Podcasts about Led Zeppelin

Ne vous attendez pas à des notes très pertinentes, il est 1h06 et l'épisode sort dans 5h. Comme j'ai encore quelques bricoles de son à gérer et la vignette à faire alors autant piquer le texte de Maxime. Voyons voir."Comme on devenait un peu trop prévisibles avec une régularité métronomique, on a décidé de couper l'épisode en 2.Voici donc la première partie du 43ème Super Cover Battle. Et comme j'ai aucune idée de l'endroit où va s'arrêter cette première partie, si vous la trouvez pas dingue, dites vous que la seconde sera bien meilleure (et avec potentiellement moins de tunnels de Dam).Bonne idée à la con que cette première partie rapport au lien de la playlist à vous communiquer. Bon, en vrai, pour les 3 du fond qui lisent les notes, [voici la première moitié de la playlis](https://music.apple.com/fr/playlist/scb-43-partie-1/pl.u-kvk1vtWb0R9M)t (sans garantie que ce soit raccord avec l'épisode)."Mouais. 6/10. Heureusement que c'est pas SuperDescriptionBattle. Allez, 6.5/10 pour le lien vers la playlist.Comme quoi, c'est moi le gentil dans le duo.[La playlist multi-plateformes, dans l'ordre de l'épisode](https://www.tunemymusic.com/share/nIhTJfI7hb)[La playlist globale et classée sur Youtube (sans les 10 reprises du jour)](https://youtube.com/playlist?list=PLy0I7qtXvNDI-kmJuOv0rkm-SWV1lGoGh) [La playlist globale et classée sur Spotify (sans les 10 reprises du jour)](https://open.spotify.com/playlist/6XBhCgSAXPzr1WNSj2XOTa?si=fbb4599bfd194dc2)[La playlist multi-plateformes et classée sur Spotify (sans les 10 reprises du jour)](https://www.tunemymusic.com/share/Oj3WjtBujG)[Nouveau : l'annuaire Super Cover Battle (tous les groupes et artistes évoqués depuis le premier épisode, + de 800 noms !).](https://www.notion.so/a8de521dacb643f9a5a8f4ae0c5657bb?pvs=21)Pour nous envoyez vos listes de 3 reprises (parues officiellement et dispo en stream), par dm sur Twitter ou sur nos mails respectifs :recoversionpodcast@gmail.comecoutecapodcast@gmail.comTipeee : http://tipeee.com/ecoute-ca Discord :  https://discord.com/invite/wgxkGN3grG Instagram : @ecoutecapodcast Bluesky : https://bsky.app/profile/ecoutecapodcast.bsky.socialX/Twitter : @ecoute_ca Facebook : ecoutecapodcastHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

My guest today is a regular guy who happens to do a lot of creative stuff! Welcome Robert Scheffler to the podcast. Robert started on guitar after finding the one his mom had when she tried to take up the instrument. He played in school, he played in cover bands (because where he was living, no one wanted originals), he played solo gigs. He played supper clubs where you had to compete with food for the attention of the audience. He joined a band and enjoyed playing. But he also started freelance writing and researching. Soon, the music started taking a backseat to what was paying the bills. He found himself writing and playing less and less, until he finally stopped. He started writing humor full time and did that for about 20 years. He didn't put music away completely, though. He'd sequester himself in a cabin and try to write. He did some composing for short films. Robert explains who and what got him back into writing, what it's like to have a good song in a bad movie, and we take a detour through our mutual love of the mighty Led Zeppelin. We do bring it all back around and talk about his latest album, Truce. It's my favorite in his catalog. Robert reveals the novelist who inspired his new musical outlook. We also talk about the furniture he creates. Go check his music out on streaming platforms. You can also check that and his furniture at robertschefflermusic.com. That's also got his socials. Follow us @PerformanceAnx on socials, buy merch at performanceanx.threadless.com or just send money to ko-fi.com/performanceanxiety. Now let's get into this chat with the might Robert Scheffler on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

David Wright, the ESPYS, and Led Zeppelin To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

“There were some heroes and there were some zeroes…”   BACK TO THE BEGINNING, the final concert performance by the O.G. lineup of BLACK SABBATH featuring Bill Ward, Geezer Butler, Tony Iommi, and Ozzy Osbourne (along with an all-star roster of top shelf rock & metal artists) was held at Villa Park in Aston, Birmingham, England on 05/07/2025 (that's July 5th, 2025 for people in the United States) and raised nearly $200 Million for charity.    While BACK TO THE BEGINNING will go down in heavy metal history as “The Live Aid of Metal”, it also represents a significant turning point and an emotional marker for metal fans from all over the world who came to pay homage and bid a celebratory yet poignant farewell to the Founding Fathers of Heavy Metal and The Prince Of Darkness.   Ladies, prepare to comprehend why Pantera playing Sabbath songs at a Zeppelin tribute is as much a faux pas as “showing up to a funeral wearing a bridal gown”, gentlemen, understand how Slipknot's Sid Wilson is an absolute genius when it comes to remembering landmark dates with that special someone, and as for everybody else, break out your assortment of relaxers and various modalities of twanglification and JOIN US as we celebrate Sabbath, Ozzy, and all things metal with our take on BACK TO THE BEGINNING. Visit www.metalnerdery.com/podcast for more on this episode Help Support Metal Nerdery https://www.patreon.com/metalnerderypodcast Leave us a Voicemail to be played on a future episode: 980-666-8182 Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on your favorite Podcast app Follow us on the Socials: Facebook - Instagram - TikTok Email: metalnerdery@gmail.com Can't be LOUD Enough Playlist on Spotify Metal Nerdery Munchies on YouTube @metalnerderypodcast Show Notes:   (00:01): “Mr. Black or Mr. Monkey?” / NOTE: that was actually #CoalChamber with #OzzyOsbourne / “Going forward, I need you to know…”/ ***WARNING: #listenerdiscretionisadvised *** / #christmaspeanutbutterballs / ***WELCOME BACK TO THE METAL NERDERY PODCAST IN FENG SHUI BUNKERPOON PARADISE!!!***/ #ragefulreflections #freeair #gasstations / “Dude, that's a thing…”/ #DiscountTire #DriveUp #FreeService / “Now you go to 2 or 3 and they're all fucked…”/ “Is it some kind of conspiracy?” / “If anybody sees somebody doing that…” (05:55): “We have a little #shittah…”/ ***EMAIL US at metalnerdery@gmail.com or VOICEMAIL US at 980-666-8182 or PATREON US at patreon.com/metalnerderypodcast*** / “Maybe knuckle deep…”/ #PatreonShoutout / “Apparently…I dropped the whole sack today…”/ #wellplayyourshittah WE'LL PLAY YOUR SHIT-TAH!!! / #Kalmo from #Finland #BlackenedDoomMetal THY CHOSEN ONE / “Oh that made all the difference…”/ #spokenwordASMR / “The release month is the 16th month and the 7th day…”/ “Smallest to biggest…no, y'all go big, small, big again…” / #ThankYou (12:00): #TheDocket METAL NERDERY PODCAST PRESENTS:  BLACK SABBATH & OZZY OSBOURNE – BACK TO THE BEGINNING POST-SHOW WRAP-UP / “We now live in a #PostSabbathWorld…”/ “I had a really, really, REALLY, bad 4th of July…it was awesome!”/ “Luckily, for some strange reason…”/ “The first thing I saw was this…”/ #BackToTheBeginning #MetalLiveAid #MetalCharity / #JackBlack MR. CROWLEY (Blizzard Of Ozz – 1980) / “Things move fast in the metal community…” / “The only things that I had questions about...WHY?” / NOTE:  #LedZeppelin is NOT from #Birmingham / #NunoBettencourt / #onmicburp / “There were some heroes, and there were some zeroes…”/ “Apparently he's got a really thick Rolodex…”/ #SabbathBloodyAnthrax / #RussellsReflectionsASMR  (22:22): “She sang amazing dude…she hit a note…the whole band quit playing…” / #LzzyHale #Halestorm PERRY MASON (Ozzmosis – 1995) / “I'm gonna gush…”/ “Bark at the Boon?” / BARK AT THE MOON (Bark At The Moon – 1983) / “Hit it Vernon…” / “All-righty-then…” / #NunoSolo / #onmicburp / “That's helpful…”/ #rotatingstage / “Oh…play it…trainwreck…”/ #AliceInChains FAIRIES WEAR BOOTS (Paranoid – 1970) / “That's not a ‘train wreck'…”/ “It's meaty…and thick…and full…”/ “To be fair…the bigger fuck up was at the very end on the #livefeed where they cut off…” (33:00): “They actually released that as a single…”/ “Here we go…with the negativity…”/ “Why the fuck did they have Steven Tyler come out and not even sing a Sabbath song?” / “It's kinda like showing up to a funeral wearing a bridal gown…”/ “Let's see #Pantera play some #BlackSabbath at a #LedZeppelin tribute…” / #RussellsLaughterASMR / “Slayer absolutely destroyed the show…the Slayer set was…what are we doin'?” / #Slayer WICKED WORLD (Black Sabbath – 1970)  (39:00): “I understand the criticism…but #GunsNRoses…they don't fit as much as the other bands fit…”/ “One album really…”/ “The next band was perfect as usual…”/ #Metallica HOLE IN THE SKY (Sabotage – 1975) / “I like the whole purple motif…”/ “I've never heard Johnny Blade played live ever…”/ JOHNNY BLADE (Never Say Die! – 1978) / “I can't watch Lars Ulrich play drums anymore without thinking about that dude on #Instagram…” (46:06): “Let's get to the meat…”/ “45,000 tickets sold in 16 minutes…” / #OzzyOsbourne MAMA I'M COMING HOME (No More Tears – 1991) / “I mean, he's trying…” / “Alright play a Sabbath one real quick…”/ #BlackSabbath N.I.B. (Black Sabbath – 1970) / “It's kinda cool that he went topless…”/ “Getting old sucks so bad!” / “This was the #LiveAid of #heavymetal…”/ “Who got kicked off? Who was it?” / #Feuds #FeudFuel / “Drama sells…”/ #Loudmouth is actually a #Merger between #Loudwire and #Blabbermouth / “It's getting really close…”/ #clickbait / “Everybody feels like they've got to be a whore for the algorithm…”/ “This is what the internet says…”/ “That's it. That's the last time…this is over.” / “I get both sides of it…you could have waited til the day after…”/ #marriageproposal / “He'll never forget it, and in fairness to guys, that's probably why he did it on that day…”/ “Propose on #LeapYear …if you get married on Leap Year, you only have an anniversary every 4 years…”/ THANKS TO EVERYONE WHO MADE #BACKTOTHEBEGINNING A REALITY AND A SUCCESS!!! / “If it was great, I did it…”/ ***GO CHECK OUT OUR SABBATH EPISODES!!!*** / #untilthenext #outroreel / ***BONUS PREVIEW***

