Podcasts about lights

Hey HBs! It's part 2 of the dark stalker romcom LIGHTS OUT by Navessa Allen! We're jumping in right after our heroine does a little self-care exhibitionism to get back at the hero. Bonus Content: differing opinions on nudes (again), Mel's firehose let down (again), badges of honor, and so much more! Lady Loves: Mel: getting book two and listening IMMEDIATELY! Sabrina: knitting washcloths! It's so fun and the projects are nice and short. Want more of us? Check out our PATREON! This Friday Patrons and Apple Podcast subscribers are getting a Quickie on book 2 of this series CAUGHT UP by Navessa Allen!  Credits: Theme Music: Brittany Pfantz  Art: Author Kate Prior Want to tell us a story, ask about advertising, or anything else? Email: heavingbosomspodcast (at) gmail  Follow our socials:  Instagram @heavingbosoms Tiktok @heaving_bosoms  Facebook group: the Heaving Bosoms Geriatric Friendship Cult The above contains affiliate links, which means that when purchasing through them, the podcast gets a small percentage without costing you a penny more.

This is the Tuesday evening liturgy during the season of Pentecost for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #3” by Wen Reagan, © 2020 Sursum Corda Music.“Compline #4” by Wen Reagan, © 2020 Sursum Corda Music.“Come to Me” by Wendell Kimbrough, © 2017 Wendell Kimbrough, CCLI #7100076.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator of the Compline episodes you know and love!Samford's Center for Worship and the Arts provides resources, connections, and intergenerational development opportunities to engage and explore topics related to worship, theology, and the arts. Our goal is to help churches design, test, and implement new...

In this episode, Jon Collins and Torry Cook discuss summertime raccoon calling.

Hey HBs! We're recapping the dark stalker romcom LIGHTS OUT by Navessa Allen! And it's tangent city this episode, so if you want to skip straight to the book, fast forward to roughly the 20 minute mark. Want more of us? Check out our PATREON! This Friday Patrons and Apple Podcast subscribers are getting a Quickie on book 2 of this series CAUGHT UP by Navessa Allen!  Credits: Theme Music: Brittany Pfantz  Art: Author Kate Prior Want to tell us a story, ask about advertising, or anything else? Email: heavingbosomspodcast (at) gmail  Follow our socials:  Instagram @heavingbosoms Tiktok @heaving_bosoms  Facebook group: the Heaving Bosoms Geriatric Friendship Cult The above contains affiliate links, which means that when purchasing through them, the podcast gets a small percentage without costing you a penny more.

This is the Monday evening liturgy during the season of Pentecost for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #3” by Wen Reagan, © 2020 Sursum Corda Music.“Compline #4” by Wen Reagan, © 2020 Sursum Corda Music.“Come to Me” by Wendell Kimbrough, © 2017 Wendell Kimbrough, CCLI #7100076.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator of the Compline episodes you know and love.Samford's Center for Worship and the Arts provides resources, connections, and intergenerational development opportunities to engage and explore topics related to worship, theology, and the arts. Our goal is to help churches design, test, and implement new models for nurturing the religious lives of teenagers to engage them more fully in their congregation…. helping them develop as lifelong followers of Jesus Christ. Discover our worship arts camp,...

The familiar phrase "all sin is equal" rolls off the tongue of many believers without a second thought. But what if this comfortable theological shorthand isn't actually biblical? This episode challenges a widely accepted Christian belief by examining what Scripture actually teaches about different sins and their consequences.Diving into passages where Jesus himself speaks of "greater sin" (John 19:11) and different levels of punishment (Luke 12:47-48), we uncover a more nuanced understanding of how God views our transgressions. The evidence is compelling: while all sin separates us from God and requires grace for redemption, the Bible consistently shows that some sins carry heavier weight, responsibility, and consequence than others.This isn't just semantic nitpicking—it profoundly affects how we understand God's perfect justice. When we recognize that God looks at our hearts, motives, knowledge, and intent, we gain a deeper appreciation for His righteousness. He doesn't judge the person who steals a pen the same as a murderer, though both have sinned. This understanding doesn't minimize any sin's seriousness but magnifies God's perfect judgment. Through biblical examples and practical applications, this episode will transform your understanding of sin's nature and inspire a more complete surrender to God. Stop reserving rooms in your heart that you keep off-limits to Him—true faith means signing over the entire deed. Subscribe, share, and join our growing community as we pursue biblical truth together, even when it challenges what we've always believed.Support the show

