Podcasts about Led Zeppelin

We are proud to welcome The Professor of Rock-Adam Reader to our show. We discuss the great new documentary, "Becoming Led Zeppelin" , and we compare nights on one of the mightiest bands in the land, and talk about one of the great documentaries in Music History. Check out Adam's amazing work here. https://www.professorofrock.com A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore next. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

I'm very excited to host author Peter Bebergal. His work informed much of The Occult Elvis and is essential to my upcoming Bowie work, specifically his magnificent Season of the Witch: How the Occult Saved Rock and Roll. We'll delve into the nexus of American music and spirituality, including the arcane forces that gave rise to the birth of rock music. We'll certainly cover Hinduism in the Beatles, Thelema in Led Zeppelin, Occultism in Black Sabbath, and Masonry in Hip-Hop. And everything in between, with plenty about those Tricksters, Elvis and Bowie. Join me and either chat your questions or call in. Get The Occult Elvis: https://amzn.to/4jnTjE4 The Gnostic Tarot: https://www.makeplayingcards.com/sell/synkrasis Homepage: https://thegodabovegod.com/ Patreon: https://www.patreon.com/aeonbyte AB Prime: https://thegodabovegod.com/members/subscription-levels/ Virtual Alexandria Academy: https://thegodabovegod.com/virtual-alexandria-academy/ Voice Over services: https://thegodabovegod.com/voice-talent/ Support with donation: https://buy.stripe.com/00g16Q8RK8D93mw288Stream All Astro Gnosis Conferences for the price of one: https://thegodabovegod.com/replay-sophia/

From intimate stories about his father's songwriting contributions to Led Zeppelin to candid revelations about the O2 reunion show, Jason Bonham opens up about his musical journey. He discusses the challenges and joys of performing Physical Graffiti in its entirety, shares touching moments about documenting shows for his granddaughter, and reveals previously untold stories about the legendary band's creative process. Also on the podcast, Dean DeLeo opens up about his musical evolution from STP to crafting new sounds with One More Satellite. He shares personal insights about family collaborations and finding inspiration in unexpected places. Catch Eddie Trunk every M-F from 3:00-5:00pm ET on Trunk Nation on SiriusXM Faction Talk Channel 103.And don't forget to follow Eddie on Twitter and Instagram!Follow the link to get your free 3-month trial of SiriusXM: http://siriusxm.com/eddietrunk Find all episodes of Trunk Nation: https://siriusxm.com/trunknation

The buddies banter sessios over beers is in fine tune batting back and forth about Lake of the Ozarks, waveboarding, road tripping, a bit of golf, Wikipedia, Led Zeppelin, and of course the ever-demanded fact check. Raise a glass and join the fun!

In this laugh-out-loud episode of The Ben and Skin Show, Ben Rogers, Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina “K-Ray” Ray deliver a perfect blend of absurdity, nostalgia, and rock ‘n' roll nerdery. From surprise birthday calls to Eugene while he's literally on a tractor, to a deep dive into the new Becoming Led Zeppelin documentary, this episode is a wild ride you won't want to miss.

In this first of four episodes from Northlands Music & Arts Festival, I'm super psyched to share two very special interviews.  First up, I'm happy to share my chat with festival co-founders Mike Chadinha and Seth McNally along with festival co-owner and co-producer Jen Meyerhardt on the last day of this amazing festival to review the proceedings at the fourth annual installment of this wonderful festival. We talk about it all, from the inherent festival ups and downs to their amazing staff and wonderful patrons that make this Festival one of the best of its class. These folks really do it right, and they talk to me about creating and sustaining this festival and what it all means to them!!I'm also super psyched to share my interview with Joel Cummins and Ryan Stasik of Umphrey's McGee, who sat down with me together for a quick update on the state of the UM World in 2025. Lots of changes are happening, and Joel and Ryan talk to me about their collective gratitude for still being able to do what they do, and how their special form of improv continues to make it exciting for them to turn on their fans with their spectacular live shows. They share with me their views on their famous Zeppelin sets to working with new drummer Scotty Zwang, and we even discuss Ryan's possible reluctance (tbd) to take one for the team and execute a sacrifice bunt when the situation requires one. Ryan remains non-committal on this subject!  -----------------------------------Show Notes:For more information about Northlands Music & Arts Festival, click here Click here for Umphrey's McGee tour dates--------------------------------Episode Chapters:00:00 Episode Intro with Host Josh Rosenberg05:36  Interview with Northlands Festival Organizers Mike Chadinha, Seth McNally and Jen Meyerhardt23:38   Northlands Organizers Interview wrap-up27:02  Intro to Interview with Joel Cummins and Ryan Stasik of Umphrey's McGee29:34  Interview with Joel Cummins and Ryan Stasik52:56  Episode Outro with Host Josh Rosenberg-------------------------------------Follow Roadcase on Instagram here:  @RoadcasepodFor more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

What do Led Zeppelin, blues clubs in the UK, and pastrami sandwiches have in common? They all helped shape the life and passions of Michael Feldman—musician, storyteller, and owner of Salt Lake's beloved Feldman's Deli. In this soulful episode of Utah Stories, Michael sits down with Richard Markosian to reflect on his lifelong love for music, the Utah music scene, and how his travels in Europe and deep love for the blues still influence his life and community today.

Send us a textHere in Episode 227 of the No Name Music Cast, it is Tim's turn to pick the topic and he chooses to talk about famous bass players!We cover Tina Weymouth, Paul McCartney, Carol Kaye and Bootsy Collins to name only a few.We also cover Peter Gabriel, Led Zeppelin and the Hollywood Vampires.We also talk about May being national fire your drummer month!Support the showEmail the show: nonamemusiccast@gmail.com Instagram: https://www.instagram.com/nonamemusiccastpodcast/ https://nonamemusiccast.com/

