Steam Powered TrainsSunny AfternoonI'll Remember Afternoon TeaWaterloo SunsetAnimal Farm Village GreenWicked Annabella

Journey back to the summer of 1980 through a recently listened to hour of WPLJ radio from July 18, highlighting the soundtrack of that era and the memories it evokes.• Exploration of a genuine hour of WPLJ radio from July 18, 1980• Discussion of Willie Nelson's "On the Road Again" from the movie Honeysuckle Rose• Reminiscing about my Top 5 Favorite All-Time Live Album, The Kinks "One for the Road"• Connections between Caddyshack's release and Kenny Loggins' hit "I'm Alright"• Memories of seeing the B-52s perform in Atlanta in 1990• Jimmy's special segment on This Is Spinal Tap's enduring comedy legacy• Reflection on "Teach Your Children" by Crosby, Stills, Nash & Young “Music In My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldPlease like and follow the Music in my Shoes Facebook and Instagram pages Contact us at musicinmyshoes@gmail.comSend us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Pat welcomes legendary guitarist Dave Davies to the Zoom Room to discuss his career in music and promote the new Kinks collection "The Journey: Part 3."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

DB sits down with sexologist and educator Goody Howard, MSW, MPH to shake up everything you thought you knew about orgasms. From 20+ ways to come (yes, 20!) to the cultural myths that shut us down, they're talking about how to reconnect with your body, tune into sensuality outside the bedroom, and try to achieve at least one of the 20 different orgasm types. Consider this your official invite to get curious and way more orgasmic this summer. ;) GUEST DETAILSGoody Howard, MSW, MPH is your favorite sex educator's favorite sex educator. She shifts the culture forward by expanding society's understanding of sexuality & health, while connecting people to pleasure with confidence! Goody has been a Sex Ed Superhero for almost 20 years and has committed her life's work to normalizing sexuality as a social determinant of health. Get to know Goody Howard by connecting on social media (@askgoody everywhere "Likes" can be clicked) or joining the FREE Goody Gang email list at askgoody.com. ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

Andrew Constantine is a renowned British classical conductor who is celebrated for his powerful artistry and passionate interpretations. He's the Music Director of the Fort Wayne Philharmonic and the Reading Symphony Orchestra. He has conducted major orchestras across Europe and the United States, including the Philadelphia Orchestra, the Baltimore Symphony and the BBC Philharmonic.My featured song is my reimagined instrumental version of “You Really Got Me” by The Kinks from the album The Queens Carnival by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH ANDREW:www.andrewconstantine.com______________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

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

Welcome back to the Beginner Guitar Academy podcast with your host, Paul Andrews! In this second instalment of the British Guitar Music series, Paul takes us on a journey through the iconic 1970s—a decade defined by stadium rock, legendary guitarists, and the birth of British heavy metal. If you missed last week's trip through the swinging '60s and the British Invasion, don't forget to catch up and check out the new riffs added to the Academy from The Rolling Stones, The Who, and The Kinks.This episode explores the rise of guitar heroes, how massive riffs filled arenas, and the revolutionary new sounds that came from some of the UK's most influential bands. Get ready for practical tips, classic riffs to try this week, inspiration from rock greats, and a peek at what's happening inside the Beginner Guitar Academy community.What's New in Beginner Guitar Academy?New Riffs Added:“Paint It Black” – The Rolling Stones“Substitute” – The Who“All Day and All of the Night” – The KinksAll available now in the Academy's riff section, complete with a new lesson format: riff introduction, playthrough, breakdown, and various practice speeds with scrolling tab.Main Topics Covered1. The Rise of Stadium Rock1970s British bands like Led Zeppelin, Queen, and Pink Floyd redefined rock.Led Zeppelin / Jimmy Page: Riff mastery (“Whole Lotta Love”), alternate tunings, innovative studio layering.Queen / Brian May: Homemade “Red Special” guitar, unique tone with a 6 pence coin, lush harmonies (“Bohemian Rhapsody”, “Tie Your Mother Down”).Pink Floyd / David Gilmour: Emphasis on note choice, emotion, and phrasing (“Comfortably Numb”).2. The Birth of British Heavy MetalHow bands like Black Sabbath created darker, heavier sounds.Tony Iommi (Black Sabbath): Overcame injury, invented prosthetic fingertips, dropped tunings (“Paranoid”, “Iron Man”).Black Sabbath's recent final show in Birmingham—an epic event featuring metal legends.Deep Purple / Ritchie Blackmore: Classical influence (“Smoke on the Water”), a must-know riff for beginners.Judas Priest: Twin guitar harmonies and high-energy metal paved the way for the 80s.3. Beginner Tips for Playing 70s Rock & MetalPower chords, bending, hammer-ons, pull-offs—all essential techniques rooted in the 70s.Metal riffs often use simple power chords, making them great for beginners.4. Homework – Riffs To Practice This Week“Smoke on the Water” – Deep Purple: Learn it on one string, then progress to more advanced versions.“Iron Man” – Black Sabbath: Excellent for practicing power chords.“Tie Your Mother Down” – Queen: Coming soon to the Academy.Resources & LinksBritish Music Spotify Playlist: check it out here: https://open.spotify.com/playlist/1c4k92MPjuDPXVSPnHLz19?si=315535319c304f89Workshop Section:Learn five awesome metal riffs (including Black Sabbath, Megadeth, Pantera, Iron Maiden, Slayer).Power chord, bending, hammer-on, and pull-off workshops for beginners.Beginner Guitar Academy Membership:Try out all lessons, workshops, community support, and more for just $1 for 14 days at beginnerguitaracademy.com.Community QuestionWhich 1970s British rock or metal guitarist inspires you the...