S8E29 went out live from the TSORR Studio on Myoli Beach on 17 July 2025 at 19h00 on Rebel Rock Radio. We had a great interview with the South African band, Marene, and played their brand new track, 'Finchie' and a very tight Diabolical Challenge looking at Atlantic Records: Bad Company, Back in Black, Slave to the Grind, Led Zep I. It was a cracker of a show. Don't miss it. Running order of artists featured: Bullet Boys, Judas Priest, Rammstein, The Cult, Hellsmoke, Halestorm, Airbourne, The Stranglers, The Clash, Roger Waters, Bruce Springsteen, Attick Demons, Girish & the Chronicles, Queen, AC/DC, Black Sabbath, Cream, Motörhead, Iron Maiden, Marene, The Highwayman, Bob Dylan, Linkin Park, Guns ‘N Roses, Bad Company, Led Zeppelin, AC/DC, Skid Row, Jeff Labar, Taylor Road, Five Finger Death Punch, Buckcherry, Sodom, In Flames, Arch EnemyThe Story of Rock and Roll. TSORR - Your one-stop shop for Rock

Grab a cold brew and join us for another edition of Coffee with the Kaye as we dive into,cold brew coffee,Mrs. Jones' Coffee,Turkish Coffee,Weasel coffee,childhood songs,Elvis,Momma Thorpe,hound dog,Motown,Josh's CDs,Whitney Houston,Club Cherry Bomb,Kenny Aarnoff,Simon Phillips,Taylor Swift,Led Zeppelin,Christene Kaye,Switchfoot,Cleveland Browns,Shedour Sanders,four quarterbacks,Deshaun Watkins,Joe Flacko,Dillan Gabriel,Mary Kaye cabot,Kenny Pickins,& Fantasy Football.

You might ask boys - if you've already done two 1+ hour episodes on Live Aid at 40, what more could you possibly have left for a third? The only thing we left out of episodes 1 & 2 were first hand accounts from the front or back of the stage that day, something we weren't privy to at the time due to the fact that we were 12 years old. So we enlisted two folks who there that day to help tell the real story - MTV VJ Alan Hunter and longtime Eric Clapton guitar tech Lee Dickson. Alan was one of the original 5 MTV VJs with Nina Blackwood, Martha Quinn, Mark Goodman and JJ Jackson. Alan was in Philadelphia that day as the stage boiled at close to 100 degrees. That made for a long day (18 hours on the air?) surrounded by legends and the hottest acts of the time. Alan tells what it was like to walk backstage among the many luminaries who were around that day, how he handled juggling being on MTV at the front of the stage to running backstage for interviews. And yes, he does discuss his much talked about interview with Phil Collins and the surviving members of Led Zeppelin after their infamous performance. A dream come true for a couple MTV kids to interview one of their heroes! LIsteners of the show know the Lee Dickson is full of humor and stories from his decades in the rock business. He's cavorted with the aristocracy of rock n roll and is entertaining in the way that he shares these tales from the road. He sets the record straight on how he handled Marshall amps that day while trying to find the right one for Eric and relates a story of how his plan to create a beautiful effect for the TV audience was thwarted by crazy roadies and stagehands. Lee also lets us know how you could cool off in the synthesizer room and find refreshment. It's a great view behind the scenes you won't find anywhere else and we think you'll love Lee's humorous delivery of his wild tales. July 13, 2025 marks the 40th anniversary of this extraordinary day in rock music, MTV and the lives of The Wolf & Action Jackson so we're releasing this special episode on that day to commemorate the extraordinary event. Learn more at ⁠www.bandaidtrust.co.uk⁠ Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textThe Bums are back in the rail yard with S5:E0131 (sans technical difficulties) where the top honors a fallen bum, Boston Dough, who passed away unexpectedly; the Bums recount various tech blunders with E0130 before jumping into sporting news; the Chicago Bears extend stoic GM Ryan Poles (co-term with new coaching regimen); good guy Jonathan Toews heads home for his moose-song; talk turns to MLB and the upcoming All Star break, including the debut of bot umps; Cubs phenom PCA (super dreamy) sparkles during 1H —in rare air; Paddy spits some MLB trivia including a focus on Craig Biggio; Paddy and daughter catch a rap concert at Comiskey (the warm up act was some mediocre baseball); the Bums offer respect to Dave Parker, Bobby Jenks, Lee Elia — along with actor Michael Madsen; Angel Reese is on everyone's last nerve; and close with the Dodgers vilification.The bottom chunk rips off with another universally famous beer review — mitten style — with another solid creation from Seedz Brewery in Union Pier, MI, “Hoppers Hell” (ABV 5.0%), a very good Helles Lager with balanced hops up front and a nice malt back end (slight citrus pronounced with several Seedz creations); another Chow Report featuring Rose Mary in Chicago's Fulton Market hood; Paddy does some micro-landscaping; the Bums take-on southwest Michigan over the 4th of July holiday; a visit to the Bloomery was equal parts overwhelming and heaven; and close with a shout out to Netflix and their well done Led Zeppelin documentary.  Get some while it's hot!  Recorded on July 12th, 2025 at B.O.M. northwest headquarters ‘The Eagle's Nest' in Chicago, IL USA