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

Fred Schneider of The B-52s discusses his massive 10,000+ record collection while sharing stories about the B-52's early days, the original "Rock Lobster" single, vinyl reissues and new boxset. Topics Include: Massive record collection visible in wall-to-ceiling custom cabinets Estimates 10,000+ records, considers himself a "record nut" Collection includes avant-garde, classical, funk, soul, bad records Loves bad Christmas records and Halloween records specifically Been collecting since age 13, started in early days Currently has broken receiver, can't play main system Portable player works for 45s but stops unexpectedly Still adding records but doing major purge now Selling and donating records, too many to listen to Donates to Archive of Contemporary Music organization regularly Most precious records are original 45s from youth Still has first album mother bought thinking Beatles Moved into funk, Led Zeppelin, then New Wave music Was Sirius Satellite Radio DJ for three years Prefers first pressings, doesn't care about reissues much Looking for "When I'm Gone" by Brenda Holloway Will clean up scuffed records if sound improves Vinyl never left his turntable despite CD popularity Listens to music most of day while doing activities Plays classical mornings while reading magazines and coffee Enjoys electronic music from 50s/60s and harp music B-52s sound came from all members' varied influences Band was lumped with punk but more "freak punk" Original "Rock Lobster" single recorded in Georgia mountains DB Records pressed 2,000 copies, sold out quickly Eventually pressed 30,000 total copies of original single Australia embraced band early, rolled out red carpet Band never saw penny from original single sales Talking Heads recommended B-52s to their manager successfully Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Ever since the guys heard about what is now, Becoming Led Zeppelin, they knew they wanted to "do their review" of whatever it was. Life gets busy, as the movie hit theaters briefly, then Imax, but when it hit Netflix, our intrepid, yet imbalanced boys set to enjoying it with great vigor! They laughed knowingly at the known parts, and shared surprise or even shock over some reveals. It all turned out to be just perfect, personal expectations aside! Check our ⁠Facebook page⁠ for pictures and links mentioned in the episode! Now, if you haven't, get yourself in front of a screen and watch Becoming Led Zeppelin. Those who want to know more about this band, should watch. Fans, nay Ledheads...MUST!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ever wondered how a single podcast jumps from a potential ten-billion-dollar Lakers cash-out to bunker-busting bombs and a rogue Coachman cameo? That's the opening volley. Buckle in before the first coffee sip goes cold. Kev walks in fresh off spinal surgery and drops his new gym gospel. Stem-cell magic, the photo that shut up every doubter, and one training tweak you'll steal before your next workout. The scale has never lied so loudly. Then the bell rings for real. One spear, one giant, and one very nervous champion. Kev maps out the scenario that could flip an entire pay-per-view, torches 35 soft punches, and reminds everyone why the heavy always sets the pace. Fan questions yank the show into the wild. Think autism parenting wins, Iron Dome footage, and a Florida Spam caper that costs more than some cars. One of those stories makes Kevin howl. Bet you guess wrong. Ask Nash signs off with a six-figure cologne heist, taped ribs flying off the top, and a quick check on whether Big Sexy is Riyadh-bound. The only real mystery left: who's actually next? Hit play and find out. Get Blitzed-Save 15 % at Get-Blitzed.com with code KLIQ at checkout. Cash App -Download Cash App today at https://capl.onelink.me/vFut/3v6om02z and start sending or receiving money instantly. BlueChew-Visit BlueChew.com and try your first month free with code NASH, just pay $5 shipping. Mando-Control body odor anywhere with @shop.mando and get 20 % off plus free shipping with code KLIQ at shopmando.com. True Classic- Upgrade your wardrobe and save at trueclassic.com/KLIQ. 00:00 Kliq This #155: The Heavy 02:35 Gym after surgery 06:25 Owning Gyms 13:21 "What an amazing interview!" 15:13 “Hands down my favorite episode!” 17:32 Ron Killing's strikes 23:30 Promotor you trusted the most? 30:09 “The Heavy” 38:10 BREAK GET BLITZED 40:25 Working as HBK's Heavy 41:09 Friendly Competitiveness in Wrestling 41:40 The Art of Punching and Ring Psychology 42:46 Pet Peeves in Wrestling Techniques 45:54 Storytelling in Wrestling Matches 49:08 Goldberg vs. Gunther: Anticipation and Analysis 55:50 Booking and Future Prospects 56:58 Beach Boys 58:30 Led Zeppelin 01:02:40 SXM+VIIA 01:06:05 Israel Iran 01:12:48 BREAK CASH APP 01:15:23 KliqThisTV.com 01:16:00 Liv Morgan injured 01:18:05 WWE's rings 01:18:39 Uso splashes with taped ribs 01:23:56 Same/Same 01:26:54 Rhea is overpushed? 01:27:50 BREAK BLUECHEW 01:30:01 NBA Finals 01:30:40 FL vs NJ 01:35:45 Someone Stole from Sean Oliver's car!!! 01:38:48 BREAK MANDO 01:42:54 BREAK TRUE CLASSIC 01:45:12 Can we see Kevin Nash in Saudi Arabia? 01:45:58 The Departed 01:46:50 NXT LIVE 01:47:50 Nash v Goldberg at SS? 01:48:21 JCW Summerslam weekend 01:49:04 Too tense or too comfortable? 01:50:48 Remembering TNA 01:51:37 OUTRO 01:51:56 Hogan

Surprisingly, America was formed in London.  The trio of Gerry Beckley, Dewey Bunnell, and Dan Peek met in London where their fathers were stationed at the United States Air Force base at RAF South Ruislip.  The three attended London Central High School and began playing together on borrowed acoustic guitars.  The name came from the Americana jukebox in the mess hall, and a desire to distinguish themselves from the British musicians around them who were trying to sound more American.America is also their self-titled debut album released in the States in January 1972.  The album originally was released without “A Horse With No Name,” but when that single garnered significant commercial success it was added to a re-release of the album in early 1972.  The re-released album would top the US album charts and produce two top-10 singles.The band would be a force in the folk-rock and soft rock genres for a generation.  With close harmonies similar to Crosby, Stills & Nash, and complex acoustic guitar arrangements, their first seven albums would be in the top 50 on the album charts, though this first debut would be their lone chart topper to date.  Their compilation album “History:  America's Greatest Hits” was released at the end of 1975.America produced albums of original material up through 2015.  In 1977 Dan Peek left the group to pursue music in the Contemporary Christian genre.  Speculation regarding a reunion of the original members continued through the years until Peeks death in 2011.Rob brings us a great debut folk rock album in this week's podcast.RiversideThe lead off track is a good example of the original America sound.  It has a laid back message:  I don't want to take anything from you, and I don't want you to take anything from me.  It is a “live and let live” message using a metaphor of life on two sides of the river.A Horse with No NameThis is the track that put the band on the map.  Originally entitled “Desert Song” the track takes inspiration from a Salvador Dali painting and an M.C. Escher painting.  Writer Dewey Bunnell created lyrics loosely based on his travels as a child with family through the deserts of Arizona and New Mexico.  Three RosesBunnell paints a picture of both a quiet life and romantic uncertainty in this song inspired by his girlfriend, soon to be wife.  “Three roses were bought with you in mind.”  Dan Peek takes lead vocal duties on this one with subdued but complex chords and harmonies.I Need YouThe second single from the album was written by Gerry Beckley when he was 16 years old.  Beckley also takes lead vocals on this ballad which went to number 9 on the Billboard Hot 100.  You can sense the similarity to bands like the Beatles and Alan Parsons in this track. ENTERTAINMENT TRACK:Main theme from the television series “Emergency!”This first responder action series focused on Squad 51 in Los Angeles saw its debut in January 1972.  STAFF PICKS:Family Affair by Sly & the Family StoneBruce begins the staff picks with the most successful hit from Sly & the Family Stone.  This song topped the Billboard Hot 100 for three weeks and the R&B Singles chart for five.  This track is a little different for the group, as the guitars are toned down, and the electric piano (with Billy Preston on keyboard) is brought up.  The lyrics talk about the ways a family can go wrong.Roundabout by YesLynch brings us a song written by singer Jon Anderson and guitarist Steve Howe.  The song originated from a trip the group took in Scotland in which they encountered a number of roundabouts.  The line, “in and around the lake” came from one of the lochs they passed.  This opening track from Fragile was drastically edited to produce a single coming in at 3:27 rather than the over 8-minute original.  It reached number 13 on the Billboard Hot 100, the group's highest charting single until 1983's “Owner of a Lonely Heart.”Doctor My Eyes by Jackson BrowneWayne's staff pick is a single off Browne's debut and self-titled album.  The lyrics discuss the feeling that the singer is becoming jaded about life by seeing all the wrong in the world, and now being unable to cry about it.  David Crosby and Graham Nash provide backing vocals to this song which went to number 8 on the Billboard Hot 100.  Misty Mountain Hop by Led ZeppelinRob features a song which was the B-side to Zeppelin's “Black Dog.”  The lyrics take their inspiration from the work of J.R.R. Tolkien, as well as the “Legalize Pot Rally” held in Hyde Park in July 1968.  It appeared on the massive Led Zeppelin IV album.  As Rob says, it is a “mixture of stoner idealism and Tolkien nerdery.” COMEDY TRACK:Pigeon Song by AmericaWe exit with a little double dipping, and with gratefulness that none of us is a pigeon named Fred.  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.