This is the Sunday evening liturgy during the season of Pentecost for the Compline podcast from the Center for Worship and the Arts at Samford University. For more about the Center for Worship and the Arts, as well as the resources we provide, visit us at https://www.samford.edu/worship-arts/.CREDITS:© 2021 Center for Worship and the Arts, Samford University.Engineered and produced by Wen Reagan for the Center for Worship and the Arts at Samford University.SPOKEN WORD:Wen Reagan, Stacy Love, Tracy Hanrahan, Meagan Kennedy, Pierce Moffett, Eden Walker.MUSIC:“Compline #3” by Wen Reagan, © 2020 Sursum Corda Music.“Compline #4” by Wen Reagan, © 2020 Sursum Corda Music.“Come to Me” by Wendell Kimbrough, © 2017 Wendell Kimbrough, CCLI #7100076.TEXTS:The liturgical words for this podcast series include original phrasings, but were primarily curated and designed from several public domain sources, including “An Order for Compline” from the Anglican and Episcopal Book of Common Prayer and collects collected from Grace Cathedral.SOUNDS:The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA."Door, Front, Opening, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org."Door, Front, Closing, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org.“06 – Crackling Candle.wav” by 14GPanskaLetko_Dominik of Freesound.org.“Lights a Candle Light with a Match” by straget of Freesound.org.The following sound effects were used in this podcast series and are licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.“Soft Shoes Walking on a Dirt Road” by Nagwense of Freesound.org.“Match Being Lit.wav” by Jeanet_Henning of Freesound.org.“Candle Blow.wav” by Bee09 of Freesound.org.Mentioned in this episode:Discover Samford's Center for Worship and the Arts - the creator of the Compline episodes you know and love!Samford's Center for Worship and the Arts provides resources, connections, and intergenerational development opportunities to engage and explore topics related to worship, theology, and the arts. Our goal is to help churches design, test, and implement new...

A blockbuster Friday for British tennis came to a close with Emma Raducanu producing one of her best performances since her US Open title run in 2021, pushing Aryna Sabalenka all the way in two tight sets under the Centre Court lights. Join Kim and Chris as they break down Raducanu's display, what it means now that she'll drop to British No. 3, and whether the match was a good advert for women's night sessions (ahem, Amélie Mauresmo and Roland Garros).It wasn't all doom and gloom for the Brits either, as Cam Norrie and Sonay Kartal continued their strong form to book spots in the fourth round. Meanwhile, Carlos Alcaraz survived a stern test from the powerful Jan-Lennard Struff to avoid another five-set battle, while Taylor Fritz added another four-set win to his tally — and this time was able to actually wrap things up in broad daylight.Ben Shelton needed just over a minute to complete perhaps the quickest overnight return at Wimbledon, sealing victory against Rinky Hijikata in just over 60 seconds. There was disappointment for big names too, with Australian Open champion Madison Keys falling meekly with illness a factor and Naomi Osaka suffering an agonising defeat, missing a golden chance for a deep Slam run. History was made, though, as lucky loser Solana Sierra became the first female lucky loser ever to reach Wimbledon's fourth round.BABOLATBabolat are an official partner of Wimbledon and their Wimbledon collaboration collection is available to purchase now from babolat.com SOCIALSFollow us on Twitter, Instagram, TikTok and YouTube, plus email the show tennisweeklypod@gmail.com.MERCHPurchase Tennis Weekly Merch through our Etsy store including limited edition designs by Krippa Design where all proceeds go towards the podcast so we can keep doing what we do!REVIEWS***Please take a moment to rate and review the show on Apple Podcasts, Spotify or wherever you get your pods. It really means a lot to us at HQ and helps make it easier for new listeners to discover us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

In this episode of the No Film School Podcast, GG Hawkins presents two riveting conversations that push boundaries and challenge cultural taboos. First, she interviews Michael Taylor Jackson, writer, director, and star of the radically inventive film Orange Underground (Bajo Naranja), a satirical, punk-infused narrative born out of the Argentine quarantine. Then, she speaks with Kate Downey, creator and host of the podcast CRAMPED, which explores the hidden pain and social invisibility surrounding menstruation. Together, these conversations highlight how bold, personal storytelling can become an act of protest and empowerment. In this episode, No Film School's GG Hawkins and guests discuss... How Orange Underground merges satire, street art, and protest cinema to confront U.S. neocolonialism The creative process of blending real-life social media storytelling with scripted filmmaking How Argentina's unique film funding system and underground economy supported an international indie film Kate Downey's journey from theater to podcasting, and how CRAMPED sheds light on the mystery of period pain Why menstruation remains a cultural and cinematic taboo, and how media can normalize it through better representation The power of representation in shaping societal understanding of women's health and lived experiences Memorable Quotes: “We were able to develop a virtual community because we couldn't obviously live together.” “When half the population experiences something regularly, shouldn't they be reflected honestly in our storytelling?” “There is no word other than an ignorant word to describe ourselves.” “Is there any more common experience that has not been hit to death, right?” Guests: Michael Taylor Jackson Kate Downey Resources: Bajo Naranja on Instagram CRAMPED: Why Doesn't Media Talk About Period Pain? Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  