You didn't have to wait long this week for the new episode - but listen to how weary The Kinks are in 1965's dreamy "Tired of Waiting For You." A languid version of the slashing riffs Dave Davies had heretofore been known for! Later that year, New Zealand's Rayders raided the platter-racks with their version of the tune. Detroit's Apostles came out with a fairly funky version with cool drummin' and some totally psych church organ. Things just got weirder when Nancy & Lee released their rendition: it's pretty Prozac-y! Finally, Bill Frisell, the man Erik & Weldon watched a few weeks back, is heard playing a very space-age instro version. It's your life, you can pick what you want!

This week on the Erotic Awakening Podcast, @dananddawn interview Doctor Bubbles and Kit Kat Ann on Forced Praise Kink……  ……plus, they mention a podcast listener that contacted them after reading The Polyamory Toolkit and asked about Poly friendly twelve step meetings ….which lead them into chatting about RITL, Recover in the Lifestyle.  *there is also a content warning on this episode → Content warning— this show includes  mention of suicidal ideation, suicidal action, and self-injurious behaviors. Please take care of yourself and skip this episode if needed   Links mentioned on the show: RITL (Recover in the Lifestyle)  www.ritl.org Doctor Bubbles/Kit Kat Ann         https://fetlife.com/DoctorBubbles Midwest Kink and Leather          https://mwlka.fun/ Naughty Revival https://naughtyrevival.com/ MSDB's 24th Annual Bizarre Bazaar   https://fetlife.com/events/1723842   Enjoy!!! Dan and dawn     Discounts on our books, free eBooks, weekly exclusive content, and support Dan & dawn   https://www.patreon.com/eroticawakening   *****************************************   Find us on YouTube, Discord, Facebook, TikTok; check out our Podcast, our books, calendar, and sign up for our Monthly Newsletter (and get your shoutout on the podcast) on our website!   Fetlife - @dananddawn  Instagram - @eroticawakening X - @dananddawn Youtube - @eroticawakeningpodcast TikTok - @eadananddawn Newsletter - www.eroticawakening.com  

Coping with mismatched libidos in your partnership? You are sooo not alone! DB breaks down why desire isn't just a switch you can flip, how stress and hormones play a role, and offers some evidence-based advice about what to do when you and your partner aren't in sync.  Mentioned in this episode: Initiating Sex with Confidence with Whitni Miller ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

I'm not even going to sugar coat this one. Do you like to read smut? If yes, proceed. If not...this won't be for you. Join us as we blaze a trail through our AO3 bookmarks and recently read lists to bring you the spicy recs. The Google Doc on this one is EPIC!!!! Kinks galore, tropes on tropes, how many pairs are there?? I solemnly swear that we are up to no good. This mischief is unmanaged. You can find Ipek on TikTok and Instagram, follow her for all the recs. The Dramione Effect is on Instagram, TikTok, and Bluesky.**JK Rowling created and owns the Harry Potter series. We do not own the rights to the series or any of its characters. This podcast presents diverse views and opinions, aiming to foster a fun discussion about our shared love for the Dramione fandom. Fanfiction is an entirely voluntary pursuit and is not meant to be reviewed as a published work.Please do not engage in buying or selling fanfiction. It is illegal and also assholery.Warning: This episode contains explicit adult content. Please be advised.

