Podcasts about The Kinks

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

This week's tune is a pop-psych confection called "Mr. Personality Man" - and there's only three recorded versions, so you'll hear 'em all if you tune in. The original is from The West Coast Delegation, a band confusingly from England. It's got a pretty heavy backbeat reminiscent of Motown or "Pretty Woman" and it doesn't let up. The lyrics deal with a charming but dangerous rogue, so we think the song might be inspired by "David Watts" by The Kinks (not played). The Foundations are the next personalities to tackle the tune - you might remember them from "Build Me Up Buttercup" fame. They slow the tempo down, add horns, and jauntify the song by about 75%. The third and final candidate is from Sweden's Slamcreepers, one of the best band names of all time - and Weldon has exhaustively researched the name's meaning. Fans of Swedish linguistics rejoice! Their version is fun but singer Bjorn Skif (later to star in Blue Swede's megahit version of "Hooked on a Feeling) had an off day. Get out your Lucky Charms and listen!!

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

This week, new releases from Garbage, Fencer and Kim Gordon. Plus faves from The Godfathers, Kinks, Muddy Waters, Babyshambles and RATM. Roll up a couple for The Duane Strain. Rock. Mock. Dance. Laugh.

The Kinks once played a concert organized by serial killer John Wayne Gacy? It's true! This story and much more with Andrew Craneman, author of The Rock And Roll Almanac: A Day-By-Day Journey Through 70 Years of Legendary Music History.Purchase a copy of The Rock And Roll Almanac: A Day-By-Day Journey Through 70 Years of Legendary Music History Follow The Rock And Roll Almanac/Andrew CranemanBlueskyFacebookInstagramX---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich: BLUESKY FACEBOOK INSTAGRAM TIKTOK X Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

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/

Before the grunge movement of the 90's, and before the punk movement of the 70's, there was the garage band phenomenon of the 60's.  One of the forerunners of both punk and grunge from this garage band period is Tacoma Washington's The Sonics.  Their classic lineup consisted of Rob Lind on harmonica, vocals, and sax, Gerry Roslie on organ, piano, and lead vocals, Larry Parypa on lead guitar and vocals, Andy Parypa on bass, and Bob Bennett on drums.  The Sonics had a fast, hard-edged sound similar to The Kinks, and performed with a speed that would inspire punk rock.Boom is their second studio album from the band, released in February 1966.  As with many songs from the mid-60's, all the songs are short.  But with a non to the future punk movement, many songs are even shorter, clocking in at just over 2 minutes.  The Sonics take their name from Boeing, the aviation company also based in Tacoma.  The name of the album is likely a play on words for the "sonic boom," the thunderous sound produced by an aircraft exceeding the speed of sound.  The music on this album is energetic and abrasive, and while some fuzzy guitar distortion is included the overall feel is raw with little extra production.The classic lineup would fall apart by 1968, with members leaving to join other bands, attend college, or in saxophonist Rob Linds' case - become a fighter pilot in the Vietnam War.  Gerry Roslie would be the sole remaining original member with new members jumping in and out of the band until 1980.  Wayne brings us this forerunner of punk and grunge for this week's podcast. CinderellaThe lead-off song from the album was an original piece written by Gerry Roslie.  The lyrics relay a boy meeting a girl at a bar, having a great time drinking and dancing, and just when things start to get going well, the girl is gone by midnight.  He's Waitin'This song starts the B-side of the album, and was also a Gerry Roslie original.  This "boy loses girl" song is not a happy one!  The lyrics reflect the boy's thoughts on being burned by a girl.  Now he is telling her that Satan is waiting for her.  "It's too late, you lied, now you will fry." Louie, LouieRichard Berry wrote and performed this song in 1957 with The Pharaohs, and covers of this song are common with garage bands.  The Sonics' version is quite fast, and modifies the pronunciation from "Lou-ee Lou-ee" to "Lou-eye Lou-way" in the chorus.  It is hard to separate this song from the thoughts of fraternity parties and the comedy movie "Animal House." Shot DownThe song that closes out the album laments about striking out when approaching a girl.  "I play a guitar.  I even drive a brand new car.  Big man in town, I've been shot down."  ENTERTAINMENT TRACK:Theme from the motion picture "The Rare Breed"This western starred James Stewart and Maureen O'Hara and was one of the first films scored by the now-legendary composer John Williams. STAFF PICKS:Crying Time by Ray CharlesBruce leads off the staff picks with the lead single and starting track to Ray Charles' album of the same name.  The song was originally performed by Buck Owens in 1964, and Charles kept the country feel while taking the cover to number 6 on the Billboard Hot 100.  He won the Grammy Awards in 1967 for Best R&B Recording and Best R&B Solo Performance for this track.It's a Man's Man's Man's World by James BrownLynch brings us a song that takes its name as a play on the name of a 1963 comedy film, "It's a Mad, Mad, Mad, Mad World."  The minor key track has lyrics decrying the chauvinism of society where all the work of modern civilization are attributed to men, but it would all "mean nothing without a woman or a girl."  Brown recorded the song in only two takes, and it would become a staple of his live shows for the rest of his career.Secret Agent Man by Johnny RiversRob features a surf rock song originally developed as the opening intro to the U.S. spy television series "Secret Agent," which aired from 1964 to 1966. The ditty became popular, and Rivers developed it into a full single.  The song would go to number 3 on the Billboard Hot 100, becoming both a signature song for Rivers and a rock standard for future bands and shows.Lies by The KnickerbockersWayne's closes out the staff picks with a song from an American band deliberately trying to mimic the sound of a British Invasion song.  The trio harmonies definitely give it a Beatles quality.  As you might expect from the band name, the Knickerbockers got their start in New Jersey as a garage band.  The track came together in about a half hour. COMEDY TRACK:The One on the Right is On the Left by Johnny CashThis comedy song about a band with incompatible political leanings amongst its members takes us out for this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