This episode explores the themes of dreams, insomnia, and the psychological implications of sleep deprivation. It follows a woman struggling with recurring nightmares and her interactions with a doctor who seeks to uncover the truth behind her sleeplessness. The narrative delves into the nature of dreams and the impact of unresolved issues on mental health, culminating in a teaser for the next story.TakeawaysDreams are an integral part of our lives.Insomnia can lead to serious mental and physical health issues.Recurring dreams often have roots in reality.The importance of addressing underlying issues to find peace.Sleep is essential for overall well-being.The mind can create vivid experiences in dreams.Facing fears in dreams can be a path to healing.The role of a physician is crucial in mental health.Understanding dreams can help in personal growth.The line between reality and dreams can be blurred.dreams, insomnia, nightmares, sleep, psychology, mental health, recurring dreams, doctor, intervention, truth

On this episode of **Remy's Roundtable: The Florida Theme Park Podcast**, Remy, Jen, and Nicole are at the mic while Mike was working and Unk was enjoying some well-deserved family time at Walt Disney World. Even without the full crew, there's no shortage of theme park fun and insight!

Betsy Helmuth discusses the benefits of premium membership, Connecticut fall activities, and home renovation challenges, including heating issues in a cottage. She answers listener questions about window treatments, baseboards, gallery walls, and kitchen design dilemmas. Plus, an online class bundle promotion and YouTube content. 0:00 Premium membership benefits1:31 Fall activities in Connecticut2:20 Home renovation challenges3:47 Heating issues in the cottage4:26 Answering listener questions5:59 Window treatments and baseboards8:26 Gallery wall and picture lights15:04 Kitchen design dilemma25:08 Becoming a premium member26:16 Affordable Interior Design on YouTube - Creating a cohesive look in your kitchen can be achieved by using a bold color accent only on the island while keeping the rest of the cabinetry in a consistent, warm tone.- When considering picture lights for a gallery wall, ensure the artwork is truly special and that the lights will enhance rather than detract from the visual appeal of the images.- Opting for tile flooring in kitchens and bathrooms is preferable to wood floors due to durability and better contrast with wood cabinetry. Additional show notes: Click here to ask Betsy Helmuth a design question. Click here to upgrade to a premium member and access the bonus episodes. Click here to become an interior designer with Uploft's Interior Design Academy. For more affordable tips, visit AffordableInteriorDesign.com. For more about our residential interior design services, visit ModernInteriorDesign.com. For our commercial interior design services, visit OfficeInteriorDesign.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode we are joined by Kelsey Black, of the Book Burrow Bookstore in Pflugerville Texas as we discuss the history of Bookstores as Resistance Centers.  We discuss David Ruggles and the first Black-owned bookstore in the United States and how he was a figurative and literal stop on the Underground Railroad, selling books about feminism and the abolitionist movement.  We talk the FBI's illegal COINTELPRO and how they went after book stores like Hakim's and The Drum and Spear Bookstore.  We discuss the Gotham Book Mart, the 8th Street Bookstore and Peace Eye Books in New York City and so much more, even digging into how booksellers have sneaked secret information to their customers in this fully amazing episode of the Family Plot PodcastBecome a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

This week, Gabe and Danny dive into the headlines—from the latest developments in the Diddy legal saga to Jeff Bezos' over-the-top wedding celebrations. But it's not all scandal and sparkle—your hosts also share a behind-the-scenes look at their unique approach to photography and how they capture pop culture through their own lens. Lights, drama, and shutter clicks await!

Welcome to Episode #494 - Today we discuss Chinese forgeries (again but this is new info) $1 Perry stamp and UV Lights.

Aly is a hard-working nurse by day, rabid tiktok thirst-trap consumer by night... with a fetish for one particular masked man. Josh is a hacker extraordinaire who's a touch agoraphobic to avoid being linked to his daddy's infamy. Their lives smash together in this roller coaster smut and we are just along for the ride!WARNING: This podcast contains discussions about adult topics and includes explicit language. Listener discretion is advised. Lose the Plot with Carla and Emily is for entertainment purposes only. The opinions expressed by the participants are solely for comedic effect.We invite you to share your spicy book recommendations with us at losetheplotpodcast@gmail.com or DM us on TikTok or Instagram. If you're enjoying our show, don't forget to give us a 5-star rating on whichever platform you are using - this helps us grow our audience!