In the intervening four years since Olly Knights first joined me, the band has been on something of a creative roll; two fine albums, a successful acoustic tour and something of a collective raising of the game. To my mind, this is how established bands of longevity should operate; to hell with the mainstream and gatekeepers, just do the very best work you can and keep those fans happy. The new Turin Brakes album Spacehopper saw the band going back to the start - recording the album at Konk, the recording studio founded by The Kinks in 1973 and where Turin Brakes recorded their classic debut The Optimist. This of course, was in contrast to the homely recording of post-pandemic Wide Eyed Nowhere, still a fine record but very different in character to Spacehopper. This time around too, the lead single from the new album, “The Message”, had some much deserved radio play on BBC Radio 2. But still, no hits to speak of, and the album reached the UK chart for just a fleeting moment. A hit would be nice for this band, but Ollie Knights remains more philosophical than ever:“You take the wins where you can. Our happiness levels are less influenced by “success” in the mainstream areas. We've finally learned after decades of smashing up against the wall. We get over it very quickly if something is disappointing in the mainstream realm. That's the bit you were not thinking about when you were dreaming about a career in music as a kid”. Indeed. For bands of Quiet Legend, still making excellent records and blowing the roof off venues live - it's time to build your own momentum. There's a lot to learn from Turin Brakes. To be contrarian for a moment though, this band may still get their moment. When you consider that those early classic hits (remember “Pain Killer” was a top five UK hit in the summer of 2003, whilst the band's first chart single “The Underdog (Save Me)” has become an evergreen classic) are still relatively understreamed. The band's biggest song on Spotify remains the 2016 ballad Save You with just over seven million streams. Sooner or later, that is bound to change, but until it does, the band continues to thrive organically, with or without the accolades. Their momentum is such that they are back in a place where it's still exciting after 25 years. “There is always something on the workbench. The chemistry between me and Gale and between the four of us - without those relationships, forget it. We look forward to getting together and playing, we're excited about it. And when people come to see us live it's as if they want to come and watch the relationships happen”. Turin Brakes are the indie folk band that rocks. Good luck to them.Support the showGet more related content at: https://www.songsommelier.com/

Oasis haben gerade ihre triumphale Rückkehr auf die Bühne begonnen – aber ist die Reunion der Gallagher-Brüder echt oder nur eine gut inszenierte Show? Gab es Vorbilder? Ja, die Brüder Ray Davies & Dave Davies von den Kinks haben sich schon 30 Jahre vor Liam & Noel die Birne eingehauen. Und Henning & Till? Was ist mit ihren Geschwistern? Aufklärung bringt wie immer die neue Folge von Musik ist Trumpf: Geschwister! Die Songs der Sendung: 1) Junior´s wailing (live) / Status Quo2) All day and all oft he night / The Kinks3) Planet Claire / The B-52´s4) Signed, sealed, delivered (I´m yours) / Steve Wonder5) Radio / The Corrs6) Rock ´n´ Roll Star / Oasis7) So long / The Donots8) Father & Son / Yusuf/Cat Stevens Eine Produktion von Hypecast Productions Hosted on Acast. See acast.com/privacy for more information.

Happy Independence Day!  This week, Steve picked two sets of independence and freedom songs.  Artists played in this week's show are: The Kinks, The Shins, M83, The Comsat Angels, Lloyd Cole, Oasis, The Rolling Stones, The Bangles, Old 97's, Roxy Music, The New Pornographers, The Horrors, Go-Go's, Tears For Fears. AI-free since 2016! On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

This week, Paul kicks off a special month-long series delving into British guitar music, decade by decade. In this episode, the focus is on the iconic 1960s British Invasion — exploring how UK bands like The Beatles, Rolling Stones, The Kinks, and The Who reshaped the guitar world, and what beginner guitarists can take from their classic styles and songs.What's Inside Series Preview: All of July, Paul is exploring the evolution of British guitar music:July 4: 1960s British Invasion (this episode!)July 11: 1970s Rock Legends & British MetalJuly 18: 1980s British Punk & New WaveJuly 25: 1990s/2000s Brit Pop & Indie RevivalSpotify Decade Playlists: Check the show notes or visit bgapodcast.com/241 for the accompanying playlist and blog post for this episode.Academy Updates:Live Q&A recording from last weekend is now available for members (video & audio formats).This month's Academy Show covers all new June content, member shout-outs, and what's coming in July.Mark celebrated his three-year “guitarversary”!