"And the cat's in the cradle and the silver spoonLittle boy blue and the man on the moonWhen you comin' home sonI don't know when, but we'll get together then, DadWe're gonna have a good time then"Miss my Dad every day, lets celebrate Fatherhood together on this week's Super Sounds Of The 70's. Joining us are Joe Walsh, Joni Mitchell, Buddy Miles, Cat Stevens, Elton John, Jackson Browne, Lee Michaels, Stephen Stills, Lenny Kravitz, Chewy Marble, Paul  Simon, Jimi Hendrix, David Crosby, Graham Nash, The Kinks and Neil Young. We'll also pay tribute to two key contributors to the "Soundtrack Of Our Lives", Brian Wilson and Sly Stone.

We pay tribute to two musical legends who recently left us - Beach Boys' Brian Wilson and Sly and the Family Stone's Sly Stone - while celebrating their revolutionary contributions to music history.• Brian Wilson, the creative genius behind the Beach Boys, died at age 82 on June 11, 2025• Wilson's incredible harmonies and arrangements made songs like "In My Room" and "Don't Worry Baby" deeply relatable and timeless• "Good Vibrations" demonstrates Wilson's production mastery, featuring different musicians recording sections over months• Sly Stone of Sly and the Family Stone also passed in June, leaving behind the legacy of psychedelic soul and multiple hit songs• A look back at The Smiths June 1985 concert at the Beacon Theater in NYC• We explore our favorite cover songs, from Johnny Cash covering Nine Inch Nails to The Fugees' version of "No Woman, No Cry" to Van Halen covering The KInks "You Really Got Me"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 and share the podcast with friends on your social media. Contact us at musicinmyshoes@gmail.com.Send 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!!!

"Tuning in the latest starFrom the dashboard of my carCruisin' at sevenPush button heavenCapturing memories from afarIn my car, that's why God Made The Radio"So please join me on one of God's best creations, Radio. Joining us on this week's "Whole 'Nuther Thing" are Tim Buckley, The Doors, Earth Opera, Talking Heads, Elton John, The Fixx, Kinks, Police, Cat Stevens, Dan Fogelberg, Eric Clapton, The Who, Cream, Shep & The Limelights, & Harry Chapin. Additionally, we'll pay our respects to 2 of our Musical Brothers, Brian Wilson & Sly Stewart & Fatherhood. 

While the average rock fan may not know the name Nicky Hopkins, the average rock legend knows the name very well and most likely worked with him at some point. A classically trained pianist, Nicky Hopkins would go onto play with the greatest rock bands of all time - The Beatles, The Rollings Stones, The Who, The Kinks - and that was just the 1960s!! Finally, Nicky has been chosen for induction into the Rock n Roll Hall of Fame! Though he did have some solo releases, Nicky found himself most at home in the studio working with other artists and helping to create some of the most iconic songs of all time. The eerie beginning to The Stones Monkey Man? That was Nicky. The whirling magic in She's A Rainbow? Nicky again. He ended up playing on over 250 albums and more than 1,000 songs, some of which were the greatest of all time. The Session Man is a documentary about his life and career growing up in the midlands, working his way to London, working with icons and then moving to America. This examination of the soft-spoken Hopkins illustrates his health battles throughout his life which would conspire to keep him off the road for much of his career and how he eventually found a home with other musicians in Northern California and eventually Nashville. Nicky Hopkins is an unsung hero of rock n roll and we're proud to shed a little light on the man and his amazing talent. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The Beatles, Stones, Kinks and Moodies at the 1965 NME Pollwinners show! A Ticket to Ride? Bring It On Home to Me! Also, the full British charts for April of 1965! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr . If you are looking for Beatles summer fun, join our friends at the Magical Mystery Camp!

While the average rock fan may not know the name Nicky Hopkins, the average rock legend knows the name very well and most likely worked with him at some point. A classically trained pianist, Nicky Hopkins would go onto play with the greatest rock bands of all time - The Beatles, The Rollings Stones, The Who, The Kinks - and that was just the 1960s!! Finally, Nicky has been chosen for induction into the Rock n Roll Hall of Fame! Though he did have some solo releases, Nicky found himself most at home in the studio working with other artists and helping to create some of the most iconic songs of all time. The eerie beginning to The Stones Monkey Man? That was Nicky. The whirling magic in She's A Rainbow? Nicky again. He ended up playing on over 250 albums and more than 1,000 songs, some of which were the greatest of all time. The Session Man is a documentary about his life and career growing up in the midlands, working his way to London, working with icons and then moving to America. This examination of the soft-spoken Hopkins illustrates his health battles throughout his life which would conspire to keep him off the road for much of his career and how he eventually found a home with other musicians in Northern California and eventually Nashville. Nicky Hopkins is an unsung hero of rock n roll and we're proud to shed a little light on the man and his amazing talent. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This one's a simple, calming mobility practice to get the kinks and crackly bits out.   Key practices include: supine hip mobilizers, seated arm mobilizers, sun salutations, crescent lunges, warrior 1&2 workshopping, and lunge-to-tree-pose.   Got questions? Want to chat 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.