In the first part of a two part series, Novo and Philip (philipchurch.com) discuss Led Zeppelin's secret weapon - Bassist and Multi-instrumentalist John Paul Jones - focusing on his roots, his musicianship, his session, arranging, and production work, and of course, his time with Led Zeppelin, detailing Led Zeppelin I thru Led Zeppelin Untitled, often known as IV or Zoso. Thank you for listening.Please consider supporting us with a donation - @novodeproductions on paypal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Support our colleagues at:Philipchurch.comAlexandra-parsons.comCheck out more at www.novodeproductions.com, follow us @_novo_de, @aotb.podcast, @aotbpodcast, and if you'd like to be on the show, you can contact us at novodeproductions@gmail.com.This Episode is also brought to you by:Novel "Til the Bitter [End]emic" - Available now on Amazon. Til The Bitter [End]emic is a novel about discovery; about what we do, who we become, and what we realize is truly important when we're faced with insurmountable odds, the same kind that makes us face our own mortality.Short story - "Cancel Culture Lotto" - available now on Amazon.Zencastr - our go-to tool to record our podcast with multiple guests remotely. With Zencastr, you can record separate audio and video tracks, and it's all backed up on a secured cloud so you never lose your hard work. It's reliable, easy to use, and there's nothing to download. So go to⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠zencastr.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use promo code: artofthebeholder, and get 30% off your first three months with a PRO account. So create your ⁠⁠⁠⁠⁠⁠⁠podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ today! #madeonzencastr⁠⁠⁠⁠.Note: Only the intro music is by A-CO; all other music or sound effects is stock from various outlets. Main resource for background information: wikipedia.com.

In this episode of The Popko Project Podcast, Popko catches up with blues-rock powerhouse Dustin Douglas to celebrate the release of his band, Dustin Douglas & The Electric Gentlemen, brand-new album, IV. Two years after their last podcast hang, Dustin returns to dive into the creative journey behind IV — from writing and recording to […]

This is a North Bridge remix/remaster of Led Zeppelin playing Frankfurt on June 30, 1980. This is a fun, very good show with flashes of magic. North Bridge did a hell of job fattening up the soundboard recording, and making it sound almost professionally recorded. I play In the Evening (which benefits the most imo from the North Bridge treatment), Trampled Underfoot, and a glorious, fun, joyous, playful Whole Lotta Love with Jimmy playing sweet blues licks in the Boogie Mama section, along with a spontaneous performance of Frankfurt Special. This is a good one.

The day the world stopped to listen. July 13, 1985 stands as a pivotal moment when music transcended entertainment to become a global force for humanitarian change. Live Aid connected London's Wembley Stadium and Philadelphia's JFK Stadium through groundbreaking satellite technology, reaching nearly 2 billion viewers.What made Live Aid revolutionary wasn't just its scale but its immediacy. Unlike Woodstock or other historic concerts we experience through curated footage, Live Aid happened in real-time before our eyes. From Status Quo kicking off with "Rockin' All Over The World" to the "We are the World" finale, we witnessed music history unfiltered—technical glitches, microphone failures, and all. This raw authenticity created an unprecedented shared global experience.The performances ranged from career-defining triumphs to disappointing reunions. U2 transformed from cult favorites to superstars with their electrifying 11-minute rendition of "Bad," featuring Bono's spontaneous rescue of a fan from the crushing crowd. Queen delivered what many consider rock's greatest live performance, with Freddie Mercury commanding 72,000 people like a conductor before his orchestra. Phil Collins made the impossible happen—performing in London, flying on the Concorde to New York, and helicoptering to Philadelphia to play with Eric Clapton and Led Zeppelin all in the same day.Beyond raising millions for Ethiopian famine relief, Live Aid fundamentally changed how we understand music's potential impact. It created the blueprint for benefit concerts that continues today, proving that artists could mobilize massive global action. Four decades later, in our fragmented media landscape, Live Aid's achievement seems even more remarkable—a singular moment when music united humanity across continents, cultures, and borders for a cause greater than ourselves.Music in My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldPlease like and follow the Music in my Shoes Facebook and Instagram pages and share the podcast with friends on your social media. Contact us at musicinmyshoes@gmail.com. Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

It’s a celebration of the 40th anniversary of Live Aid! Live Aid was grand in scope and ambition. It was largely the brainchild of an unlikely hero, Bob Geldof, the Irish singer who fronted The Boomtown Rats, and who had helped assemble the all-star cast of Band Aid. Watched by 1.5 billion people, Live Aid eventually raised $127 US million for famine relief in Africa. But beyond that, Live Aid was also a cultural touchstone that showed the power of pop music and the determination of millions of people to make a difference in the world. Hours before the event took place, Christopher Ward had a chat with organizer Bob Geldof, who, in his intense way, told of the importance of Live Aid. He disputes the cultural significance in favour of the pragmatic view of delivering much needed aid to African famine relief. It’s an extraordinary interview with a man who is firing on all cylinders, almost to the breaking point. And of course, we also talk about the music, including: Although Geldof didn’t want them in the lineup, Freddie Mercury and the band provided the most memorable 22 minutes of the day, perhaps the best ever performance in music history. U2 – We have the full story of why they played only two songs that day… and how it became a major moment on their road to superstardom. David Bowie’s set was also memorable. But he almost didn’t play that day. And it was all because of a CBC report on the famine. We have the full story. Duran Duran. Simon LeBon made a considerable gaffe during one of their songs. He considers it the most embarrassing moment of his career. Led Zeppelin - why Jimmy Page blamed Phil Collins for Zeppelin’s less than perfect performance. There were also a number of artists who chose not to perform that day, including Bruce Springsteen, Michael Jackson, Prince, Culture Club and Huey Lewis. At least two of those acts regretted that decision. And we talk about the importance of Live Aid as a cultural milestone. Famous Lost Words, hosted by Christopher Ward and Tom Jokic, is heard in more than 100 countries worldwide and on radio stations across Canada, including Newstalk 1010 Toronto, CJAD 800 Montreal, 580 CFRA Ottawa, AM 800 CKLW Windsor, 610 CKTB St Catharines, CFAX Victoria, AM1150 Kelowna and 91x in Belleville. It is in the Top 20% of worldwide podcasts based on the number of listeners in the first week.