In this episode are documentary filmmaker Jake Rademacher whose new film “Brothers After War“, a follow up to his 2009 documentary “Brothers At War”, is currently available on DVD and digital platforms. He’s joined by his Executive Producer Gary Sinise (“Forrest Gump”, “The Green Mile”). “Brothers After War” finds Rademacher on a journey to reconnect with the veterans (including his two brothers) he embedded with in Iraq during the making of the first film. Combining footage from his time in Iraq with a journey around the World to reunite with the members of these elite combat units, Jake furthers his mission of helping service members and their families navigate the challenges of deployment and life beyond service.See omnystudio.com/listener for privacy information.

Send us a textHave you ever wondered if you recognize that stunning condo or picturesque community you see in a movie or TV? Take It To The Board host Donna DiMaggio Berger and Christina Labuzetta, owner of Location Resources and member of the Location Managers Guild International, pull back the curtain on the fascinating world of location scouting for private residences and communities.  For association boards and homeowners contemplating this unique revenue opportunity, Donna and Christina walk through the entire process: from initial scouting photos to contracts, logistics, and the potential earnings. They address common concerns about property protection, revealing how professional crews use protective materials and detailed documentation to ensure everything returns to its original state—their goal being to make it look "like we were never there."From CSI Miami to Vogue Magazine and sourcing locations for Martin Scorsese's "The Irishman," Christina shares insider knowledge about what makes properties stand out to production companies. The perfect filming location isn't always about luxury or grandeur—sometimes it's the mid-century modern charm of a modest apartment complex like the one featured in "Dexter" that captures a filmmaker's imagination.Beyond the financial incentives, there's the undeniable prestige that comes with seeing your property featured in popular media. As Christina notes, it becomes "the cocktail party factor"—something residents can point to with pride and interest for years to come.Whether you're a board member or manager looking for alternative revenue sources for your community, a property owner curious about monetizing your space, or you are simply fascinated by film production, this episode offers valuable insights into what happens when Hollywood comes knocking.  Conversation Highlights Include:Types of productions that typically use private residences and buildings-you'd be surprised how many are out thereWhat features or amenities make a property stand out to location scouts? It's not just luxury communities that are of interest to a film crewA step-by-step look at how a building can begin the process of becoming a potential filming locationHow much control homeowners have in accepting or denying film offersUnique challenges of getting filming approved inside community associations, especially where commercial use is restrictedNavigating the approval process with boards, managers, and residents—addressing concerns about privacy, security, and disruptionBeyond revenue: additional benefits of filming on-site, including brand enhancementCommon risks and potential drawbacks boards should consider before agreeing to host a productionChristina's top advice for associations or homeowners approached for a shoot for the first time.Bonus Fact: Christina sourced the location where Dexter lived-a cool mid-century modern apartment building in MiamiLocations Sourced by Christina:Bad Boys: Ride or Die” promo aired during the NBA finalRob Riggle, Pitbull throw epic Super Bowl party | FOX NFL2023 Jeep Grand Wagoneer TV Spot, 'Drove All Night' Featuring Derek Jeter, Hannah Jeter T2 Listing your Property: Location Resources WebsiteDexter Apartment: Screen Icons: The Members Only Residence ‘Where a Serial Killer Live

Kelly Jahn — an architect, interior designer and faculty member at the Rochester Institute of Technology, where she teaches office and hospitality design — discusses the importance and principles of quality design in commercial settings. She is also the owner of Kelly Jahn Interior Architecture & Design, a commercial interior architecture and design practice based in Rochester, N.Y. (07/2025)

I'm staying in a haunted Ozark Mountains cabin with a bunch of kachinas, the Gateway Mediations and some percolating coffee. During my mediation I saw something of some kind in the cabin and I try to piece together what it may have been. We get into a very brief overview and history of the kachina and then we jump to Colorado for some skywatching. I watch with you an unedited video of the beautiful western, nighttime sky as countless lights were captured. Hope you enjoy the enhanced footage as I ligthened the sky for easier viewing. Find my tour dates and more at my website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.ryansingercomedy.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Commercial Free episodes here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SpectreVision Radio is a bespoke podcast network at the intersection between the arts and the uncanny, featuring a tapestry of shows exploring creativity, the esoteric, and the unknown. We're a community for creators and fans vibrating around common curiosities, shared interests and persistent passions. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠spectrevisionradio.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠linktr.ee/spectrevisionsocial⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight on GeekNights, we consider the blinky lights and LEDs the kids are putting on everything including their computers. In the news, Windows 10 has extended security support, Broadcom is desperate to monetize VMware, and the EU forced Apple to comply, at least in the EU.Related LinksForum ThreadBlinky LightsDiscord ChatBlinky LightsBluesky PostBlinky LightsThings of the DayRym - NHL: Refs Mic'd Up Part 2Scott - Balatro for the Nintendo E-Reader

See omnystudio.com/listener for privacy information.