Endelig sommer igen. Kom med tilbage og nyd sommerens hits dengang vi kørte på Puch 3 gear, havde trompet bukser, tøjet var jord farver, vi havde en blyant liggende ved siden af kassettebåndoptageren og tingene gik lidt langsommere. Lyt med til: Kinks, Beatles, Mungo Jerry, Showaddywaddy, Procol Harum, T.Rex og mange flere.

This is an Encore Presentation of my January 2025 interview with Mark Lettieri, a 5x Grammy winning guitarist, composer and producer. He is a Master of instrumental music. He's a member of Snarky Puppy and The Fearless Flyers, a Vulfpeck adjacent band, along with Cory Wong. He's recorded with Eryka Badu, David Crosby, The Jacksons, 50 Cent and many others. And he's released 9 albums as leader.Mark also was a guest artist on my recent single called “Moon Shot”. All Links.My featured song is my reimagined version of The Kinks' “You Really Got Me”. 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 MARK:www.marklettieri.com________________________ROBERT'S RECENT SINGLES:“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 

Oliver looks at tracks from the new album by Melbourne garage and surf rockers The Grogans. Plus, other favourite Grogans tracks, including a cover of The Kinks. Then, indie folk group Big Thief. Follow @asonicyouthpodcast on Insta and Facebook. This show is part of the Free FM 89.0 YOUTH ZONE. Made with support of NZ on Air.

Jefferson Hart and his stepdaughters Lila and Ella are Secret Monkey Weekend, a family band who were the subject of an Emmy Award-winning PBS documentary. Jeff plays guitar, Lila plays drums, Ella plays bass and all three provide wonderful vocals and harmony. The documentary tells the story of how the band came to be, through loss and heartbreak – but also of a family coming together and bonding over their love of music and their love for each other. Listen as Jefferson Hart talks about music, love, family and Secret Monkey Weekend.Photo by Bill Reaves. Check out his wonderful photography at https://wwreavesphotography.com/The new album, Lemon Drop Hammer releases on June 6. You can find music by Secret Monkey Weekend here at Bandcamp or at the band's website, secretmonkeyweekend.comSave on Certified Pre-Owned ElectronicsPlug has great prices on refurbished electronics. Up to 70% off with a 30-day money back guarantee!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Thanks for listening to Frets with DJ Fey. You can follow or subscribe for FREE at most podcast platforms.And now, Frets is available on YouTube. There are a lot of fun extras like videos and shorts and audio of all episodes. Subscribing for FREE at YouTube helps support the show tremendously, so hit that subscribe button! https://www.youtube.com/@DJFey39 You can also find information about guitarists, bands and more at the Frets with DJ Fey Facebook page. Give it a like! And – stay tuned… Contact Dave Fey at davefey@me.com or call 314-229-8033

Rosetta Hightower, Ervinna, Gloria Jones, Spanky Wilson, Marsha Hunt, Sandy Shaw, Johnny Thunder, Suzi Quatro, Wilson Pickett, Solomon Burke, Kurtis Blow, Exuma, Boney M., Merry Clayton, Aretha Franklin, Pointer Sisters, Donny Hathaway, Ruth Copeland, Undisputed Truth, more. Covering Rolling Stones, Led Zeppelin, Kinks, Pink Floyd, Steely Dan, Tommy James and The Shondells, Bob Dylan, T.Rex, Van Morrison, Elton John, Neil Young, more.

"It was raining hard in 'FriscoI needed one more fare to make my nightA lady up ahead waved to flag me downShe got in at the light"No fare required, just 2 hours of your time. Please join me in my Yellow Cab as we explore this wondrous thing called music, but without a road map. Joining us are Simon & Garfunkel, Talking Heads, Billy Joel, Stevie Wonder, The Kinks, Rascals, Laura Nyro, Van Morrison, Billy Cobham, Pearl Jam, Led Zeppelin, Steely Dan, The Troggs, Paul Revere & The Raiders, Cream, Foo Fighters, War, The Cyrkle, Richard Harris, Earth Wind & Fire, Love, The Guess Who, Coldplay, Counting Crows and Harry Chapin...

Es ist der letzte Brunch vor dem Release der Nintendo Switch 2 und vor dem Summer Game Fest 2025. In weniger als 7 Tagen, wird die Spielelandschaft ein anderes Gesicht haben - diesem Umstand geben wir Raum in Form von fröhlichem Diskutieren über das, was sein wird. Viel Freude hatten Gloria, Manu und Michi zusätzlich beim Besprechen von 9 Kings, oder 9 Kinks, wie Manu zu sagen pflegt und einem ersten Überblick zu Tainted Grail: The Fall of Avalon.