You might ask boys - if you've already done two 1+ hour episodes on Live Aid at 40, what more could you possibly have left for a third? The only thing we left out of episodes 1 & 2 were first hand accounts from the front or back of the stage that day, something we weren't privy to at the time due to the fact that we were 12 years old. So we enlisted two folks who there that day to help tell the real story - MTV VJ Alan Hunter and longtime Eric Clapton guitar tech Lee Dickson. Alan was one of the original 5 MTV VJs with Nina Blackwood, Martha Quinn, Mark Goodman and JJ Jackson. Alan was in Philadelphia that day as the stage boiled at close to 100 degrees. That made for a long day (18 hours on the air?) surrounded by legends and the hottest acts of the time. Alan tells what it was like to walk backstage among the many luminaries who were around that day, how he handled juggling being on MTV at the front of the stage to running backstage for interviews. And yes, he does discuss his much talked about interview with Phil Collins and the surviving members of Led Zeppelin after their infamous performance. A dream come true for a couple MTV kids to interview one of their heroes! LIsteners of the show know the Lee Dickson is full of humor and stories from his decades in the rock business. He's cavorted with the aristocracy of rock n roll and is entertaining in the way that he shares these tales from the road. He sets the record straight on how he handled Marshall amps that day while trying to find the right one for Eric and relates a story of how his plan to create a beautiful effect for the TV audience was thwarted by crazy roadies and stagehands. Lee also lets us know how you could cool off in the synthesizer room and find refreshment. It's a great view behind the scenes you won't find anywhere else and we think you'll love Lee's humorous delivery of his wild tales. July 13, 2025 marks the 40th anniversary of this extraordinary day in rock music, MTV and the lives of The Wolf & Action Jackson so we're releasing this special episode on that day to commemorate the extraordinary event. Learn more at www.bandaidtrust.co.uk Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

'Jurassic World Rebirth', the seventh film in the franchise, took a bite out of the box office with $26 million earned domestically on July 4th Friday. The dino film earned $147 million over the entire weekend! While it ruled the box office over the July 4th holiday, it's the lowest opening of any 'Jurassic' film to-date. RIP: Actor Michael Madsen has died at 67.In celebration of America, let's revisit this ranking of the Top 50 AMERICAN Bands of All Time, according to UltimateClassicRock.com.1. The Beach Boys2. Tom Petty and the Heartbreakers3. Van Halen4. Creedence Clearwater Revival5. Aerosmith6. The Doors7. Talking Heads8. R.E.M.9. Eagles10. Simon & GarfunkelHot Wheels is getting a live-action movie.After earning $515 million at the box office in around one month, Universal's live-action version of 'How To Train Your Dragon' will begin streaming on Premium Video on Demand on July 15th.Scarlett Johansson's role in Jurassic World Rebirth has set a new global box office record, making her the world's highest-grossing lead actor.The 40th anniversary of Live Aid is this Sunday. And if you want to relive that moment in music history, the official YouTube channel will be celebrating with over 10 hours of footage. A four-part documentary called "Live Aid: When Rock 'n' Roll Took on the World" will also premiere on CNN on Sunday night. But don't expect to see Led Zeppelin there. Oasis will release a nine-CD or 14-LP box set called Oasis: Complete Studio Album Collection on August 22nd. It includes all seven of their studio albums and the B-sides compilation The MasterplanNetflix's Queer Eye is coming to an end after 10 seasons. https://variety.com/2025/tv/news/queer-eye-end-netflix-season-10-1236450911/EA Sports College Football 26 is here … It's game time for college football fans. EA Sports College Football 26 officially drops today (Thursday). This year's edition builds on the super success of last year's version, with over 2800 new plays, real-life coaches, and a revamped transfer portal that adds more drama to Dynasty Mode. Gamers will see more mascots, traditions, and game day vibes. This thing is supposedly everything fans loved last year – just bigger and better.An old clip is resurfacing again from the Joe Rogan podcast where Jelly Roll sets some things straight. A bunch of people on the internet were calling his wife, Bunnie XO, a gold digger for being with him . . . but Jelly had the perfect answer. https://www.tiktok.com/@xomgitsbunnie/video/7234363257467817259 Jojo Siwa has teased a cover of Kim Carnes' classic '80s hit "Bette Davis Eyes", and Kim dissed it on an Instagram post that has since been deleted. Kim said "There's a difference between singing a song . . . And embodying it." Here's the clip Jojo posted. https://pagesix.com/2025/07/10/entertainment/kim-carnes-seemingly-shades-jojo-siwas-viral-betty-davis-eyes-cover/?AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Part 2 of our deep dive into Live Aid as it turns 40. In Part 1 we spoke about the creation and buildup to the event on July 13, 2025 at Wembley Stadium in London and JFK in Philly. It was billed as a legendary fundraiser to support starving people in Africa organized by Bob Geldof which attracted some of the greatest artists of several generations. On our second installment, we break down the live acts throughout the day in the US and during the prime afternoon and evening times in the UK. While some stand out fo incredible performances (The Wolf was partial to Chrissie Hynde and the Pretenders among them), some top of the charts performers hit some bad notes (yes, we're going there). And of course, we discuss the infamous Led Zeppelin reunion and interview with Alan Hunter. Part 3 will be released July 13, 2025 to coincide with the 40th anniversary of Live Aid. We are excited about 2 interviews with people who were at the stage in Philadelphia that day, including one of the original MTV VJs. HINT: It's not JJ Jackson :( Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Welcome to Part 2 of our deep dive into Live Aid as it turns 40. In Part 1 we spoke about the creation and buildup to the event on July 13, 2025 at Wembley Stadium in London and JFK in Philly. It was billed as a legendary fundraiser to support starving people in Africa organized by Bob Geldof which attracted some of the greatest artists of several generations. On our second installment, we break down the live acts throughout the day in the US and during the prime afternoon and evening times in the UK. While some stand out fo incredible performances (The Wolf was partial to Chrissie Hynde and the Pretenders among them), some top of the charts performers hit some bad notes (yes, we're going there). And of course, we discuss the infamous Led Zeppelin reunion and interview with Alan Hunter. Part 3 will be released July 13, 2025 to coincide with the 40th anniversary of Live Aid. We are excited about 2 interviews with people who were at the stage in Philadelphia that day, including one of the original MTV VJs. HINT: It's not JJ Jackson :( Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

MUSIC The 40th anniversary of Live Aid is this Sunday. And if you want to relive that moment in music history, the official YouTube channel will be celebrating with over 10 hours of footage. A four-part documentary called "Live Aid: When Rock 'n' Roll Took on the World" will also premiere on CNN on Sunday night. But don't expect to see Led Zeppelin there. Oasis will release a nine-CD or 14-LP box set called Oasis: Complete Studio Album Collection on August 22nd. It includes all seven of their studio albums and the B-sides compilation The MasterplanThe Offspring have launched a new sneaker with Vans inspired by their Smash album. They'll be giving away two pairs of the sneakers at each show on their tour with Jimmy Eat World and New Found Glory, which starts Friday in West Palm Beach, Florida. Joe Jonas shared on TikTok that a fan approached him on the street and said that she and her friends were just talking about how TINY his nipples are. In the video, Joe looks down at his chest and says, quote, "I think they're quite average-sized nipples." He added in the caption, quote, "Mind you I was feeling decently confident before this." Olivia Rodrigo paid for all her band and crew to have therapy on her world tour. “And considering a world tour consists of late nights, long days, endless travel, being away from home, jet lag, and the adrenaline of performing in front of thousands of people before the post-show crash, I can only imagine how beneficial this would have been.” The cause of Michael Madsen's death has been revealed. The Kill Bill and Reservoir Dogs actor passed away on Thursday (July 3) at his home in Malibu, California. He was pronounced dead at the scene, and no foul play was suspected."The Devil Wears Prada 2" has added Lucy Liu, Justin Theroux, B.J. Novak, and Timothée Chalamet's sister Pauline to its cast. They will appear alongside the original film's stars, Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci. Disney's 20th Century Studios is backing the sequel, which is currently in production and set to open theatrically on May 1, 2026. AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The bizarre reason Blake Shelton and Gwen Stefani won't be found at the beach. Live Aid was 50 years ago, and it's giving us content this weekend (Led Zeppelin not included). Morgan Wallen's new album is climbing the Billboard charts. Oasis officially kicked off their tour. Plus: Vinnie tells us about expensive moldy cheese aged in a cave, and why when people move they take their sports team with them.