Ever since the guys heard about what is now, Becoming Led Zeppelin, they knew they wanted to "do their review" of whatever it was. Life gets busy, as the movie hit theaters briefly, then Imax, but when it hit Netflix, our intrepid, yet imbalanced boys set to enjoying it with great vigor! They laughed knowingly at the known parts, and shared surprise or even shock over some reveals. It all turned out to be just perfect, personal expectations aside! Check our Facebook page for pictures and links mentioned in the episode! Now, if you haven't, get yourself in front of a screen and watch Becoming Led Zeppelin. Those who want to know more about this band, should watch. Fans, nay Ledheads...MUST!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textA chance encounter at CMA Fest turns into show gold as Scarlett Jackson joins Jay Franze and Tiffany Mason to share her behind-the-scenes experience working the Shenandoah booth. What begins as friendly banter about Jay's "new best friend" evolves into a fascinating glimpse into Nashville's country music scene through the eyes of someone who bridges fan and industry perspectives.Scarlett's Mississippi charm shines as she recounts meeting artists like Cole Goodwin, Jake Worthington, and Trey Calloway, offering listeners insider updates on upcoming singles and performances. The conversation naturally flows into deeper territory when the trio dives into the Recording Academy's decision to split country music Grammy categories into "traditional" and "contemporary." This sparks a thoughtful debate about what constitutes authentic country sound in today's evolving landscape, with everyone weighing in on which current artists are keeping traditional country alive.Between updates on Lainey Wilson's Country Music Hall of Fame exhibit, Lauren Alaina's journey into motherhood, and Led Zeppelin's surprising new album announcement, the hosts pose their question of the day: "If your life had a soundtrack, what would the opening song be?" The responses—ranging from Journey's "Don't Stop Believin'" to the Dixie Chicks' "Wide Open Spaces"—reveal the personalities behind the microphones and create an intimate connection with listeners who eagerly share their own selections.The easy chemistry between Jay, Tiffany, and their guest makes for an entertaining, laughter-filled hour that feels like eavesdropping on friends catching up over coffee. Whether you're a die-hard country music fan curious about industry shifts or simply enjoy authentic conversations with heart and humor, this episode delivers both substance and joy in equal measure. Tune in for insights, updates, and a reminder of why country music's community spirit remains its greatest strength.LinksJay Franze: https://JayFranze.comVirtually You: https://www.virtuallyyouva.com/NOAPOLOGY: https://www.youtube.com/@noapologyofficialHalocene: https://www.youtube.com/@HaloceneSarabella Franze (TikTok): https://www.tiktok.com/@official.b.ella Support the show

In today's episode, Joe confesses his long-standing dislike for Led Zeppelin and Pink Floyd, despite repeated attempts to enjoy them. The hosts then take a serious turn to address Contemporary Christian Music's (CCM) “worst-kept secret” regarding Michael Tait, including his admission of drug and alcohol struggles, homosexuality, and claims of unwanted touching. It's a candid discussion on the allegations against Michael Tait and the dark side of CCM.If you or someone you know has experienced sexual assault or misconduct, help is available. In the United States, you can contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673), operated by RAINN (Rape, Abuse & Incest National Network). This confidential, 24/7 service connects callers to trained support staff who can provide resources, counseling referrals, and guidance on reporting options. You can also access support online at rainn.org. Reporting to law enforcement is a personal decision, and RAINN offers information to help navigate the process. Internationally, check local resources for similar hotlines and support services. You are not alone, and help is available.Patreon: www.patreon.com/pickleandbootshop Merch: www.bonfire.com/store/the-pickle-and-boot-shop--shop/ Email: thepickleandbootshop@gmail.com Instagram: joeandreesepabs Diabolical Discussion by Daniel Rock: facebook.com/groups/diabolicaldiscussion Good Eats: beefaro

Begleite Christine Thürmer, die „meistgewanderte“ Frau der Welt, und entdecke ihre ganz persönliche Bedeutung des Songs „Stairway To Heaven“ von Led Zeppelin aus dem Jahr 1971. Seit sie den Song bei einem Trail Angel auf ihrer epischen Wanderung von Mexiko nach Kanada bewusst gehört hat, begleitet er sie auf ihren Reisen – als Inspiration und Soundtrack ihres Lebens. Mit über 65.000 Kilometern in mehr als 40 Ländern und einer minimalistischen Ausrüstung von unter fünf Kilogramm ist Christine eine der beeindruckendsten Langstreckenwanderinnen unserer Zeit. In dieser Episode von „Mein Lieblingssong“ erzählt sie nicht nur, warum „Stairway To Heaven“ mehr als nur Musik für sie ist, sondern auch von ihren unglaublichen Erlebnissen auf ihren Wanderungen – von atemberaubenden Landschaften bis zu Begegnungen mit Bären. Hör rein und entdecke die Magie dieses Songs durch die Augen einer Frau, die die Welt zu Fuß erkundet hat! Höre deinen Lieblings-Podcast und deine Lieblingsmusik doch einfach auf einem sonoro Musiksystem.Das sonoro MEISTERSTÜCK und viele andere Produkte aus der sonoro Klangschmiede findet ihr hier: sonoro.comHinterlasse gerne eine Bewertung und abonniere unseren Podcast bei deinem Streamingportal der Wahl und verpasse keine Folge. Und wenn du alle Neuigkeiten zum Podcast „Mein Lieblingssong“ mitbekommen möchtest, dann melde dich hier für unseren wöchentlichen Newsletter an: Kostenloser NewsletterHier findest du uns auf Facebook oder Instagram.Geschichten aus den 70ern: Mein Lieblingssong - Album 1 als Hörbuchversion.Gibt es überall, wo es gute Hörbücher gibt.Geschichten aus den 80ern: Mein Lieblingssong - Album 2 als Hörbuchversion.Gibt es überall, wo es gute Hörbücher gibt.Habt ihr Lust auf eine „Mein Lieblingssong“-Tasse oder T-Shirt? Dann schaut mal in unserem Shop vorbei: Hier klicken!Mehr über die beiden Hosts Falk & Ryll sowie alle Podcastfolgen findest Du auf www.meinlieblingssong.com Hosted on Acast. See acast.com/privacy for more information.