Before she became one of Georgia's most respected attorneys, Joyce Gist Lewis was chasing a different dream—acting on stage in Atlanta. In this short clip from Episode 48, Joyce opens up about the moment she realized she needed more intellectual stimulation, how her fiancé's legal stories sparked her curiosity, and why stepping away from her father's influence helped her find her true path to law school.

Lights, Cameras, Penguins! (and PIRATES?! Story Pirates?) The hottest, new reality TV show has a freezing twist! The person behind the camera is not a person at all... it's actually a penguin?!! Discover why scientists are filming penguins' POV and what this footage can teach us about the adorable Antarctic creatures! Then, join Mindy and Guy as they visit the new penguin exhibit and star in a live performance with the Story Pirates—featuring an original penguin story written by a real kid! And it's the who, what, when, where, how and WOW of penguins featuring Story Pirates!!For more WOWs online, visit https://bit.ly/3DWotmC. Grownups, help support our podcast and our mission to create content and experiences that connect laughter to learning, curiosity to innovation and kids to the WOWs in their world!Join the World Organization of Wowzers today and receive quarterly mailings and birthday cards, access to 1000+ digital activities, first dibs at live show tickets, plus a welcome kit with t-shirt and an autograph from Mindy & Guy Raz! Visit https://bit.ly/40xiRrH to sign your Wowzer up for a membership to the World Organization of Wowzers today!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Keith sits down with Matt O'Brien to discuss growing up in Holyoke MA, discovering the local scene, getting sober and moving to San Francisco, the formation of No Lights, the band's creative process, their 2023 LP "Dream Eraser" and more. Artist Spotlight: Keith sits down with Emmett Ceglia to discuss his bands Husbandry, Detach the Islands, Fluoride, Heavenview and more.

Between 27 dresses, 'something borrowed' from the Blue Origin space flight and Jeff Bezos and Lauren Sanchez's 200+ closest friends, there's a BIG post wedding debrief needed. They weren't invited but that didn't stop Mia, Jessie and Em V giving full wedding guest vibes on the three-day Venetian extravaganza. And, the Liberal Party is in a world of pain with plenty of suggestions on how to fix it. We weigh into the quota debate that's been raging for more than 30 years. Plus, dating apps are having a tough 2025, and no, people aren't more in love than they were in the past. So, where are the hopeful lovebirds placing their efforts? Em brings the peer-reviewed research we expect. Finally, the 'poop' cruise documentary that is Jessie's Roman Empire and Mia's worst nightmare. Support independent women's media What To Listen To Next: Listen to our latest episode: Absolutely Everything Is Feminism’s Fault! Listen: An Inheritance Dilemma and A Surprise Third Baby Listen: How Do You Solve A Problem Like Brad Pitt? Listen: The 'Last Meeting' Theory Explains All Your Ex Relationships Listen: Caroline Bessette-Kennedy: The Original Influencer Listen: "I'm Done With Being Interviewed By Women" Listen: The Breakup Text We Got This Week Parenting Out Loud: The Ms Rachel Controversy & The Great Kids Vs Friendships Debate The Quicky: The Death Of The Dating App & Why Is Everyone Obsessed With Cortisol? Connect your subscription to Apple Podcasts Watch Mamamia Out Loud: Mamamia Out Loud on YouTube What to read: Is this the death of 'quiet luxury'? Lights, cameras, gondolas: What happened when the stars descended on Venice. A custom gown and a surprise venue change: The details from inside Jeff Bezos and Lauren Sanchez’s wedding. When Jeff Bezos and Lauren Sánchez started dating, they were both still legally married. This four-day cruise promised luxury. Then passengers found themselves on a ship of horrors. THE END BITS: Check out our merch at MamamiaOutLoud.com.au Mamamia studios are styled with furniture from Fenton and Fenton GET IN TOUCH: Feedback? We’re listening. Send us an email at outloud@mamamia.com.au Share your story, feedback, or dilemma! Send us a voice message. Join our Facebook group Mamamia Outlouders to talk about the show. Follow us on Instagram @mamamiaoutloud and on Tiktok @mamamiaoutloud Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures. Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