Dion, Irv, and Jon rank the list they narrowed down last week. What is the best opening song on a Rock and Roll album? The list includes: Highway to Hell by AC/DC, Baba O'Riley by the Who, My Name is Jonas by Weezer, Come Together by the Beatles, Immigrant Song by Led Zeppelin, Thunderstruck by AC/DC, Enter Sandman by Metallica, Band on the Run by Paul McCartney and Wings, Welcome to the Jungle by Guns-N-Roses, and Hotel California by the Eagles. What did we leave off? What is your top opening song?Theme: Protofunk by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4247-protofunkLicense: http://creativecommons.org/licenses/by/4.0/

In Episode 173 of Who's Your Band?, Jeff and Sean share their Top 5 all-time concert experiences—with wild stories to match. From seeing KISS at MSG in '77 to working a secret David Bowie show in Staten Island, to the chaos of Rage Against the Machine & Wu-Tang, and even handling Jimmy Page's guitar at a Led Zeppelin reunion! It's a hilarious, epic ride through rock history you won't want to miss.

President Trump holds a Cabinet meeting over the Texas floods, tariffs, and Ukraine. Dana recaps the tragedy of the floods in Hill Country, Texas including personal stories from friends. Former Houston City Employee says you shouldn't care about the little girls who drowned at Camp Mystic because they're white. Ted Cruz gets criticized for leaving Greece immediately to return to Texas as soon as possible. Rapper Flavor Flav calls for a complete and total ban of US citizens owning firearms. Dana shares her reaction to the DOJ and FBI claiming there was no client list from Jeffrey Epstein and shares some harsh words about how Americans are being lied to. Dana praises Netflix's new documentary about the origin story of Led Zeppelin. Dana reacts to Elon Musk wanting to create a third party called the “America Party”. Dana reacts to the new woke Superman film directed by questionable director James Gunn wherein he tries to emphasize Superman's immigration storyline. Stephen Yates from Heritage joins us to discuss the Trump Administration cracking down on CCP/adversary purchases of farmland nationwide, Trump supplying more weapons to Ukraine and more. Dana praises the new TSA policy not forcing passengers to take off their shoes while going through security.Thank you for supporting our sponsors that make The Dana Show possible…Angel Studioshttps://Angel.com/danaStream films that reflect your American values and claim your premium member perks.Allio CapitalDownload Allio from the App Store or Google Play, or text “DANA” to 511511 to get started today.One Skin https://Oneskin.coHealthy skin at the cellular level. Enter promo code DANASHOW to get started today with 15% off.All Family Pharmacyhttps://Allfamilypharmacy.com/DanaDon't miss out on the BOGO Sale! Hurry—this limited-time offer runs from July 4th to July 13th only.Relief Factorhttps://relieffactor.com OR CALL 1-800-4-RELIEFTurn the clock back on pain with Relief Factor. Get their 3-week Relief Factor Quick Start for only $19.95 today! Byrnahttps://byrna.com/danaGet your hands on the new compact Byrna CL. Visit Byrna.com/Dana receive 10% off Patriot Mobilehttps://patriotmobile.com/DanaDana's personal cell phone provider is Patriot Mobile. Get a FREE MONTH of service code DANAHumanNhttps://humann.comFind both the new SuperBerine and the #1 bestselling SuperBeets Heart Chews at Sam's Club!Keltechttps://KelTecWeapons.comSee the third generation of the iconic SUB2000 and the NEW PS57 - Keltec Innovation & Performance at its best

Peter Hook, bold pioneer of the high, clambering, tune-filled bassline, is touring this autumn with Peter Hook & the Light. We talk to him in Prestatyn - about to deejay at mate's birthday - about the first gigs he ever saw and played, heavy-handed club owners, tough crowds on dance floors, the world audience for his two old bands and few key moments of a long life onstage, which involves … … why you should never read your reviews. … how Ian Curtis was precisely the opposite of how people imagined him. ... why deejaying is “the loneliest job in the world” and three tunes to play when it all goes wrong - “and I don't play Blue Monday for obvious reasons”. … seeing the Nolans at Salford Rugby Club, aged 15. … his bell bottoms, clogs and Heavy Metal phase. … seeing Led Zeppelin and the Sex Pistols the same week – “the Pistols were so bad they were relatable. I thought I could do that!” … Stiff Kittens' first gig: “a third-rate punk band aping all the others”. … how DJs need to be “belligerent” and why people find them hard to love – and the book he's writing, ‘How Not To Be A DJ'. … how Ian Curtis's vision of an international Joy Division following has finally been realised – “and with three generations in the crowd”. … radiogram-wrecking early adventures in bass guitar. … and the reasons he wanted to leave New Order and the thrill of maintaining their legacy. Peter Hook & The Light tickets here: https://peterhookandthelight.live/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

“What does it sound like when a rock legend says goodbye—while sitting on a throne, surrounded by fire, thunder, and 40,000 screaming fans?”In this electrifying episode of The Ben and Skin Show, Ben Rogers, Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina Ray—takes you inside the epic, emotional, and downright bizarre farewell concert of the one and only Ozzy Osbourne.From Jason Momoa moshing with Pantera to Jack Black jamming with Tom Morello's 13-year-old son, this wasn't just a concert—it was a full-blown rock opera fever dream. KT breaks down the wild lineup, including Metallica, Alice in Chains, Anthrax, and even a surprise appearance by Steven Tyler, who somehow belted out Led Zeppelin despite his “toasted” vocal cords.But it's not all jokes—there's genuine awe and respect as they reflect on Ozzy's legacy, his resilience, and the sheer spectacle of his final bow. From “Crazy Train” to “War Pigs,” the Prince of Darkness delivered one last thunderous sermon—and the guys were here for it.