Lengthy tributes to the recently lost iconic figures Brian Wilson and Sly Stone, the Led Zeppelin documentary, other remebrances, new albums and tours, great performances and more. Always full of information and smiles!

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

You can imagine my delight when I saw that Led Zeppelin Boots had created an updated edition of the 1975 soundboard compilation that'd been around for a bit. Choosing tracks from the extant soundboard tapes, Boots crafted a very enjoyable listener. You can think of it as a sampler. You get a taste of each show represented. I play Sick Again from 3/21 Seattle, Levee from 1/18 Bloomington, and Kashmir from 2/28 Baton Rouge.

In this episode, the Goods from the Woods Boys are all back together at Disgraceland Studios with one of our all-time favorite guests, comedian Ron Swallow! We chat about the recent protests in in the streets of Los Angeles and the DNC's plan to bring people back into the fold. We check out an energy drink from Korea and talk about a martial arts instructor who is the self-proclaimed "King of Germany". Led Zeppelin's "Whole Lotta Love" is our JAM OF THE WEEK. Give us a listen, folks! You're gonna love it!  Follow Ron Swallow on Instagram @RonSwallow and listen to THE GREATEST POD!  Follow our show @TheGoodsPod  Rivers is @RiversLangley  Sam is @SlamHarter  Carter is @Carter_Glascock  Subscribe on Patreon for the UNCUT video version of this episode as well as TONS of bonus content!  http://patreon.com/TheGoodsPod   Pick up a Goods from the Woods t-shirt here:  http://prowrestlingtees.com/TheGoodsPod

Grandpa Bill's Grunts & Groans,Grandpa Bill: You see, when you're starting from scratch, especially without knowing how to read traditional music notation, the sheer amount of information can be overwhelming. Chords, scales, string names, fret numbers—it's a lot! So, I immediately thought of my mnemonics, my trusty PAO, and of course, our beloved Memory Palaces.I started with a simple, tangible object: a baseball bat. Yes, a baseball bat! I used it to represent the neck of a guitar. Then, I grabbed some Post-it Notes and cut them into strips, making 15 "frets" along the bat. For the strings, I used more Post-it Notes, labeling them with a classic mnemonic: E-very G-ood B-oy D-oes F-ine (or F-udge, if you prefer a sweeter ending!). This physical representation, even just with a bat, immediately made the abstract concept of a guitar more concrete.Building Your Guitar Memory PalaceGrandpa Bill: Now, the real magic happens when we bring in the Memory Palace. For those new to the concept, a Memory Palace is simply a familiar location—your home, your garden, a favorite walking path—where you systematically place information you want to remember.Here's how I'm expanding on my "baseball bat guitar" idea to create a robust Memory Palace for learning rock guitarists and their signature instruments, integrating PAO (Person, Action, Object) associations.First, identify your Memory Palace. For me, it's my living room. Each "fret" on my imaginary guitar, from the open strings to the 15th fret, becomes a station in my Memory Palace.Let's take the open strings as our first station. This is where we'll place our legendary guitarists.E (low E string): I'm picturing Eric Clapton (Person) majestically strumming (Action) his iconic Gibson ES-335 (Object). I can see him sitting right there on my favorite armchair, filling the room with the bluesy sound of "Layla."A string: For the A string, I see the legendary Angus Young (Person) from AC/DC, wildly duck-walking (Action) across my rug with his Gibson SG (Object), plugged into an imaginary Marshall stack in the corner. You can almost feel the energy!D string: Here comes David Gilmour (Person) of Pink Floyd, calmly bending a note (Action) on his Fender Stratocaster (Object) near the fireplace, creating those ethereal, soaring sounds.G string: I envision Jimmy Page (Person) from Led Zeppelin, with his double-necked Gibson EDS-1275 (Object), dramatically playing a bow (Action) across the strings in the center of the room.B string: For the B string, I'm placing B.B. King (Person) gently cradling (Action) his beloved Lucille (Object), his black Gibson ES-335, on the coffee table, letting out a soulful vibrato.E (high E string): And finally, for the high E, I'm seeing Eddie Van Halen (Person) exuberantly tapping (Action) on his custom-designed Frankenstrat (Object) near the window, a whirlwind of sound.https://www.buzzsprout.com/2222759/episodes/17324485

Crystal throws the TodCast PodCast boys a challenge: You're driving for five hours—only one artist, one snack or meal, and one drink allowed. Todd and Eric take the scenario and immediately crank it to 17. Because five hours? That's amateur hour.• Coffee vs. Mountain Dew: The caffeinated battle of wills• Wendy's vs. McDonald's: Drive-thru loyalty, convenience, and spicy chicken logic• Snacks vs. Real Food: Eric wants a crockpot. Todd just wants Chex Mix.• Artist Discography Draft: Weird Al, The Beatles, Led Zeppelin, and who can survive 17 hours without skipping• Bonus tangent: Why Ohio's highways might be cursed• Crystal gets a full itinerary in return for a single voicemailWhat starts as a simple travel question turns into a culinary, musical, and geographical therapy session. Spoiler: Eric could survive on honey buns, but only if Google Maps warns him about the patrol cars.