Initiating sex can feel vulnerable, awkward, or even downright scary—especially if you were socialized to anticipate everyone else's needs before your own. This week, DB is joined by the one and only Whitni Miller (aka BDE Moves), queer couples intimacy coach, to break down what gets in the way, how to build confidence, and why getting turned down doesn't have to be a bad thing. We're talking perfectionism, eroticism, pleasure, and how to get out of your head and into your body. Let's get into it! GUEST DETAILSWhitni Miller is a queer couples intimacy coach helping people build deeper connection, playful pleasure, and authentic desire. Follow @bde.moves on Instagram for tips, real talk, and tools to transform your intimate life. ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

Nueva entrega de la serie mensual donde recordamos singles que alcanzaron su puesto más alto en el Billboard Hot 100 en este mismo mes de hace 60 años.Playlist;(sintonía) HORST HANKOVSKI “A walk in the black forest” (top 12)THE ROLLING STONES “(I can’t get no) Satisfaction” (top 1)THE YARDBIRDS “For your love” (top 6)THEM “Here comes the night” (top 24)THE KINKS “Set me free” (top 23)IAN WHITCOMB and BLUESVILLE “You turn me on (turn on song)” (top 8)WAYNE FONTANA and THE MINDBENDERS “It's just a little bit too late” (top 45)HERMAN’S HERMITS “(What a) Wonderful world” (top 4)TOM JONES “What’s new pussycat?” (top 3)JOHNNY RIVERS “Seventh son” (top 7)THE GUESS WHO “Shakin’ all over” (top 22)ELVIS PRESLEY with THE JORDANAIRES “(Such an) Easy question” (top 11)THE FOUR SEASONS “Girl come running” (top 30)THE MARVELOUS “I do” (top 37)THE MARVELETTES “I’ll keep holding on” (top 34)BILLY STEWART “Sittin’ in the park” (top 24)JACKIE DESHANNON “What the world needs now is love” (top 7)Escuchar audio

Buckle up—this one's wild. Kat joins me for a no-holds-barred recap of Sugarpalooza VI, and yes, the rumors are mostly true. We kicked off the weekend in Arizona with a little pre-party at a local sex club (because of course we did), then turned up the heat with Saturday's formal mixer. But the real chaos? That came on Sunday—with sexy party fits, private suite views of Shakira, and party buses that tested even the most seasoned sugar babes.We met jet-setters from all over the globe, danced until our heels came off, and somehow made it through a weekend full of wild stories, new friendships, and more than a few unforgettable moments.Later in the episode, Kat spills all on her latest Sugar Dating adventures in Australia—think hot accents, unexpected offers, and sugar culture with a down-under twist.Warning: May cause FOMO.Become a VIP Supporter of the show at www.patreon.com/secretsofasugardaddypodcastShare your stories, questions, and comments at www.secretsofasugardaddy.comFollow us on Instagram at www.instagram.com/secretsofasugardaddySubscribe to our YouTube channel at www.youtube.com/@secretsofasugardaddy

Strap in for a wild ride with Weezy WTF and Mandii B, hosts of Decisions Decisions podcast and authors of their debut book No Holes Barred, as we discuss all things sexual exploration. We talk about open relationships – what “cheating together” means, jealousy as a turn-on, and what people don't understand about being open/polyamorous. We also discuss threesomes, cucking (and light cucking by way of telling your partner about other sexual experiences), being a side chick, drunk sex, and on the deeper side, settling for toxic relationships and getting out of threatening situations with men. And we ask them a burning question – “Are you actually friends?” Before Mandii and Weezy join us, we're talking about hooking up at work and sharing our past experiences, previewing our upcoming European trip, and we have an Azul update (don't worry, he's fine). Enjoy!  Follow Mandii on Instagram @fullcourtpumps and Weezy @weezywtf, listen to their podcast Decisions Decisions, and get their book No Holes Barred.  Follow us @girlsgottaeatpodcast, Ashley @ashhess, and Rayna @rayna.greenberg. Visit girlsgottaeat.com for more. Thank you to our partners this week: Wix: Go to wix.com to start building your website. Bilt: Get points by paying rent at https://joinbilt.com/GGE. Quince: Get free shipping and 365-day returns on your next order at https://quince.com/GGE. Simply Pop:  Go to https://cokeurl.com/simplyPOP to find out where you can try Simply Pop. Nutrafol: Get $10 off your first month's subscription + free shipping when you subscribe at https://nutrafol.com with code GGE10. Hungryroot: Get 40% off your first box + get a free item in every box for life at http://hungryroot.com/gge with code GGE. 