Peter Hook, bold pioneer of the high, clambering, tune-filled bassline, is touring this autumn with Peter Hook & the Light. We talk to him in Prestatyn - about to deejay at mate's birthday - about the first gigs he ever saw and played, heavy-handed club owners, tough crowds on dance floors, the world audience for his two old bands and few key moments of a long life onstage, which involves … … why you should never read your reviews. … how Ian Curtis was precisely the opposite of how people imagined him. ... why deejaying is “the loneliest job in the world” and three tunes to play when it all goes wrong - “and I don't play Blue Monday for obvious reasons”. … seeing the Nolans at Salford Rugby Club, aged 15. … his bell bottoms, clogs and Heavy Metal phase. … seeing Led Zeppelin and the Sex Pistols the same week – “the Pistols were so bad they were relatable. I thought I could do that!” … Stiff Kittens' first gig: “a third-rate punk band aping all the others”. … how DJs need to be “belligerent” and why people find them hard to love – and the book he's writing, ‘How Not To Be A DJ'. … how Ian Curtis's vision of an international Joy Division following has finally been realised – “and with three generations in the crowd”. … radiogram-wrecking early adventures in bass guitar. … and the reasons he wanted to leave New Order and the thrill of maintaining their legacy. Peter Hook & The Light tickets here: https://peterhookandthelight.live/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Peter Hook, bold pioneer of the high, clambering, tune-filled bassline, is touring this autumn with Peter Hook & the Light. We talk to him in Prestatyn - about to deejay at mate's birthday - about the first gigs he ever saw and played, heavy-handed club owners, tough crowds on dance floors, the world audience for his two old bands and few key moments of a long life onstage, which involves … … why you should never read your reviews. … how Ian Curtis was precisely the opposite of how people imagined him. ... why deejaying is “the loneliest job in the world” and three tunes to play when it all goes wrong - “and I don't play Blue Monday for obvious reasons”. … seeing the Nolans at Salford Rugby Club, aged 15. … his bell bottoms, clogs and Heavy Metal phase. … seeing Led Zeppelin and the Sex Pistols the same week – “the Pistols were so bad they were relatable. I thought I could do that!” … Stiff Kittens' first gig: “a third-rate punk band aping all the others”. … how DJs need to be “belligerent” and why people find them hard to love – and the book he's writing, ‘How Not To Be A DJ'. … how Ian Curtis's vision of an international Joy Division following has finally been realised – “and with three generations in the crowd”. … radiogram-wrecking early adventures in bass guitar. … and the reasons he wanted to leave New Order and the thrill of maintaining their legacy. Peter Hook & The Light tickets here: https://peterhookandthelight.live/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

We covered the self-titled debut album from Crosby, Stills & Nash in episode 137.  Deja Vu is considered the second Crosby, Stills & Nash album, but it is actually the first album by Crosby, Stills, Nash & Young, with Canadian songwriter Neil Young turning the trio into a quartet.While the album continues to feature the signature harmonies associated with Crosby, Stills & Nash, it has a harder, more rocking edge to it. Some of this is undoubtedly due to the addition of Neil Young to the album, but it also reflects the challenges the group members were facing.  Both Stephen Stills and Graham Nash had gone through break-ups in their relationships, and David Crosby tragically had lost his girlfriend Christine Hinton in a car accident.The album was highly anticipated, generating $2 million in pre-sales before its release.  It became a gold record only 14 days after release, and was on the Billboard 200 album chart for 88 weeks.  Contemporary critics provided mixed reviews, but the album has only grown in stature over time, with many reviews considering it amongst the top albums ever produced.  Deja Vu was inducted into the Grammy Hall of fame in 2012.After its release, each of the principal members of the group would record solo albums, and the success of Deja Vu contributed to the individual success of these four solo projects.Crosby, Stills & Nash (and sometimes Young) would continue to produce albums over the decades with their last collaboration occurring in 2015.  The death of David Crosby in 2023 ended the possibility of full reunions.Wayne brings us this soft rock singer-songwriter live album for this week's podcast. Carry OnThe opening track to the album was penned by Stephen Stills who also provides lead vocals.  It is a medley of two songs edited together with a jam session connector, and came together surprisingly fast during a time when most songs were taking a long time to finish.  The lyrics encourage the band members to keep going through times of struggle in relationships both within and outside the band.Teach Your ChildrenGraham Nash wrote this song in 1968 when he was with The Hollies, but had not recorded it with that group at the time.  Nash has associated the song with a photograph exhibit showing a child playing with a toy hand grenade, and the lyrics encourage parents to be careful in how they teach their children.  Neil Young does not play on this song, but the steel guitar is provided by Jerry Garcia of the Grateful Dead. WoodstockUnlike the other tracks on this album, this song was not written by any of the band members, but was penned by Joni Mitchell.  Mitchell had not attended the Woodstock festival, but was inspired to write this song told from the perspective of a concert goer after hearing her then-boyfriend Graham Nash relay the account.  It has become a signature song for the group and a staple of the 60's counter-culture.  Our HouseGraham Nash wrote this song as a description of a day spent with then-girlfriend Joni Mitchell and her two cats in their Laurel Canyon home.  The song was written in an hour on Mitchel's piano.  It went to number 30 on the Billboard Hot 100.  ENTERTAINMENT TRACK:Theme from the motion Picture "Patton"This epic starring George C. Scott was playing in the theaters in 1970.  It won seven Academy awards, including Best Picture. STAFF PICKS:Let It Be by The BeatlesLynch starts the staff picks with a song inspired by a dream.  Paul McCartney's mother, Mary Patricia McCartney, died of cancer with Paul was 14.  In the dream, his mother encourages her son by saying, "It's all right, just let it be."  This single and title song from the final Beatles album debuted at number 6 on the Billboard Hot 100 before topping those charts.Cecilia by Simon & GarfunkelRob brings us the third single from the fifth and final album by Simon & Garfunkel, "Bridge Over Troubled Water."  It was developed in a late night jam when the duo and friends were banging on a piano bench and recording the sound with a tape recorder.  The lyrics depict the heartbreak of a boy delivered from Cecilia his unfaithful lover.The Rapper by The JaggerzBruce features the most successful single from the band whose guitarist and primary songwriter would go on to be Donny Iris.  The song is a warning to the ladies not to be taken in by a smooth talking man telling them lies.  It went to number 2 on the charts.Superlungs My Supergirl by Terry ReidWayne's closes out the staff picks with a cover originally written by Donovan about a 14-year old groupie.  Terry Reid was Jimmy Page's first pick to be lead singer of Led Zeppelin, but was unavailable at the time due to his touring schedule with Cream and the Rolling Stones.  Reid would acquire the nickname of Superlungs. NOVELTY TRACK:Pineapple and the Monkey by The FacesThis instrumental from The Faces debut album takes us out for this week.  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.

This is a show I covered in a two parter about 5 years ago. Led Zeppelin in Cleveland, Ohio on April 28, 1977. I'm revisiting it now because it's an amazing show, worthy of another listen. The band is on and the power and mystery are on display. Bonzo seems locked in a little tighter, Jonesy seems a bit more front and center, and it makes for a glorious show. I play The Song Remains the Same, Achilles Last Stand, and a rare encore performance of Trampled Underfoot. This is a fantastic gig and a very nice recording.

Our featured guest this week is the legendary Jim Peterik, the founder of The Ides of March, The Jim Peterick Band, and formerly of Survivor. Jim joined us via telephone from Chicago and was very generous with his time. We discuss the formation of The Ides of March, touring with Led Zeppelin, Jimi Hendrix, and Janis Joplin, his time working with Survivor and Jimi Jamison, and much, much more. He even sings to Derrick and Jeff at the end, so stay tuned for that! Apple - https://bit.ly/3rqqZLP Spotify - https://bit.ly/3EJOGBO YouTube - https://bit.ly/3UgqsY2   TIP BUCKET If you find it in your heart to donate to the cause and help fuel the podcast you can do so through our new Venmo and CashApp. Your support is greatly appreciated and will help shine a brighter spotlight on the great Memphis Music Community. Venmo - @‌therhythmsectionpod CashApp - $therhythmsectionpod Thanks for tuning in and supporting the Rhythm Section Podcast.