We lost one of our legendary screen stars earlier this year, so now we're passing through the gates of VAL-halla to celebrate some of his most notable films. That's right, this is the first in an occasional series of double features focused on the work of none other than the elusive, enigmatic Val Kilmer. To kick things off, Paul, Arlo, and Eric are going back to the very beginning. Kilmer got his big screen start in a Zucker-Abraham-Zucker laff riot, 1984's Top Secret!; with the benefit of hindsight, it's clear that Val wasn't a good fit for the ZAZ machine, and the gang tells us why. Faring much better is Martha Coolidge's 1985 cult college classic Real Genius, which avoids the pitfalls of the era's other slobs v. snobs comedies with real heart and–of course–a terrific lead performance from Kilmer. Where are he (and we) going next? Stay tuned! Plus, Eric sings the praises of synthpop artist Lights' new album A6.   NEXT: Four-Color Flashback gets mice-eval on your heinie with David Petersen's rodent epic Mouse Guard.     BREAKDOWN 00:00:27  -  Intro / Banter 00:21:06  -  Top Secret! 00:55:36  -  Real Genius 01:55:42  -  Outro / Next   LINKS Eric's review of A6 by Lights Top Secret!'s ridiculous bookstore scene backwards AND forwards The Behind-the-Scenes Story of Real Genius by Ashley Burns and Chloe Schildhause, Uproxx The Real Real Genius by Phyllis Rostykus, Slate Astrophysicist Michael Siegel discusses The Real Genius of Real Genius   MUSIC “Val Kilmer” by Bowling For Soup, The Great Burrito Extortion Case (2006) “Everybody Wants to Rule the World” by Tears for Fears, Songs from the Big Chair (1984)  

While Norlite in Cohoes has shut down, at least temporarily, the hazardous waste incineration part of its operation, the blowing dust from Norlite's massive uncovered piles from its shale mining continue to be a public health and environmental problem. The various lawsuits filed against Norlite by the state and by private citizens move forward slowly. Joe Ritchie, chair of Lights of Norlite, gives an update to Mark Dunlea for Hudson Mohawk Magazine.

Monday, June 30: Scarborough Shooting Starts Lights Out Scores by FiredUp Network

I WILL WAKE UP AND SHOW THEM WHO I AM! | The Speech That Lights a Fire in Youi will wake up and show them who i am, intense motivational speech, motivational 2025, wake up motivation, prove them wrong speech, warrior mindset , best morning motivation, speech for inner power, rise and grind speech, personal growth motivation, underdog speech motivation, reclaim your life, unstoppable daily motivation, gym motivation speech, motivational voiceover powerful, determination motivational , prove everyone wrong speech, morning mental strength speech, no more excuses , best speech for mindset, how to overcome self doubt, motivational affirmation speech, conquer your fears , relentless motivation speech, overcome laziness motivation, inner beast motivation, success driven speech, burn your limits speech, unstoppable you motivation, discipline is freedom speech, battle mindset , turn pain into power speech, motivation for purpose, best speech for athletes, inspirational speech, speech for hard timesAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

All things Musical Theatre with the Team!

John Roberts talks NASCAR broadcasting with NBC announcer Leigh Diffey.#nascar #racing #johnroberts #leighdiffey

Creepypasta Scary Story

This story unfolds a thrilling narrative set in Paris, where two college boys embark on an adventure that leads them to an artist ball filled with mystery and unexpected twists. As they navigate through the night, they encounter strange characters, a haunting dance, and ultimately, a revelation that challenges their understanding of reality. The story intertwines themes of fear, dreams, and the ghosts of the past, culminating in a reflection on how these elements shape our experiences.TakeawaysThe adventure begins in Paris with two college boys.The artist ball is not what it seems.A mysterious dance leads to unexpected revelations.The unmasking reveals a shocking truth.The characters confront their fears and the unknown.Dreams play a significant role in understanding our past.The fear of falling is a universal experience.The narrative explores the concept of ghosts and memories.The story highlights the importance of facing one's fears.The conversation ends with a reflection on dreams and their meanings.Paris, adventure, artist ball, mystery, dance, unmasking, ghost, dreams, memories, horror