Send me a text and please visit www.livefrommydrumroom.com My guest is legendary British drummer, historian and author, Bob Henrit. In this episode, we discuss Bob's Parkinson's diagnosis and how he's managing it, Keith Moon, Simmons Drums, Hayman Drums and much more. Bob is a noted drum historian and a National Treasure. So come along for the ride and thanks for watching and listening! Please subscribe! https://www.amazon.com/Banging-Bob-Henrit/dp/0957305834Check out Bob's episode from December 2021 https://youtu.be/XsM5hPNwkRA?si=8hjzrZ2JF5c-94-lLive From My Drum Room T-shirts and Hoodies are now available! Visit https://livefrommydrumroom.com for details!Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

What happens when one guitar god pays tribute to another… and it backfires? In this episode, we dive deep into the surprising fallout between Eddie Van Halen and Eric Clapton — two of rock's most legendary players. It all started with a jam session in 1983, featured on Brian May's Star Fleet Project, where Eddie and Brian recorded a slow blues track called “Blues Breaker” — dedicated to Clapton himself. But Clapton hated it. He called it “horrible.” He said Eddie and Brian “can't play” the blues. And he delivered a scathing verdict: “If he was that tuned into me and missed that point… then he missed the whole point.” This video explores the tension between technical brilliance and emotional expression, the strict “rules” of blues as Clapton saw them, and how a friendship built on admiration ended with hurt feelings, harsh words, and never speaking again. We also revisit Dave Davies of The Kinks and his own complicated feelings about being imitated — including a jab at Eddie Van Halen's version of “You Really Got Me.” From tribute to tension, from respect to rivalry — this is the untold story behind one of rock's coldest guitar feuds.