Episode 81!Very excited about part 2 of this episode! Considering what we talked about when this was recorded happened just this weekend.The 'Back to Beginnings Black Sabbath' Tribute to Ozzy show we discuss, and how that ties in with the previous topic of hanging it up for a music artist.Also, INXS and their lead singer, Michael Hutchence. Depeche Mode, Led Zeppelin, Pearl Jam, and their song 'Give To Fly'. And so much more.The episode alternates between conversations, and this is the second part of a three-part series.Thank you for listening!I hope you enjoy it.You can get a hold of us through:Email at:ozomatfan87@gmail.comSocial Media:Facebook@MusicMadeSeeds"Music Seeds"johnny0520@snapchatInstagram is musicmadeusjohnnySupport is on Patreon= https://www.patreon.com/bePatron?u=48542707Thank you for listening!I hope you enjoy it.You can get a hold of us through:Email at:ozomatfan87@gmail.comSocial Media:Facebook@MusicMadeSeeds"Music Seeds"johnny0520@snapchatInstagram is musicmadeusjohnnySupport is on Patreon= https://www.patreon.com/bePatron?u=48542707Please subscribe wherever you get podcasts. ★ Support this podcast on Patreon ★

Live Aid may have been the cultural event for Gen X'ers just as Woodstock was for their baby boomer parents. Bob Geldof had led a group of British pop artists to the charity single Do They Know It's Christmas? That inspired US artists to create We Are The World. Both singles were to aid millions of starving people in Africa who were suffering from severe drought and broken politics. The huge success of the songs lead Geldof to be even more ambitious in coordinating a dual continent live concert with the biggest stars of the day (and with some legends as well) to raise money for Africa. On July 13, 1985 artists gathered in Wembley Stadium in London and JFK Stadium in Philadelphia and MTV broadcast 15 hours of programming which we ate up! Though a million things could have gone wrong, the day was an amazing event that raised money and awareness for a dire situation and brought together the most incredible lineup of talent. This is the first of 3 parts commemorating this incredible event. Here we'll breakdown how the singles came together, who came, who didn't, controversies and legacy. We name all the acts on both coasts before breaking down the UK performances before the US feed was piped into the UK. Part 2 will have the primetime acts from the UK and the US and we discuss the now infamous Led Zeppelin performance. But we're really excited about Part 3 which will feature interviews from 2 folks who were in Philadelphia that day - one of whom was an MTV VJ!! Viewed by 1.5 billion people around the world, the MTV broadcast in the US is so memorable for The Wolf and Action Jackson, we couldn't wait to reminisce about it. Talking to one of the original MTV VJs was a dream come true! But that's Part 3, for now listen to our excitement building up to the event, how we snuck off to watch it and the acts stood out early in the broadcast. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, there's really nothing too exciting.  I threw that title in, that "Sing and Dance" thing to throw you off.  It's pretty much a boring episode, but I tried to make it a little different.  Lots of talking.  And then there's some musical interludes.  Trippy excursions for you to get freaky with.  Sometimes I feel like those can get a bit laborious for the listeners, but they do pad out the run time!  I totally forgot to mention that Diddy sort of evaded any of his serious charges, but that's his style.  We expected that.  I had this joke I was going to tell that his lawyers didn't really have a great legal defense, but they just took an old legal defense that Led Zeppelin used and sort of mumbled over it.  But alas.  That joke didn't make the episode.Support the show

For this “Hollywood's Private Collection” (Vol. 4)  episode, Sonny is sharing some of the many items and music he collects. In this episode he shares some of his collection of 45s. The Friday Quick Fix Concept: The Friday Quick Fix is your single dose of Rock n Roll in 15 minutes or less to get your weekend off to a rockin' start. Every Friday, we will deliver a different segment  that focuses on albums, songs, movies, Playlist,  and generally just about anything we find entertaining and want to share with you. You will still get a regular full length episode every Sunday as usual Please Consider Supporting The Artist We Feature In This and Every Episode: (You can support them by purchasing Music, Merch, or A Concert Ticket) In This Episode You Heard: Kiss, INXS, Led Zeppelin, Michael Sweet Reach Out To Us: Email: growinuprock@gmail.com Follow Us@: Facebook Loud Minority Group Twitter Instagram Website: https://growinuprock.com Pantheon Podcast Network A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Please consider leaving us a five star review in one of the following places to help the podcast get discovered by others: GUR On Apple Podcast GUR On Podchaser GUR On Spotify Learn more about your ad choices. Visit megaphone.fm/adchoices

Disgraced pastor Perry Noble gets his WrestleMania walkout song played by the church worship team as they choose AC/DC's "Highway To Hell" as a funny way to introduce him. We take a look at prominent figures such as Rick Warren, Greg Laurie, Carl Lentz, Steven Furtick and others who have seemingly loved to meditate on the works of artists like the Beatles, Nirvana, Jimi Hendrix, AC/DC and Led Zeppelin in their private life only to have their devilish desires played out for their congregations. Good Fight New York Conference https://www.goodfight.org/media/Good-Fight-July-2025-NY-Conference.pdf  Follow Good Fight Ministries on: Facebook: https://www.facebook.com/goodfightministries  Instagram: https://www.instagram.com/goodfightministries  Twitter/X: https://www.twitter.com/goodfightmin  TikTok: https://www.tiktok.com/@goodfightministries  Support Us on Patreon: https://www.patreon.com/goodfight

Live Aid may have been the cultural event for Gen X'ers just as Woodstock was for their baby boomer parents. Bob Geldof had led a group of British pop artists to the charity single Do They Know It's Christmas? That inspired US artists to create We Are The World. Both singles were to aid millions of starving people in Africa who were suffering from severe drought and broken politics. The huge success of the songs lead Geldof to be even more ambitious in coordinating a dual continent live concert with the biggest stars of the day (and with some legends as well) to raise money for Africa. On July 13, 1985 artists gathered in Wembley Stadium in London and JFK Stadium in Philadelphia and MTV broadcast 15 hours of programming which we ate up! Though a million things could have gone wrong, the day was an amazing event that raised money and awareness for a dire situation and brought together the most incredible lineup of talent. This is the first of 3 parts commemorating this incredible event. Here we'll breakdown how the singles came together, who came, who didn't, controversies and legacy. We name all the acts on both coasts before breaking down the UK performances before the US feed was piped into the UK. Part 2 will have the primetime acts from the UK and the US and we discuss the now infamous Led Zeppelin performance. But we're really excited about Part 3 which will feature interviews from 2 folks who were in Philadelphia that day - one of whom was an MTV VJ!! Viewed by 1.5 billion people around the world, the MTV broadcast in the US is so memorable for The Wolf and Action Jackson, we couldn't wait to reminisce about it. Talking to one of the original MTV VJs was a dream come true! But that's Part 3, for now listen to our excitement building up to the event, how we snuck off to watch it and the acts stood out early in the broadcast. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Who was the drummer for the rock band Led Zeppelin? Play. Share. Listen with FOX News Headlines 24/7 Anchor, Dave Anthony. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello everybody! Today, it's time to make the filled donuts! We are diving into Phish's Baker's Dozen run. Listen in as we dig into the powder-covered fun that was night five, 7/26/2017. With originals and covers by Fleet Foxes, Clifton Chenier, Ween, Prince, Led Zeppelin, and Neil Young buckle up or go ahead and surrender to the flow. Also this podcast is on Youtube, go check it out!Enjoy!Thanks to ⁠⁠⁠⁠phish.net⁠⁠⁠⁠ for notes on these tracks.The music used in this episode is from ⁠⁠⁠⁠phish.in⁠⁠⁠⁠.-----Intro Music is from Sigma Oasis, 07/12/23.Outro Music is from Cities, 10/07/23.Follow us on our listening journey. Rate, review, subscribe, and share! Find out more details on our new members-only perks here - ⁠⁠⁠⁠https://www.patreon.com/PhishPhryPod⁠⁠⁠⁠.----------- Be our friends on social! We are @phishphrypod everywhere.