Send us a textSeason 5, Episode 615: Rediscovering Intimacy: A Journey of Sexual Exploration After 60. Listen to Greg's personal story! Topics include personal stories of: intimacysex kinksmale sexual healthsexual wellnessmale sexualityfemale sexualitysensualitycommunicationpersonal growthrediscoverysex and aginginteractions between a male and female partner in sexual explorations within a relationshipFinding Love and Sexual Liberation After 60Discover how one man's unexpected connection with a younger partner revolutionized his understanding of intimacy and sexuality in his golden years. Greg's story challenges conventional wisdom about age and desire, proving it's never too late for transformative relationships.Through candid conversations, Greg shares his journey from a sexually restrictive marriage to embracing open communication and exploration with a new partner. His experience highlights the profound impact of honest dialogue about desires and boundaries, demonstrating how breaking free from societal constraints can lead to unprecedented personal growth.Key highlights:- Transitioning from a closed-off marriage to an open, communicative relationship- Exploring new dimensions of intimacy with a younger partner- Breaking age-related stereotypes about sexuality- The importance of honest dialogue about desires and boundaries- Finding hope and renewal in later-life relationshipsThis powerful episode offers inspiration and practical insights for anyone questioning their sexual future, regardless of age. Listen now to discover how embracing vulnerability and openness can lead to extraordinary connections at any stage of life.

On this episode of Inside OnlyFans, Kayla & CJ speak with returning guest & OnlyFans creator, Gabriella Ellyse. She discusses selling unwashed clothes & foot shavings, embarrassing stories, and more! Full video episodes available: ⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠OnlyFans ⁠⁠⁠⁠⁠ FOLLOW US! Instagram: ⁠⁠⁠⁠⁠@insideonlyfans⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠@cjsparxx⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠@kaylalaurenoffical⁠⁠⁠⁠⁠ @gabriella.ellyse Twitter: ⁠⁠⁠⁠⁠@insidefans⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠Inside OnlyFans⁠⁠⁠⁠⁠ Tiktok:⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠@insideofpodcast⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠Inside OnlyFans Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 192! New and improved! Lots of LPs to hear. So little time. Hello and welcome to another Tales Vinyl Tells. Our trek into the great album rock of the 1960s and 70s is what we focus on here. The albums that came out during that time carried at least one maybe two really great numbers and my mission is to dig some of those hidden gems out and share them with you. I'm Brian Hallgren and these are the Tales Vinyl Tells. Looking over our playlist today we've got some J.J. Cale, one from the Airplane's Surrealistic Pillow, the  Kinks, Joe Walsh, the Dukes of September and if we have the time we're gonna slip one in from Stevie Wonder. If you're listening on the radio or online but not in podcast form you might want to check the Podcasts out because they contain usually more music and messages that you want to hear. Or not. Regardless, these are the stories that songwriters and artist wanted to tell you. These are the Tales Vinyl Tells. I want to say thank you to all the financial supporters of Tales Vinyl Tells. Whether a small amount monthly or a very generous donation, each of you listeners is very appreciated and if you can and do give monthly, my deepest gratitude goes to you. If you're not a patron yet and want to know more about becoming a patron of this music program you can go Patron.podbean.com/talesvinyltellssupport. Thank you and rock on! And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

#087 Are your darkest desires really that dangerous?

In this episode Zena and Danni confirm they are definitaly NOT a couple and unpack alot of sexual chaos in this jam packed ride. From porn wrecking relationships to Danni's otdoor sex adventures, we're diving crotch-first into the unfiltered madness. Zena admits being watched turns her on (creepy neighbors, take note). We also question whether sex toys and kinks are actualy killing the intimacy in the bedroom. Oh—and yes, someone brings up being f**ked with a knife (don't kill the messanger). Honestly, this episode is sticky in every sense. Buckle up, bring wipes and your best cum rags.

It's IML time, but first, we had a busy week of finally seeing SINNERS. We dive into how sexy vampires are and how AI dating app bots are starting to take over. Also how do you cleanout for butt stuff?— VIIA: 21+, Try VIIA Hemp THCV! https://bit.ly/viiawatts and use code WATTS for 25% OFF (and 50% off certain bundles this week)!! —- Watts Socials -Discord: https://discord.gg/bxqDQVcKH7Amps Linktree: https://linktr.ee/pupampKristofer Linktree: https://linktr.ee/mrkristoferSAFEWORD MERCH: http://www.safewordshop.comTWITCH: http://twitch.tv/wattsthesafewordWatts Your Safeword Podcast:Itunes: http://apple.co/2QkMDwkSpotify: http://spoti.fi/2QjPNjLBluesky:https://bsky.app/profile/pupamp.bsky.socialhttps://bsky.app/profile/wattsthesafeword.bsky.socialhttps://bsky.app/profile/mrkristofer.bsky.socialTwitters:http://twitter.com/WattsTheSafewrdhttp://twitter.com/PupAmpInstagrams:https://instagram.com/PupAmp/https://instagram.com/mrkristoferwestonhttps://instagram.com/wattsthesafewordFacebook: http://ow.ly/Z5nvMPatreon: https://www.patreon.com/WattsTheSafewordOpening by the magical Aethernaut https://aethernaut.bandcamp.comMusic by Joakim Karud http://youtube.com/joakimkarud