This episode, we're joined by the dynamic and hilarious Nico D'Elisa, aka Nico Suave, for a wide-ranging convo on voice, vulnerability, and claiming the stage. From belting Led Zeppelin classics with her tribute band Nico Suave and the Mothership to cracking up crowds with improvised musical comedy, Nico is a true multi-hyphenate force.We get into her Goosemas debut with Goose the band, her unexpected side gig as a medical actress (yes, really), and what it's like to navigate the rock and comedy worlds as a woman with serious stage presence. Nico shares her origin story, her alter ego, and her dreams of hitting festival stages and maybe even SNL.Also in this episode: pelvic exams, frat bro roasts and Robert Plant channeling. It's weird, it's wild, and it's wonderfully Nico.You can find Nico on Instagram @nicosuavedamame and follow Nico Suave and the Mothership here.__Join WTed and the Wysteria Lane community! WTed Goose Radio is looking for women's voices on the air. Lend your voice and become a GORP (Goose Obsessed Radio Personality). Reach out if you're interested in talking about a specific show or curating a playlist for the station. Get involved or tune in here: community.wysterialane.org WTedRadio.comStay up to date with The Femme Flock!Our WebsiteBluesky

There is something that happens when two particular voices blend together that transcends all understanding or logic. And, when those voices share the same DNA, the magnetic pull is such that they become one voice. We've heard that family blend many times: The Everlys, The Wilsons, The Gibbs, The Andrew Sisters, etc. The list goes on.One of the most uncanny examples of this phenomenon belongs to Charlie and Ira Louvin, those titans of Country and Gospel music. When they sing with religious devotion, such as they do here in The River of Jordan - you can hear God and his miracles working in every keening, harmonic fifth. The other song presented today features Robert Plant and Alison Krauss, - a pair of folks about as far from siblings as you can get, but whose vocal cords also combine miraculously.THE LOUVINSThe first time I heard of Ira and Charlie Louvin was through Emmylou Harris's 1975 version of If I Could Only Win Your Love, and I had to know from whence this other-worldly sound originated. Like a hound on the scent, I tracked down several recordings from the brothers, and sat open mouthed as song after song cut through me. The Louvins, whose birth name was Loudermilk (cousins to the noted songwriter), had a contentious relationship, owing to Ira's drunken temperament and womanizing. Charlie contemplated going solo, but Ira's early demise, at 41, in a drunken car crash, made the decision permanent. Ira usually takes the high harmony, but they had the ability to switch mid way through a song so that it was often hard to tell who was covering which part.  Truly one of the all time great sibling singing duos. ALISON KRAUSS AND ROBERT PLANTA musical marriage made in heaven that no fiction writer could have invented, Robert Plant and Alison Krauss came together in one of the most celestial combos ever. The Led Zeppelin frontman, renowned for his soaring falsetto, melds with the rawboned steadiness of bluegrass's sweetheart in an eclectic stew of influences that somehow create a single entity. Today's featured song, Please Read the Letter, nestled among cuts by the Everlys, Gene Clark, Mel Tillis, and Townes Van Zandt was written by Plant and his Zeppelin brother, Jimmie Page, and is added seamlessly to the mix.The resulting album, Raising Sand, produced by the curatorial genius T-Bone Burnett, was released in 2007, and swept the Grammies and Americana Music Awards, taking its place in the pantheon of beautiful enigmas.  

Dot Stein is known as the “rock n' roll masseuse.” She has tended to numerous well-known musical performers for nearly thirty years. Her client list includes notable acts such as The Rolling Stones, Led Zeppelin, Frank Zappa, Katy Perry, Eminem, and David Bowie. As her career grew, so did her company, Dr. Dot Therapy, which now employs over 900 people. Through Dr. Dot Therapy, they offer a myriad of services like yoga, spa services, acupuncture, chiropractic services, and more. She is also known for her trademarked “Bite Massage,” a massage technique where she bites the back of a client in order to improve blood circulation. Her nickname, Dr. Dot, was given to her by Frank Zappa in 1988. Her foray into the world of massages began when she was a teenager. Wanting to meet her musical heroes, she would offer massages to gain backstage access, without having to trade on sexual favors. “I chose massage rather than the groupie route,” she says. “I wanted to meet the people who wrote the lyrics to the music I loved so much.” Listen in as she shares her truly unique story.   Links: Dot's Website: www.drdot.com

North Bridge has released a new remix/remaster of Led Zeppelin at Madison Square Garden on June 7, 1977. This is the first night of their multi night residency in NYC. Jonesy's bass is very well represented, with a fat tone missing from many 1977 boots. I play Achilles Last Stand (Jonesy's bass dude...) and an epic, eternal No Quarter with the Nutrocker included. It's nuts. Then Bonzo and Jimmy go primal on the festivities, and we have another 1977 No Quarter in the books. Good stuff. I like the instrument separation North Bridge attains through his remixing the stems extracted from the raw recording.

Join me for an inspiring conversation with beauty industry pioneer Kim Wileman, co-founder of No Makeup Makeup and founder of Gala Beauty. Kim takes us on her unconventional journey from growing up with rock musician parents who toured with Led Zeppelin and Jimi Hendrix, to discovering her passion for beauty at a Lord & Taylor counter. Kim shares how she built a successful career without finishing college, why no executive has ever asked about her education, and how following her heart to Hawaii opened doors she never expected. We dive deep into her philosophy of walking away from opportunities that aren't in alignment, even when money is tight, and how that approach has consistently led to better outcomes. From her early days making $5.80 an hour as a buyer to consulting for billionaires and now co-owning a revolutionary beauty brand, Kim's story is a masterclass in trusting your instincts, building expertise through experience, and creating wealth with purpose. She reveals her approach to risk management as an entrepreneur and shares her vision for using future success to invest in and mentor the next generation of founders. Key Topics: How growing up with parents who followed their dreams despite uncertainty shapes your relationship with risk and possibility Why she never finished college but built a successful career anyway - and why no executive has ever asked about her education How to recognize when opportunities aren't in alignment with your values and have the courage to walk away Building industry expertise and authority through hands-on experience rather than formal credentials The transition from employee to consultant to business owner - and how to manage financial risk at each stage Why following your heart (like moving to Hawaii for love) can open unexpected professional doors Her approach to building wealth for legacy - planning to invest in others rather than accumulating for herself Connect with Kim online: Website: https://nomakeupmakeup.com/ Instagram: https://www.instagram.com/kimmykimkimkim/?hl=en LinkedIn: https://www.linkedin.com/in/kimwileman/   Find more from Syama Bunten: Instagram: @syama.co, @gettingrichpod Website: https://syamabunten.com/ Download Syama's Guide to Getting Rich: www.syamabunten.com Big Delta Capital: www.bigdeltacapital.com      

Looking for a great new rock n roll documentary to check out? Here's the Top 5 rock n roll docs that have been released so far in 2025.This episode is sponsored by Thames & Hudson Publishing, who were kind enough for hooking one lucky reader up with a free copy of the new book Buzz Me In: Inside The Record Plant Studio. *Want to win a free copy of Buzz Me In: Inside The Record Plant Studio?  It's easy, just send me an email to sign up. You can find a link to my email address below. *Reminder this is for US citizens only**Want the latest in Rock N Roll Book and Documentaries news sent to your inbox? Sign up for the Monthly BLAST!! the newsletter that comes out on the last Friday of the month that features book buzz and doc news, recently released titles, top 5 lists, and more. Just shoot me over an email at the address below and say Big Rick, send me over that Blast!!Support the showemail Big Rick at:info@rocktalkstudio.com

Episode 144 is live, and the wheel has spoken! This week we're diving into the self-titled debut from The Firm. Featuring members of Led Zeppelin and Bad Company, does this 1985 supergroup deliver? Tune in to find out!