Today's episode is about "Becoming Led Zeppelin", a 2025 documentary directed by Bernard MacMahon. The movie covers the members' early lives and the formation of the band through the album Led Zeppelin 2. It features a rare lost interview with John Bonham, new interviews with the surviving band members, and some restored footage. But does all of that add up to a good movie? Rock Docs is a Treble Media Podcast hosted by David Lizerbram & Andrew Keatts Twitter: @RockDocsPod   Instagram: @RockDocsPod   Cover Art by N.C. Winters - check him out on Instagram at @NCWintersArt  

TOTO NEOREST 一體形除菌全自動馬桶將奢華，全新昇華！以前瞻科技，打造舒心健康的生活讓每次使用，都是潔淨與設計美學的頂級享受8/31前購買指定機型享8折與$5,000優惠了解更多➡️ https://fstry.pse.is/7rqlse*商品功能依機種而有不同，優惠機種數量有限，詳情依門市公告資訊為準。 —— 以上為 KKBOX 與 Firstory Podcast 廣告 —— 喜歡張大春主持的「聽說張大春」嗎？歡迎小額贊助我們，讓我們繼續產出優質節目＞https://open.firstory.me/join/thehearsayzhangdachun 主持人：張大春 來賓：陳亮 統一企業獨立董事 主題：亮哥快樂頌｜雷鬼音樂《Reggae》 播出曲目： 1. Sweat ( A La La La La Long) / Inner Circle 2. Ain't No Sunshine / Jimmy Lindsay 3. Mother and Child Reunion / Paul Simon 4. Natural Mystic / Bob Marley & The Wailers 5. World On Fire / Stick Figure 6. I Shot the Sheriff / Eric Clapton 7. 雪の華 Yukino Hana / 中島美嘉 8. 兔崽子 / Matzka 9. Here I Am (Come And Take Me) / UB40 10. D'yer Mak'er / Led Zeppelin ----- ▍聽更多：https://flow.page/thehearsay ▍粉絲團：https://www.facebook.com/TheHearSayChannel ▍合作贊助：thehearsaytw@gmail.com Powered by Firstory Hosting

No Angel Born In Hell Could Break That Satan Spell!They didn't just sell their souls for rock and roll. They opened doorways to dimensions that should have stayed closed forever. You've heard "Stairway to Heaven" backwards. You've seen the occult symbols. You've wondered about the mysterious deaths, the plane crashes, the tragic accidents that seemed to follow Led Zeppelin like a supernatural shadow. What you didn't know is that it was all intentional. What you thought was coincidence was actually the price of a blood pact with forces beyond human comprehension. This isn't just another rock conspiracy. This is the terrifying true story of how four young musicians became conduits for ancient demonic entities—and how their music became a weapon for mass spiritual corruption. You've felt it, haven't you? That strange energy when certain songs play. The way some music seems to reach into your soul and twist something fundamental. The reason certain bands can manipulate emotions, trigger memories, and alter consciousness isn't talent—it's occult technology passed down through secret societies that have controlled the music industry for centuries. In this spine-chilling exposé, we reveal how Led Zeppelin's meteoric rise was orchestrated by Aleister Crowley's disciples who had infiltrated the record industry. How Jimmy Page's obsession with the "wickedest man in the world" led him to purchase Crowley's former mansion—Boleskine House—where unspeakable rituals had torn holes in the fabric of reality itself. We'll expose the backward masking techniques that embed demonic invocations directly into your subconscious mind. How certain frequencies and chord progressions were designed to open chakras and allow spiritual possession. Why John Bonham's death wasn't an accident but a demonic collection on a supernatural debt. How Robert Plant's voice carried frequencies that could induce altered states of consciousness in millions of listeners simultaneously. But the curse didn't stop with the band. Every musician who tried to expose the truth about the industry's occult foundations faced mysterious accidents, career destruction, or death. The record labels aren't just selling music—they're distributing spiritual warfare disguised as entertainment. The evidence is hidden in plain sight. Album covers filled with occult symbolism. Lyrics that are literal incantations when played in reverse. Concert venues chosen for their proximity to ley lines and ancient power sites. Stage performances that were actually elaborate ritual ceremonies designed to harvest the spiritual energy of thousands of fans. They turned rock concerts into modern-day blood sacrifice rituals, with the audience as unwitting participants. Every ticket sold was consent to spiritual manipulation. Every song downloaded was an invitation for demonic influence. Every lyric memorized was a spell cast upon your own soul. The music industry's darkest secret isn't sex, drugs, and rock and roll—it's the systematic use of sound as a weapon for spiritual enslavement. They've been using frequencies, lyrics, and rhythms to program human consciousness for decades, and Led Zeppelin was their most successful experiment. But here's what terrifies them: people like you who can see through the veil. Who understand that what they call "entertainment" is actually spiritual warfare. Who recognize that certain music isn't just dangerous—it's literally demonic. The curse of Led Zeppelin wasn't just on the band. It was on everyone who listened. Everyone who sang along. Everyone who allowed that music to penetrate their consciousness and alter their spiritual frequency.Are you ready to learn why they really don't want you to play certain songs backwards? Because what you'll discover about the music industry's occult foundations will change how you hear every song for the rest of your life. WARNING: This episode reveals disturbing evidence of occult practices in the music industry and supernatural influences in popular music. The information about spiritual manipulation through sound may fundamentally alter your relationship with music and entertainment.

You may be wondering about Part 1 of this series. No worries, I don't blame you. Part 1 was a couple years back, Ep. 188. I play different songs so there's no overlap if you want to 1, 2 it. This is June 28, 1972 in Tucson Arizona (such a fine sight to see) which was the last show of the US 1972 tour. They're playing Houses of the Holy material to an audience completely unfamiliar. Can you imagine hearing Over the Hills for the first time ever, and it's live? I play Over the Hills and Far Away, Dancing Days, and an epic Dazed and Confused which imo rivals the 25th (officially released).

Send us a textWhen the throttle opens and Led Zeppelin's iconic riffs fill the theater, you know you're in for something special. F1 roars onto the screen with the perfect fusion of high-stakes racing drama and human storytelling that makes your heart race as fast as the cars themselves.Brad Pitt delivers one of his most compelling performances in years as Sonny Hayes, a former champion dragging the weight of past failures behind him like a parachute. What makes this performance remarkable isn't just Pitt's natural charisma, but his willingness to embrace vulnerability and aging on screen. We see him dunking his face in ice water before races, collapsing in exhaustion afterward, and bearing the physical and emotional scars of a brutal career. It's a masterclass in portraying the cost of greatness.Director Joseph Kosinski brings the same technical innovation that made Top Gun: Maverick soar, putting viewers directly into the cockpit with brilliant camera work that captures both the speed and precision of Formula One racing. With Hans Zimmer's pulse-pounding score amplifying every moment and real F1 events as backdrops, the film achieves an authenticity that racing fans will appreciate while remaining accessible to newcomers. The supporting cast shines equally bright, with Damson Idris as a hotshot rookie, Javier Bardem as a visionary team owner, and Kerry Condon delivering a steely, scene-stealing performance as the team principal.What elevates F1 beyond mere spectacle is its understanding that great sports films are fundamentally about craft – the difference between raw talent and refined skill, between ambition and wisdom. As Sonny mentors his young teammate through the intricacies of racing lines and split-second decisions, we're treated to a story about redemption that never feels formulaic despite following classic sports movie contours. When someone says "he's flying" in the film's climactic moments, you'll feel it too – both in the exhilaration of the race and the emotional journey that makes this more than just another movie about going fast.Support the show

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

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