Rich and Jim dive deep with Nashville drummer, songwriter, and storyteller Vince Santoro. From his early days playing drums in Washington D.C. to becoming a staple in Nashville's music scene, Vince shares his incredible journey through music, including his work with Felix Cavalieri, Rodney Crowell, and his upcoming solo record "Exposed". Timed Highlights: [0:05] - Vince's early musical influences: Beatles, Kinks, Stones, and Hendrix [0:15] - Nashville's evolving music and food scene [0:25] - Vince's journey from D.C. to becoming a Nashville musician [0:35] - His role as Secretary Treasurer of the Nashville Musicians Association [0:45] - Playing with legendary artists like Edgar Winter and Felix Cavalieri [0:55] - Behind-the-scenes of his unique one-man show combining drumming and storytelling [1:05] - Details about his new solo record "Exposed" [1:15] - Discussing songwriting process and musical inspirations   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich:   @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:     @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co

Clayton Fletcher (@claytoncomic) shares a few red flags early on as the new owners of the WSOP prep for their first-ever summer in Vegas. Then, a strategy hand from Day Five of the 2024 WSOP Main Event, featuring pocket jacks in a four-way pot. Is this hand ever good when 100 big blinds go in?----Register for GTO Wizard and save 10% off your first purchase using this link:    gtowizard.com/p/tpe----Get tickets to see Clayton perform stand-up!!!   linktr.ee/claytoncomic----Join the Tournament Poker Edge discord channel:https://t.co/JHEUIHrCrJ

Happy Ladies Pitch Wednesday! Disclaimer: I am no way a licensed profesional. The information shared in this episode is intended for entertainment purposes only, so do with that information what you will. ENJOY! This week, Haydee Baby & Joose run down some popular kinks in alphabetical order, A-H! Stay tuned for the rest of the list coming soon. Which ones are your favorite? Comment below ⬇️ ⬇️⬇️⬇️⬇️Follow Joose and the podcast: Patreon: https://www.patreon.com/ChillinAfterDark?utm_campaign=creatorshare_fanTwitter: @ichillncrocsIG: @theaveragejoemediaTik Tok: @imchiilinSubscribe to Ladies Pitch YouTube channel: https://youtube.com/@ladiespitchFollow us on IG @ladiespitchTwitter: @haydeebabyyTik Tok: haydeebabyyy

What can I say about the Small Faces that hasn't already been said? Not much honestly. I'm not a Small Faces junky.  But I do love their music. In fact, in my earliest mod days I think I preferred them to The Who. It's been said that The Who was a band that became mods, but the Small Faces were mods who became a band. I was looking for some covers of Small Faces songs when I realized how few there really are out there. Compared to the hundreds of covers of The Who, The Kinks, The Stones and other British invasion acts of the 60s, I was shocked at just how few people have covered their songs over the years. And amongst those, fewer still ones that are really any good. I've gathered here a double handful that I think fit the bill and do the group justice. As always find a complete track list, a bonus third set of songs, and all the important links to all the important stuff over on the modcast homepage at http://www.mistersuave.com/2025/05/modcast-580-its-all-too-beautiful.html.And keep up with me between modcasts:Subscribe - iTunesX (formerly Twitter) - @mistersuaveBluesky - @mistersuaveFacebook - facebook.com/modmodworldInstagram - instagram.com/mrrobsuaveTune in - iHeart RadioAnd listen on Mod Radio UKWhat is Mod? Mr. Suave's Mod, Mod World is one of the web's original modcasts celebrating mod-influenced music from past eras including #mod #powerpop #punkrock #garagerock #northernsoul #britpop #acidjazz #lounge #exotica #ska #modrevival & more. Featuring over 500 mod friendly music mixes since 2006.

Now on air: The Prog & Roll Radio Show 0:43 Tonight's co-host is Charlie Bramald 0:58 THE KINKS Death of a Clown 3:14 Something Else by The Kinks (1967) ERIC BURDON & THE ANIMALS Good Times 3:00 Winds of Change (1967) THE ROLLING STONES Time Waits for no One 6:39 It's Only Rock ‘n' Roll […]

We are joined by author and all around Kinks enthusiast Chris Kocher. Chris' book "Thank You For The Days" is a lovingly put together collection of stories from Kinks fans all over the world. This podcast is all about community and so is Chris. He also knows more about The Kinks than anyone who has been on this show so we learned a lot over the course of the hour. 

For some who had been following The Fall since 'Live At The Witch Trials' and 'Dragnet', 1988's 'The Frenz Experiment' with its more polished and slightly commercial sound might have seemed to be a bit of a sellout. Not so for this week's guest, Manchester record shop co-owner and bass player (The Suncharms) Richard Farnell. Catching them live at a record shop in-store appearance while playing hooky during a school trip into London may have sealed the deal for him, but he contends there's more to this era of The Fall than the unlikely chart success of their covers of 'Victoria' and 'There's A Ghost In My House' might attest. Songs discussed in this episode: There's A Ghost In My House - The Fall;  Time Will Tell - The Suncharms; Mr Pharmacist, Totally Wired, Rebellious Jukebox, Fol De Rol, Frenz, Carry Bag Man, Get A Hotel - The Fall; Victoria - The Kinks; All Day and All of the Night - The Stranglers; Victoria - The Fall; Tonight I'm Gonna Rock You Tonight - Spinal Tap; Athlete Cured, In These Times, The Steak Place, Bremen Nacht, Guest Informant, Oswald Defence Lawyer - The Fall; Distant Lights - The Suncharms