What happens when you give someone with ADHD, violent tendencies, and poor impulse control as much fame and money as humanly possible? Predictably, absolute chaos!Keith Moon is widely regarded as one of the greatest drummers and most iconic rock stars of all time. As part of The Who, he toured the world, lit up every arena he performed in, and created some of the most iconic music of the 20th century.Even contemporaries like The Beatles, The Rolling Stones, and Led Zeppelin admired Keith's presence and skill, while simultaneously being charmed by one of the sweetest and most fun-loving people in music.But his wild nature, propensity for violent destruction, and crippling addictions led to a lifetime of trouble, sadness, and an untimely death.Relive the highs and lows of one of the most memorable musicians of all time.https://www.patreon.com/HistorysGreatestIdiots⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Artist: Sarah Chey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.fiverr.com/sarahchey⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Animation: Daniel Wilson⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/wilson_the_wilson/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Music: Andrew Wilson⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/andrews_electric_sheep⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to create live streams like this? Check out StreamYard: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://streamyard.com/pal/d/4675161203933184

"Just a perfect dayDrink sangria in the parkAnd then later, when it gets darkWe go homeOh, it's such a perfect dayI'm glad I spent it with you" Please make our day perfect and spend 2 hours of your Sunday with me on this week's Super Sounds Of the 70's. I've invited Nick Drake, Laura Nyro, Dire Straits, Bob Dylan, Emerson Lake & Palmer, Chicago Transit Authority, Minnie Riperton, Love, Judy Collins, Allman Brothers, Orleans, George Harrison, Led Zeppelin, Ambrosia,  Pink Floyd, Yes, Humble Pie, Traffic, Jethro Tull and Lou Reed...

1985. július 13-án a popzene történetének egyik legmeghatározóbb eseménye zajlott le: a Live Aid. Két kontinensen, Londonban és Philadelphiában egyszerre zajlott a gigantikus jótékonysági koncert, amelynek célja az etiópiai éhínség enyhítése volt. A színpadon ott volt szinte mindenki, aki számított: a Queen, a U2, David Bowie, Madonna, Bob Dylan, a Led Zeppelin, a Who, Sting, Phil Collins itt és ott – és még sokan mások. A közvetítés több mint 1,5 milliárd embert ért el világszerte, és az esemény újraértelmezte, mire képes a popkultúra és az összefogás.- Bob Geldof is a saint - mondta két szám között Bryan Adams: egyik állandó vendégünk, Fábián Titusz segítségével végigvesszük, hogyan lett az ír Boomtown Rats frontembere az évtized közepének meghatározó figurája, mik voltak az előzmények, hogyan szervezte az eseményt Nagy-Britanniában és az USÁ-ban, kik és miért nem voltak jelen, hogyan épít egy hamis mítoszt a Bohemian Rhapsody című film a Queen fellépésével kapcsolatban, milyen utóélete volt a Live Aidnek, milyen magyar vonatkozásai vannak, avagy felléphetett-e volna az LGT a Wembley-ben, illetve a magyar eseményen miért nem játszott az R-Go.Műsorvezető: Bihari Balázs, Németh RóbertA Wanted podcast adása az NKA Hangfoglaló program támogatásával készült.

Led Zeppelin : Over The Hills And Far Away La reprise, l'originale Over The Rhine : Waiting On A Friend The Rolling Stones : Waiting On A Friend The Inspector Cluzo : Less Is More The Hold Steady : First Night Supertramp : Crime Of The Century Turnstile : Never Enough David Sancious & Tone : The Play And Display Of The Heart The Blue Stones : Jesse James Mercury Rev : Dark Is Rising Luke Spiller : Angel Like You Chris Cornell : You Know My Name Creedence Clearwater Revival : Suzie Q La Reprise L'originale The Inspector Cluzo : Almost Cut My Hair Crosby, Stills, Nash & Young : Almost Cut My Hair The Bloyet Brothers : Honor Black Sabbath : War Pigs Loathe : Gifted Every Strengh The Beastie Boys : Fight For You Right House Of Protection : Fire Brass Against : Guerilla Radio (Feat Sophia Urista Elton John : Tiny Dancer Tom Adams : Wake Procol Harum : A Salty Dog Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

"There must be some way out of here," said the joker to the thief,There's too much confusion, I can't get no reliefBusinessmen, they drink my wine, plowmen dig my earthNone of them along the line know what any of it is worth."Please come along with me on a 2 Hour Musical Journey and escape the noise. Joining us are The Black Keys, Love, Lenny Kravitz, Joni Mitchell, Van Morrison, Crack The Sky, Neil Young, John Mellencamp, Donovan, Buffalo Springfield, John Prine, The Hollies, Moody Blues, Doors, Oasis, Fleetwood Mac, Led Zeppelin, Jackson Browne, Chick Corea, Jefferson Airplane, Simon & Garfunkel, Pat Metheny, Seals & Crofts, The Grass Roots, The Guess Who, Beatles, Genesis and Bob Dylan...

Four Letter Word season continues with a quiz (which is a four-letter word itself) about four letter words. Test your etymological knowledge, and hear about the original nepo baby, John Venn's invention that wasn't the venn diagram, brat, gunk, rube, the time(s) Led Zeppelin changed their name, and plenty more.Play along while you listen - there's an interactive scoresheet at theallusionist.org/444, where there's also a transcript of this episode, plus links to more information about topics therein, and to the rest of Four Letter Word season and the previous Allusionist quizzes. Also check theallusionist.org/events for upcoming live shows, including a special collab with Material Girls podcast, and an event with Samin Nosrat for her new book Good Things.Support the show at theallusionist.org/donate and as well as keeping this independent podcast going, you also get behind-the-scenes glimpses about every episode, livestreams with me and my collection of dictionaries, and the charming and supportive Allusioverse Discord community.This episode was produced by me, Helen Zaltzman, on the unceded ancestral and traditional territory of the of the Mississaugas of the Credit, the Anishnaabe, the Chippewa, the Haudenosaunee, and the Wendat peoples. The music is by Martin Austwick. Download his songs at palebirdmusic.com and listen to his podcasts Song By Song and Neutrino Watch.Find the Allusionist at youtube.com/allusionistshow, instagram.com/allusionistshow, facebook.com/allusionistshow, @allusionistshow.bsky.social… If I'm there, I'm there as @allusionistshow. Our ad partner is Multitude. If you want me to talk compellingly about your product, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by:• Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Home Chef, meal kits that fit your needs. For a limited time, Home Chef is offering Allusionist listeners fifty per cent off and free shipping on your first box, plus free dessert for life, at HomeChef.com/allusionist.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jack Cooper is a singer, songwriter, guitarist and founding member of the band Modern Nature. Modern Nature's newest record The Heat Warps is due out August 29th via Bella Union. The first single Pharoah is out now and available everywhere. Jack shares the motivation behind starting Modern Nature, the bands sonic evolution and why the new record has a more direct and immediate vibe. He tells why he feels like he's reached a balance with his lyrics and how that confidence plays out on The Heat Warps. Joe and Jack discuss why less labored songs are often favorites, how an accidental nod to Led Zeppelin wound up on the new record and Jack explains the meaning behind the record title. Modern Nature Bella Union Tour Stories is now supported by @tandemdrums, maker of Drops drum mutes.  Joe's absolute favorite drummute for live, rehearsal and the studio. visit ⁠⁠⁠Tandem Drums⁠⁠⁠ Please visit and support ⁠⁠⁠⁠Izotope⁠⁠⁠⁠ and ⁠⁠⁠⁠Distrokid⁠⁠⁠⁠ for continued exclusive listener discounts. ⁠⁠⁠⁠Izotope⁠⁠⁠⁠ is the leader in audio repair, mixing and mastering. Ruinous uses ⁠⁠⁠⁠Izotope⁠⁠⁠⁠ and you should too. Trust us. The best way to get your music into the worlds ears is ⁠⁠⁠⁠Distrokid⁠⁠⁠⁠. Artist keep 100% of their royalties and their mobile app is smartly designed, easy to use and perfectly intuitive.