DB breaks down how to talk to your partner about bringing sex toys into the bedroom to get more pleasure. She shares stats on who's using sex toys, why queer couples are ahead of the game, and easy ways to start the convo with your partner. Plus: top sex toy recs and a playful challenge to try at home. Studies mentioned in this episode: Do Sex Toys Make Me Satisfied? The Use of Sex Toys in Denmark, Norway, Sweden, Finland, France, and the UK The Results of the Magic Wand Wellness Study Are In! Toys for couples mentioned in this episode: Magic Wand Rechargeable: Great for external stimulation during all kinds of play. Works well in both solo and partner contexts. And, yes, our study backs up its pleasure-boosting stats! We-Vibe Chorus: A wearable toy designed for couples to use during penetrative sex. Remote-controlled, adjustable, and great for mutual stimulation. Strap-ons and Harnesses: Incredible for exploring power dynamics, switching roles, and opening up new kinds of connection—great for queer couples and for straight folks who want to learn from queer innovation. ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdb Threads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Sarah had a run-in at Home Depot where she was offered free plants, and she said no! And now she has regrets for being so honest and having integrity. Susie gives a tribute to her beloved Brian Wilson. We find out why Amelia Earhart wasn't actually a great pilot (seems like the disappearance should've tipped us off), but instead was just ahead of her time in...influencing. Susie explains how Amelia's famous flight has disturbing similarities to the Titan submersible tragedy. We learn about a woman who donated her body to science, but ended up blown to bits by the military. We hear why a funeral home was sending people remains of the strangers instead of their loved ones. We discuss an Olympian who has been kicked off the canoeing team for having an OnlyFans account and Susie thinks she should start an account for people whose kink is being insulted.Our Favorite Picks10:37 - Susie shares her love for the amazing Brian Wilson.18:58 - New Yorker article about Amelia Earhart30:11 - Man donated his mother's body to alzheimer's research, only to find out it was later sold on, and blown up!39:13 - Sarah's airfryer analogy45:15 - Olympic canoer pays for training by showing off his skin-paddle on Only Fans50:13 - Gen-Z and their dislike for opening a tab at the bar54:24 - Susie considers starting an Only Fans accountThe End... You're welcome.Connect with us on social media:BCP Instagram: https://www.instagram.com/braincandypodcastSusie's Instagram: https://www.instagram.com/susiemeisterSarah's Instagram: https://www.instagram.com/imsarahriceBCP on X: https://www.x.com/braincandypodSponsors:Go to https://cozyearth.com and use code BRAINCANDY for 40% off best-selling temperature-regulating sheets, apparel, and more.Save 20% Off Honeylove by going to https://www.honeylove.com/braincandy #honeylovepodSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Season 12 is all about PLEASURE and we're kicking things off with a juicy one! This week, DB is joined by Dr. Candice Nicole Hargons—licensed psychologist, sex researcher, and pleasure activist—to talk about what happened when 1,000 people with masturbate for science! The Magic Wand Wellness Study is the first study of its kind to look at how daily masturbation impacts things like sleep, stress, focus, confidence, and body image, and the results were amazing. We talk about why solo pleasure is so often ignored in wellness culture, what DB learned from doing the study herself, and why taking time to get yourself off might actually make you feel better in your body, your brain, and your relationships. If you've been feeling disconnected from your pleasure — especially solo pleasure — this is your gentle nudge (or loud, vibrating one) to come back to it! GUEST DETAILS Dr. Candice Nicole Hargons is an award-winning associate professor at Emory University's Rollins School of Public Health, where she studies sexual wellness and liberation. She has published over 80 academic articles and has been featured in popular media, including Cosmopolitan, Wall Street Journal, New York Times, Essence, Ebony, and the Huffington Post. Her debut book, Good Sex: Stories, Science, and Strategies for Sexual Liberation was published February 2025 by Row House. ABOUT SEASON 12 Season 12 of Sex Ed with DB is ALL ABOUT PLEASURE! Solo pleasure. Partnered pleasure. Orgasms. Porn. Queer joy. Kinks, sex toys, fantasies—you name it. We're here to help you feel more informed, more empowered, and a whole lot more turned on to help YOU have the best sex. CONNECT WITH US Instagram: @sexedwithdbpodcast TikTok: @sexedwithdbTwitter: @sexedwithdbThreads: @sexedwithdbpodcast YouTube: Sex Ed with DB SEX ED WITH DB SEASON 12 SPONSORS Lion's Den, Uberlube, & Magic Wand Get discounts on all of DB's favorite things here! GET IN TOUCH Email: sexedwithdb@gmail.comSubscribe to our BRAND NEW newsletter for hot goss, expert advice, and *the* most salacious stories. FOR SEXUAL HEALTH PROFESSIONALS Check out DB's workshop: "Building A Profitable Online Sexual Health Brand" ABOUT THE SHOW Sex Ed with DB is your go-to podcast for smart, science-backed sex education—delivering trusted insights from top experts on sex, sexuality, and pleasure. Empowering, inclusive, and grounded in real science, it's the sex ed you've always wanted. ASK AN ANONYMOUS SEX ED QUESTION Fill out our anonymous form to ask your sex ed question. SEASON 12 TEAM Creator, Host & Executive Producer: Danielle Bezalel (DB) (she/her) Producer: Sadie Lidji (she/her) Communications Lead: Cathren Cohen (she/her) Growth Marketing Manager: Wil Williams (they/them) MUSIC Intro theme music: Hook Sounds Background music: Bright State by Ketsa Ad music: Soul Sync by Ketsa and Soul Trap by Ketsa

Our friend from across the pond Steve Sumner, host of the McCartney in Goal podcast, returns to educate us on Cockney rhyme slang while having a chinwag about the 1971 release Muswell Hillbillies from The Kinks.  Rock On!Theme music "Trance" by The Steepwater Band, used by permission.  Check out the new single and follow them @steepwaterbandWebsite: https://ridiculousrockrecordreviews.buzzsprout.comContact us! e-mail: ridiculousrockrecords@gmail.comFacebook: https://www.facebook.com/R4podcastTwitter/X: @r4podcasterInstagram: https://www.instagram.com/r4podcaster/