Did you know that fellow '60's Brit rockers The Kinks had their biggest ever hit in 1984? Who didn't love "Kum Backing", their tribute to one of the very first bootlegs: the Beatles acetate "Kum Back"? Here at the UBP we love the Kinks, kink shaming, Kum & Go gas, and this legendary bootleg, heard by the #Kum2GetherToo for the very first time just this month! Some Beatles "fans", right? I'll bet they can't even pronounce "Esher" correctly... So do get your tape recorders rolling, but be forewarned; Kash Patel may come to your home to sing songs about justice for people who poop on senate desks. Smart fella, that one. All of 'em, really. ANYHOO, when your tape is rolling, Bob, be ready for more questions than a societally-destructive right wing manosphere podcast is "just asking", such as:

Send us a textSupport the show

This week's show, after a 1968 Zombies zoom: brand new The Beths, The Tubs, The Loft, Royal Blunder, Fotoform, Raging Nathans, Dropkick, and DoubleVee plus Ike & Tina Turner, Paul Revere & The Raiders, Small Faces, Kinks, Graham Nash, Ronnie Forte, and...

April 24, 2025Have you had your dose of The Daily MoJo today? Download The Daily MoJo App! "Ep 050125: Working out The Kinks  - The Daily MoJo"The content discusses various topics, including technical issues with systems and frustrations with logins, while sharing personal anecdotes that add humor. It highlights the Supreme Court's ruling on federal gun control, emphasizing federalism and judicial accountability. The conversation also touches on the Roswell UFO crash site, the challenges of returning an oxygen tank, and the impact of media on public perception. Additionally, it reflects on mental health benefits from video games and experiences of women astronauts.Phil Bell's Morning Update Has some anniversary thoughts for a no-good, very bad Idea from the start.  HEREJeff Fisher - Host of Chewing The Fat Podcast - Is Not Stu this week.  Jeff Fisher LinktreeBrandon Morse - Redstate Author & host of The Brandon Morse YouTube channel- doesn't believe the alien autopsy video could be real. Brandon's LinktreeOur affiliate partners:Romika Designs is an awesome American small business that specializes in creating laser-engraved gifts and awards for you, your family, and your employees. Want something special for someone special? Find exactly what you want at MoJoLaserPros.com  There have been a lot of imitators, but there's only OG – American Pride Roasters Coffee. It was first and remains the best roaster of fine coffee beans from around the world. You like coffee? You'll love American Pride – from the heart of the heartland – Des Moines, Iowa. AmericanPrideRoasters.com   Find great deals on American-made products at MoJoMyPillow.com. Mike Lindell – a true patriot in our eyes – puts his money where his mouth (and products) is/are. Find tremendous deals at MoJoMyPillow.com – Promo Code: MoJo50  Life gets messy – sometimes really messy. Be ready for the next mess with survival food and tools from My Patriot Supply. A 25 year shelf life and fantastic variety are just the beginning of the long list of reasons to get your emergency rations at PrepareWithMoJo50.comStay ConnectedWATCH The Daily Mojo LIVE 7-9a CT: www.TheDailyMojo.com (RECOMMEDED)Watch:Rumble: HEREFacebook: HEREFreedomsquare: HEREYouTube: HEREListen:LISTEN: HEREBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-daily-mojo-with-brad-staggs--3085897/support

In this Record of the Week, John and Stewart dig into Waterloo Sunset by The Kinks. With its dreamy atmosphere, raw mono mix, and Ray Davies' poetic storytelling, the song captures a fleeting moment of beauty in 1960s London. Because of its lo-fi charm, Waterloo Sunset stands as one of the most emotionally resonant and sonically unique recordings of its era.

Derek Shulman was at the heart of two great transformations – Simon Dupree & the Big Sound switching to psychedelia, and then sensing the prog-rock trade winds and becoming Gentle Giant. One minute he was singing Kites, the next Pantagruel's Nativity (Gentle Giant's rebooted ‘Playing The Fool: The Complete Live Experience' is just out). After which he was a record label president signing Bon Jovi, Slipknot and Nickelback and rebooting AC/DC and Bad Company. It's a phenomenal story and involves …   … three pieces of advice for any band today. … playing the ‘64 circuit in his R&B band the Roadrunners. … the fictitious character he invented as Simon Dupree. … when Dudley Moore was their session pianist. … memories of Marc Bolan (“flat on his back playing guitar”), Tony Iommi, Tony Visconti, Don Arden, Gerry Bron and “the English mob”. … what they borrowed from Traffic in the Great Psychedelic Scare of 1967.  … auditioning for George Martin and the lab-coated sound engineers at Abbey Road. … being phoned on a ship returning from Sweden to be told ‘Kites' was Top Twenty and doing Top Of The Pops with Status Quo and the Kinks. … “cars and bags of jewels”: the advantage of being “the darlings of the Isle of Wight Mafia” (which included the Krays). … watching Bowie recording The Man Who Sold The World at Trident. … Elton John's advice that helped form Gentle Giant. … the catastrophic US tour with Black Sabbath (on their “chemical romance”) where the audience threw cherry-bombs onstage: “you learnt how to work a crowd!” … George Underwood's cover for the first Gentle Giant album. … what he saw in Slipknot and why he signed them. You can order GENTLE GIANT – PLAYING THE FOOL: THE COMPLETE LIVE EXPERIENCE here: https://gentlegiantuk.lnk.to/PTFFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