What to Do When The Lights Go OutIs artificial intelligence the fourth death of The Enlightenment & should Orthodox Christians even care particularly much?Part 1 of a 2 part conversation.Reference materials for this episode:  - The future of AI   - https://www.wired.com/story/ai-risk-party-san-francisco/ - AI is making us less smart   - https://www.media.mit.edu/publications/your-brain-on-chatgpt/Scripture citations for this episode: - Genesis 3   - Tree of Knowledge  - Proverbs 1:1-7   - Instruction produces wisdomThe Christian Saints Podcast is a joint production of Generative sounds & Paradosis Pavilion with oversight from Fr Symeon KeesParadosis Pavilion - https://youtube.com/@paradosispavilion9555https://www.instagram.com/christiansaintspodcasthttps://twitter.com/podcast_saintshttps://www.facebook.com/christiansaintspodcasthttps://www.threads.net/@christiansaintspodcastIconographic images used by kind permission of Nicholas Papas, who controls distribution rights of these imagesPrints of all of Nick's work can be found at Saint Demetrius Press - http://www.saintdemetriuspress.comAll music in these episodes is a production of Generative Soundshttps://generativesoundsjjm.bandcamp.comDistribution rights of this episode & all music contained in it are controlled by Generative SoundsCopyright 2021 - 2023

WXPR News for 6-27-25

Hey ya'll! Check out this week's review from the book, "Lights Out" by Naves Allen. Tune in for the fun! To find this book, visit: ⁠https://navessaallen.com/books-option-1/To find other books by this author, visit: https://navessaallen.comFollow us on:Instagram: ⁠https://www.instagram.com/whatureadinpodcast/⁠ TikTok: ⁠https://www.tiktok.com/@whatureadinpodcast⁠Youtube: ⁠https://youtube.com/channel/UChpqseCdr7zn5MT001AKElw⁠ Into/Outro Music by: JCHave some requests or recommendations, visit ⁠https://docs.google.com/forms/d/e/1FAIpQLSeEhKqujuxqe0VkIBDm_D5JTwJsR-XiBvPC610bo_bn5OpylA/viewform?usp=sf_link⁠ to submit. 

See omnystudio.com/listener for privacy information.

Boy, have we got an episode for you… Not only do we discuss Goosebumps knockoffs like Shivers and Graveyard School, but we also talk Korean corndogs, mood rings, and the illustrious wordplay of one Bob Dylan.But, that's not why we're here today. Today we had to bring in the wonderful brain of Melanie in order to Spelunk the 1994 smash hit I Only Wanna Be With You by Hootie & The Blowfish. As you can imagine, the conversation steers into many things, such as court jesters, phrasal etymology, and Nick News.PLUS! We have a very, very special song we are debuting at the end of this episode. Never before heard by the listening public, we have none other than the newest single from our very own Rob Snow aka Araless aka The Boy Wonder (the last nickname I totally made up but three names sounds more alluring than two, so…). The song is called Lights & Sounds off his newest project Nemesis coming out later this year. So make sure you stay tuned til the end.And if you enjoy what we are doing here at the Pit and would like to support us further, please check us out our patreon, where we have exclusive extended episodes! Today, we discuss the Little Giants, Alphabots, and Twin Peaks.EtsyPatreonLinktreeInstagram:@ruining_your.childhood@feral_williams@aralessbmn@blackmagicnoize206@strangeloopanimation

Go to https://magicmind.com/truths or USE the CODE TS20 to get up to 48% off your Magic Mind subscription #magicmind #mentalperformancecoach #productivityhacksWe saw UFOs, fed wild animals, and touched heaven at Mount Shasta — this trip changed everything.

On this week's Talking Michigan Transportation podcast, some context from elsewhere on freeway ramp metering, where it works well and why.First, Angie Drumm, deputy director of traffic and safety for the Colorado Department of Transportation (CDOT) region that includes Metro Denver, joins the conversation to talk about the history there and what's been learned.Later, Lawrence Dwyer, director of safety and mobility at the American Association of State Highway and Transportation Officials (AASHTO), offers a national perspective on the concept and other innovations in traffic safety.This podcast is the second of two focusing on ramp metering. Last week, the conversation focused on implementation of the approach on I-96 in Michigan's western Oakland County.

Go to https://magicmind.com/truths or USE the CODE TS20 to get up to 48% off your Magic Mind subscription #magicmind #mentalperformancecoach #productivityhacksWe saw UFOs, fed wild animals, and touched heaven at Mount Shasta — this trip changed everything.