LED ZEPPLIN TOUR????? Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

LED ZEPPLIN TOUR????? Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

This is posted one day after the 52 anniversary of this wonderful show. Led Zeppelin playing to 58,000 people outside, in broad daylight, at Kezar Stadium on June 2, 1973. This show is famous for the photo of Robert Plant holding a dove in his hand. I play a very nice 31 minuted Dazed and Confused followed by the show closer, The Ocean. It's a really nice show overshadowed by the shows directly before and after.

You gotta hear Tommy Davidson's impressions of Sylvester Stallone, Obama and Led Zeppelin! Tommy will be at the Comedy Zone in Greensboro Thurs - Sunday of this week! New show with Martin Lawrence premieres on BET in Sept!

If rock 'n' roll ever had a true outlaw—equal parts velvet-voiced crooner and headline-grabbing hellraiser—it was P.J. Proby. Born James Marcus Smith in 1938 in Houston, Texas, P.J. Proby has lived a life that most musicians could only dream of—or wouldn't dare to. With a vocal range that soared across genres and a personal life that veered toward the chaotic, PJ became a rock 'n' roll legend not just for his music, but for his sheer unpredictability.Raised in a religious Southern family, PJ grew up listening to gospel choirs and traditional country music. His talent was apparent early on—he could mimic voices, pick up melodies by ear, and possessed a stage presence that drew attention. He attended a military college where his rebellious streak began to bloom. By the late '50s, PJ had made his way to LA where he worked as a songwriter and demo singer. It was here that his persona was born. The name had been suggested by his songwriter friend, Sharon Sheeley—P.J. Proby was the name of her old boyfriend. In the early '60s, PJ found success writing songs for artists like Elvis. He sounded so like Elvis that some of his demos were mistaken for The King. PJ's big break came in the UK when he was brought over by a television producer. It was a move that would change the trajectory of his career. With his jet-black hair, tight trousers, and smouldering charisma, PJ became an instant sensation. His haunting, dramatic cover of "Hold Me" climbed the UK charts and established him as a vocal powerhouse.But it wasn't just his voice that got people talking—it was the way he wore his pants. In early performances, PJ's skin-tight trousers famously split on stage. It sent the British press into a frenzy. The BBC banned him. Venues grew wary. But the controversy only fuelled his fame. He was dubbed a bad boy, a provocateur, a rock rebel with no regard for propriety—and audiences loved him for it.P.J. Proby was never one to stick in one lane. He jumped from rock and roll to pop, country, and even Broadway-style musical theatre. One of his albums featured a little-known band called Led Zeppelin backing him in the studio.Despite his raw talent and unique voice—PJ's career was never a straight line. His fiery temper, love affairs, and on-and-off battles with alcohol and self-destruction kept him at the fringes of mainstream success. He clashed with record labels. He alienated promoters. He became infamous for being difficult to work with—and yet utterly magnetic on stage.Through the '70s and '80s, PJ dipped in and out of the public eye. He starred in Elvis: The Musical. He worked with producer Marc Almond, and toured Europe with rock revival shows. All the while, the myth of P.J. Proby continued to grow. Was he a genius? A madman? A misunderstood star? Depending on who you asked, he was all three.In the '90s and 2000s, PJ leaned into his status as a cult figure. He released new music, reissued his classic tracks, and embraced the adoration of die-hard fans. Always the controversial figure, he didn't shy away from the spotlight—even if it cast shadows. He was never the type to play by society's rules. Today, P.J. Proby remains a living legend, albeit a polarizing one. He's part of that rare breed of musicians who lived the rock ‘n' roll lifestyle to its wildest extremes and survived to tell the tale. With a career spanning over six decades, Proby has worked with the likes of Elvis Presley, Johnny Cash, Cilla Black, Marc Almond, and even Led Zeppelin. He's played both packed stadiums and dingy pubs, belted ballads and growled blues. He's been idolized, criticized, banned, adored, and everything in between.From his humble roots in Houston to the swinging stages of London, from chart-topping hits to tabloid trainwrecks, P.J. Proby is a survivor. A rock ‘n' roll original. A voice like velvet and a life like a tornado. He's the embodiment of that old saying: never boring, always Proby.

Send us a textWhen the Levee Breaks (and Your Car Catches Fire)This week on The Wednesday Night Podcast, we're cranking up the volume and diving into rock 'n' roll legend with Led Zeppelin's iconic debut album, Led Zeppelin. We'll be dissecting its raw power, groundbreaking sound, and of course, that instantly recognizable album cover featuring the Hindenburg disaster. (Spoiler alert: things go up in flames.)And speaking of things going up in flames, that infamous zeppelin somehow sparks a discussion about car fires. Now, you might think they're rare, like spotting a unicorn at a drive-thru, but oh no. Chris, ever the purveyor of uncomfortable truths, comes armed with "evidence" to the contrary. Prepare for statistics you never asked for, alarming anecdotes, and a general sense of unease about your daily commute.So, buckle up, plug in, and join us for a journey from the fiery heights of rock history to the surprisingly frequent (according to Chris) phenomenon of spontaneous automobile combustion. It's an episode that might make you think twice about that next road trip.website: actonmusicproject.comemail: music@actonmusicproject.comCraig's phone number: ‪(978) 310-1613‬