John Cale is probably best known as a founding member of Velvet underground, but the four years he spent alongside Lou Reed represent a small fraction of the influence Cale has had on modern music. In this episode, recorded live at MTSU's Center for Popular Music, Ben talks to his friend and colleague Mark Doyle about his new book in the 33 1/3 series, which explores John Cale's 1973 album Paris 1919 and where it (may) fit within the greater context of his career, the evolution of rock music, and world history. Mark Doyle is a Professor of History at Middle Tennessee State University and previously joined us to discuss his book on The Kinks in episode 169. His new book is John Cale's Paris 1919 and you can get your copy here. A special thanks to Greg Reish & Martin Fisher at the Center for Popular Music for hosting, recording and allowing us to share this conversation. Join us for a live recording of the Road to Now in Washington, DC on May 29 at The Hamilton Live ft. guests Major Garett, Margaret Talev & Doug Heye. The theme is murder & mayhem in the capital city- get your tickets here! This episode was edited by Ben Sawyer.

Apply for a free Intimacy Breakthrough Call to learn about Heather's Pathway to Passion coaching method. https://heathershannon.co/new-clients/ In this episode of Ask a Sex Therapist, I sit down with Eve Hall — a licensed physical therapist, certified health coach, and host of the Please Me podcast. We dive into the concept of "Big Clit Energy" and explore how embracing your sexual confidence can lead to deeper pleasure and intimacy. Eve shares her powerful personal journey of healing from sexual trauma, the importance of open communication about desires, and practical strategies for closing the orgasm gap.00:00 Introduction to the Special Guest00:55 Eve Hall's Unique Background02:11 Big Clit Energy Explained03:32 Building Sexual Confidence08:39 Eve's Personal Journey11:56 The Importance of Communication18:49 Exploring Sexual Fantasies21:33 Understanding Sensual Touch and Orgasms22:20 Exploring the Orgasm Gap23:11 Statistics and Female Orgasms24:22 Empowerment and Communication in Relationships25:07 The Role of Kinks and Fantasies25:32 The Importance of Communication and Confidence27:12 Sexual Exploration and Aging28:25 Overcoming Sexual Hangups28:59 Nurturing Your Sex Life30:21 Exploring Fantasies and Kinks30:42 Using Porn and Erotica for Inspiration35:50 Introducing Toys and Expanding Horizons39:12 Connecting with Eve and ResourcesLET'S CONNECT! FIND HEATHER HEREHeather's Website: https://HeatherShannon.coInstagram: @askasextherapistYouTube: https://www.youtube.com/@AskASexCoachPathway to Passion: https://heather-shannon.mykajabi.com/pathway-to-passionWORK WITH HEATHERApply for a free Intimacy Breakthrough Call to learn about Heather's Pathway to Passion coaching method. https://heathershannon.co/new-clients/ LET'S CONNECT! Find warmth HERE ⤵️:Heather's Website: https://HeatherShannon.co Heather's Instagram: https://instagram.com/AskASexTherapist Heather's YouTube: Check out the video version of this podcast & more! - https://www.youtube.com/@AskASexCoach Heather's Pathway to Passion: https://heather-shannon.mykajabi.com/pathway Heather's Courses: https://heather-shannon.mykajabi.com/storeHeather's Amazon Storefront: https://www.amazon.com/shop/heathershannonlcpc About our Guest:Eve Hall is a licensed physical therapist and certified health coach with a passion for empowering individuals to embrace their sexuality. As the host of the Please Me podcast, she creates a safe space for open discussions about sex, pleasure, and healing. Eve's holistic approach combines physical therapy, health coaching, and personal experience to guide others toward sexual liberation and confidence.Connect with Eve Hall: On Instagram: please.me.by.eve.creationsPodcast: Please Me Podcast SIMILARLY AWESOME / MENTIONED EPISODES:Liked the episode? Here's a few more episodes of Ask A Sex Therapist that you'll enjoy:Ep. 22: The Orgasm Gap with ‪@drlauriemintz‬...

Covino & Rich drop 'BIG MIKE'S WORDS OF WISDOM' for a Swiggy! They continue their discussion about Shannon Sharpe. It turns into a heated debate about "unleashing your kinks." Meg in Montana steals the hour & 'MID WEAK MAJOR' snags 8-minutes! Plus, Derek Carr puts the Saints in a tough spot & Aaron Rodgers could hi-jack more air time! See omnystudio.com/listener for privacy information.

What feeling are you chasing in bed? No, I'm not talking about orgasm. I'm talking about an emotion, like feeling worshiped, praised, or unbelievably desirable. On the other hand, maybe it arouses you to feel degraded, objectified – even humiliated. On today's show, I'm unpacking a kink that's getting a ton of attention on social media: praise kink. It falls under the larger umbrella of core erotic desires, which we all have. I show you how to identify your core erotic desires and how to turn them into realities. I also get into your kinky questions, including: when you adore your fiancée, but fantasize about sex with your much kinkier ex, what now? And when your partner constantly gets hit on my other men, is it healthy to get turned on by it? All this and more in today's episode. Join the SmartSX Membership: Access exclusive sex coaching, live expert sessions, community building, and tools to enhance your pleasure and relationships with Dr. Emily Morse. Yes! No! Maybe? List & Other Sex With Emily Guides: Explore pleasure, deepen connections, and enhance intimacy using these Sex With Emily downloadable guides.  SHOP WITH EMILY! (free shipping on orders over $99) The only sex book you'll ever need: Smart Sex: How to Boost Your Sex IQ and Own Your Pleasure Want more? Visit the Sex With Emily Website  Let's get social: Instagram | X | Facebook | TikTok | Threads | YouTube Let's text: Sign up here Want me to slide into your email inbox? Sign Up Here for sex tips on the regular. See the full show notes at sexwithemily.com

Heute stellt sich die wichtige Frage: Was gibt es eigentlich für Kinks? Auißerdem macht Peter (wer auch sonst) wieder Urlaub und wir finden für ihn die passenden Beschäftigungen. Außerdem quatscht Peter über den Hit Blue Prince, Jay hat sich an Cuphead ausprobiert und Sammy wird zur Straßenkatze samt Zeckenbefall. Wie hat Sep ihn davon befreit? Koro: Mit dem Gutscheincode PIETCAST erhaltet ihr 5% Rabatt auf jede Bestellung! Hier shoppen: https://serv.linkster.co/r/JNqdKHnO4d Jetzt sorgenfrei surfen - mit fraenk. Einfach App runterladen, Freundecode „PIETCALL3!“ nutzen und direkt mit mehr Datenvolumen starten. Mehr Infos hier: https://www.fraenk.de/pietcast Weitere Informationen zu uns und unseren Partnern findet hier: [http://linktr.ee/pietcast](http://linktr.ee/pietcast) Learn more about your ad choices. Visit megaphone.fm/adchoices

The chicken. On dick. Kinks. There are plenty of ways choking can manifest in our sex lives. Mike and Kyle talk about the history, Urban Dictionary, gayta, Steven Universe, the Heimlich maneuver, autoerotic asphyxiation, and tips for choking in this live show from San Francisco. In this episode: News- 11:05 || Main Topic (Choking)- 18:22 || Gayest & Straightest- 1:23:22 Buy our book, You're Probably Gayish, available right now at www.gayishpodcast.com/book! Each chapter dissects one gay stereotype ranging from drugs to gaydar to iced coffee. At that same link, you can see our full 2025 live show tour schedule! On the Patreon bonus segment, Kyle and Mike share more about their San Franciscan exploits. If you want to support our show while getting ad-free episodes a day early, go to www.patreon.com/gayishpodcast.

Check out Bert's new special "Lucky" streaming on Netflix! Tom just announced Fall dates for his Come Together Tour at https://tomsegura.com/tour. Presale starts April 2nd, use code TOMMY. Watch Kyle Dunnigan on Kill Tony on Netflix today! SPONSORS: - You can find Cremo's new line of antiperspirants and deodorants at Target or https://Target.com - Sign up for a $1 per month trial period at https://shopify.com/bears. - Brought to you by BetterHelp. Visit https://betterhelp.com/bears to get 10% off your first month. - Make life easier by getting harder and discover your options at https://BlueChew.com! Try your first month of BlueChew FREE when you use promo code BEARS -- just pay $5 shipping. This week on 2 Bears 1 Cave we have Tom Segura and guest bear Kyle Dunnigan! After both appearing on "Kill Tony: Kill Or Be Killed", now streaming on Netflix, they've got some thoughts and reactions from that insane event to share with of you. They also discuss Kyle's weird dating history, his interest in taller women, and how he finds dates in a world of dating apps. Kyle also has a massive collection of impressions he unloads, including Caitlyn Jenner, RFK Jr, Joe Biden, and the infamous Bill Maher impression that Bill Maher just absolutely loves okaaayy. They also exchange stories about bombing at private events and Kyle tells Tom all about the time he worked Tony Robbins' weird birthday party. Lot of stories, lot of impressions, check it out! 2 Bears, 1 Cave Ep. 283 https://tomsegura.com/tour https://www.bertbertbert.com/tour https://store.ymhstudios.com Chapters 00:00:00 - Intro 00:01:14 - Tall Chicks, Kinks, & Awkward Hook-ups 00:07:56 - Kill Tony: Kill Or Be Killed 00:13:14 - Favorite Dating App 00:19:19 - Contrarian Dating History 00:30:02 - How To Pick Up A Woman 00:40:05 - Kyle's Instagram Impressions 00:48:53 - Elon Musk 00:52:59 - Tony Robbins Birthday 00:55:59 - Tony Big Words 01:00:31 - Bombing At Private Events 01:10:05 - Always Working 01:12:47 - Kyle Wants To Be Adopted 01:16:51 - Wrap Up Learn more about your ad choices. Visit megaphone.fm/adchoices