Tom Del Becarro joins the show to discuss Kamala's trail of destruction & if the Led Zeppelin tour flyer is fake. June 3rd 2025 --- Please Like, Comment and Follow 'The Ray Appleton Show' on all platforms: --- 'The Ray Appleton Show’ is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- 'The Ray Appleton Show’ Weekdays 11 AM -2 PM Pacific on News/Talk 580 AM & 105.9 KMJ | Website | Facebook | Podcast | - Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

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

We get the listeners involved in ranking 15 classic rock songs. Where do our 15 classics rank for you? WE NEED YOUR HELP!! It's quick, easy, and free - Please consider doing one or all of the following to help grow our audience: Leave Us A Five Star Review in one of the following places: Apple Podcast Podchaser Spotify Connect with us  Email us growinuprock@gmail.com Contact Form  Like and Follow Us on FaceBook Follow Us on Twitter Leave Us A Review On Podchaser Join The Growin' Up Rock Loud Minority Facebook Group Do You Spotify? Then Follow us and Give Our Playlist a listen. We update it regularly with kick ass rock n roll Spotify Playlist Buy and Support Music From The Artist We Discuss On This Episode Growin' Up Rock Amazon Store Pantheon Podcast Network Music in this Episode Provided by the Following:  Free, Cassidy Paris, Alice Cooper, BulletBoys, Rainbow, Led Zeppelin, Styx, Heart, Deep Purple, Judas Priest, Bad Company, Foreigner, Aerosmith, Scorpions, AC/DC, KISS, Ozzy Osbourne Crank It Up New Music Spotlight  Cassidy Paris - “Butterfly” If you dig what you are hearing, go pick up the album or some merch., and support these artists. A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we conclude Jarvis's two-part interview with Russ Tippins and Cindy Maynard of Brooklyn-based classic hard rock revelations Tanith.  The conversation continues to flow easily, with topics ranging from England versus U.S. scene differences and similarities, the recording of the "Citadel" single as the first time the four members of Tanith played together, the affinity of underground metalheads for classic rock stylings, the challenges of starting a band and following your passion, the pros and cons of tour bus life versus van life, and the ongoing writing sessions for Tanith's third album. It's an enlightening and entertaining chat that covers a lot of ground effortlessly. Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

What happens when a philosopher, a pyrotechnics entrepreneur, and a tech ethicist walk into a boardroom? You get Reid Blackman—author of "Ethical Machines", host of a podcast by the same name, and founder of Virtue, a consultancy helping Fortune 500 companies navigate the ethical risks of AI. In this episode of Leveraging Thought Leadership, we explore the collision of ethics, emerging tech, and organizational complexity. Reid shares his unorthodox journey from selling fireworks out of a Honda to advising top executives on responsible AI. He discusses how AI creeps into organizations like a Trojan horse—through HR, marketing, and internal development—bringing serious ethical challenges with it. Reid explains why frameworks are often oversimplified tools, why every client engagement must be bespoke, and why most companies still don't know who should own AI risk. We dive into the business realities of AI risk management, the importance of moving fast in low-risk sectors like CPG, and the surprising reluctance of high-risk industries like healthcare to embrace AI. Reid also outlines how startups and tech-native firms often underestimate the need for ethical oversight, and why that's a gamble few can afford. If you want to understand how to future-proof your brand's reputation in an AI-driven world—or just love a good story about risk-taking, philosophy, and Led Zeppelin-fueled entrepreneurship—this is the episode for you. Three Key Takeaways: • AI Risk Is Organizational, Not Just Technical Ethical AI risk isn't the sole responsibility of the CIO or tech team—it's a company-wide issue. AI often enters through non-technical departments like HR or marketing, creating reputational and legal risks that leadership must manage proactively. • Frameworks Are Overrated—Bespoke Solutions Win Reid challenges the reliance on generic frameworks in thought leadership. Instead, he emphasizes the need for bespoke, agile solutions that are deeply informed by organizational structure, goals, and readiness. • Reputation Drives Readiness for Ethical AI Large brands in low-risk sectors (like CPG) are often quicker to adopt ethical AI practices because the reputational stakes are high. In contrast, high-risk sectors (like healthcare) are slower due to the complexity and fear surrounding AI implementation. If the episode with Reid Blackman sparked your interest in the ethical implications of thought leadership in rapidly evolving fields like AI, then you'll find a compelling parallel in our conversation with Linda Fisher Thornton. Linda dives into the broader responsibilities of thought leaders to ensure their content is not just smart, but also ethical, inclusive, and meaningful. While Reid examines AI as a fast-moving ethical challenge that demands bespoke, responsible oversight, Linda zooms out to highlight how thought leadership, in any domain, must be built on a foundation of trust, transparency, and long-term value creation. Both episodes challenge leaders to do more than inform—they must lead with conscience and intention. Listen to Linda's episode to explore how ethics can—and must—be the throughline of every thought leadership strategy.

On this week's In Service Of, Train frontman Pat Monahan joins Steve Baltin and Sage Bava to talk about the San Francisco band's upcoming tour, their biggest songs, Led Zeppelin and how Train is giving back to sick kids through Winyl, which merges music and wine for charity. See omnystudio.com/listener for privacy information.

“Everyone can do this. It's not just for some people—it's for all people.”In this enlightening episode, Erica sits down with her personal medium and mentor, Deb DeCelle, to talk about what mediumship looks like in real life - and how it's available to everyone. Deb shares how she discovered her gifts, the difference between intuition and imagination, and how to build a relationship with your spirit team. Together, they explore how intuitive nudges, energetic boundaries, and spiritual practices can make everyday life more magical, grounded, and healing.Key TakeawaysMediumship is for everyone. You don't need to “see dead people” to have intuitive gifts. Trusting your inner knowing is often how it starts.Protect your energy by working in the light. Instead of fear-based protection, Deb encourages setting intentions and surrounding yourself with benevolent guides and love.Intuition grows with practice. Meditation (even if it's just walking or listening to Led Zeppelin) helps you tune in, and simple games like guessing colors or outcomes build intuitive muscle.Next Step: Try a fun intuitive exercise today. Guess what shirt a coworker might wear or which checkout line will move fastest. Then see what happens.Connect with DebExplore her website - https://www.debdecelle.com/Buy her new book - https://a.co/d/aQR13HR Find her on YouTube - https://youtu.be/vZtWcafXBNw?si=VZCgtTBZ9-Yx4cfUInner PathwaysJoin a spiritual community for women looking for practical ways to deepen their connection, trust their guidance, and transform their lives. Sign up for Inner Pathways today at https://www.ericaballard.co/innerpathways!Follow Erica @ericaballard_ (https://www.instagram.com/ericaballard_)for daily inspiration, and visit https://ericaballard.co for show notes, discount codes, and additional resources. Also, rate, review, and follow the show wherever you listen, and never miss a single episode!