It's 1944, deep in the chaos of World War II. Allied pilots battle not just enemy planes but something else, something they can't shoot down, something they can barely explain, bright orbs, dancing lights, impossible objects that out fly the best aircraft of the era. Pilots call them "Foo Fighters" and their mysterious presence would baffle militaries on both sides of the war.Brief Encounters is a tightly produced, narrative podcast that dives headfirst into the world of UFO sightings, the paranormal, cryptids, myths, and unexplained legends. From ancient sky wars to modern close encounters, each episode takes listeners on a journey through some of the most mysterious and compelling cases in human history. Whether it's a well-documented military sighting or an eerie village legend whispered across generations, Brief Encounters delivers each story with atmosphere, depth, and cinematic storytelling. Episodes are short and binge-worthy perfect for curious minds on the go. In just 5 to 10 minutes, listeners are pulled into carefully researched accounts that blend historical context, eyewitness testimony, and chilling details. The series moves between eras and continents, uncovering not only the famous cases you've heard of, but also the forgotten incidents that deserve a closer look. Each story is treated with respect, skepticism, and wonder offering both seasoned enthusiasts and casual listeners something fresh to consider. Whether it's a 15th-century sky battle over Europe, a cryptid sighting in a remote forest, or a modern-day abduction report from rural America, Brief Encounters is your guide through the shadows of our world and the stories that refuse to be explained.UFO Chronicles Podcast can be found on all podcast players and on the website: https://ufochroniclespodcast.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/ufo-chronicles-podcast--3395068/support.

Join me on my outdoor adventures on public lands across the American West and beyond. Subscribe to my YouTube Channel here:https://www.youtube.com/@thehuntersquest Check out The Hunter's Quest Podcast here:https://open.spotify.com/show/1bvtyKal41T76jLgPTXp10 Follow along on Instagram:@TheHuntersQuest My Favorite Eberlestock Gear! – www.eberlestock.com/quest or use code QUEST save 10% www.browning.com Browning Firearms & Ammunition – The Best There Is. www.canisathlete.com - use code: QUEST and save on Tactical Hunting Apparel__________________________________________________________________________ OnX Maps – use code: QUEST and save 20% when you join / support the show Seek Outside Shelters – use code: QUEST and save 10% on shelters, stoves, etc.____________________________________________________________________________ FENIX Lighting – www.fenixlighting.com Leupold Optics – www.leupold.com___________________________________________________________________________ Subscribe to my YouTube Channel! https://www.youtube.com/channel/UCGVP4F5g3SiOookJK01Jy5w Follow me on Instagram! https://www.instagram.com/thehuntersquest/ and @huntermcwaters____________________________________________________________________________ www.thehuntersquest.com

Send us a textGay Dog. Alter Boy Son. Urinal Pubes. Elon vs. Trump. Washington Ave. Lights.Rides aut morieris nunc,The Days Grimm Podcast[The Days Grimm Podcast Links]- YouTube: https://www.youtube.com/c/TheDaysGrimm- Our link tree: linktr.ee/Thedaysgrimm- GoFundMe account for The Days Grimm: https://gofund.me/02527e7c [The Days Grimm is brought to you by]Sadness & ADHD (non-medicated)

In this episode, we connect with TereZa Hakobyan-Lolli and Anthony Lolli, dynamic documentary filmmakers and real estate developers who are using the power of storytelling to change the narrative around health, wellness, and transformation. Their experiential documentaries cover everything from women's empowerment to personal health journeys, bringing complex topics to life in an engaging and accessible format. Tune in to hear about: How the Lollis are reshaping wellness with their unique approach to experiential documentaries. The importance of understanding the body and maintaining optimum health. Why modern generations are facing increasing health challenges and how to turn the tide. TereZa Hakobyan-Lolli, a multi-talented film producer, actress, and visionary documentarian, has created groundbreaking films like The Guru and Skin Deep while championing the future of longevity and biohacking. As the founder of Biohack Yourself +, she is redefining how we approach wellness. Anthony Lolli, a seasoned real estate developer and the founder of Rapid Realty, partnered with TereZa to co-create Lolli Brands Entertainment, blending his business acumen with a passion for documentary filmmaking. Known for his inspirational weight loss journey in From Fat Lolli to 6 Pack Lolli, Anthony has become a prominent figure in transformational storytelling. Follow their journey: Lolli Brands Entertainment: @lollibrandsentertainment TereZa Hakobyan-Lolli: @terezalolli Anthony Lolli: @anthonylolli Episode also available on Apple Podcasts: https://apple.co/38oMlMr

This is a Grave Talks CLASSIC EPISODE! Can spirits limit their guest list to humans alone, or do animals, objects, and even the very walls join the party? As a kid, Joe De Hoyos devoured every ghost book and late-night TV special he could find, convinced the paranormal was just out of reach. Fast-forward to adulthood: Joe, wife, and kids move into a quaint fixer-upper that decides to fix them instead. Lights flicker with family arguments, shadow figures feed on teen angst, and the dog keeps barking at…thin air? Join us as Joe discovers that a home's “energy-efficient” rating can take on a terrifying new meaning.   If you're enjoying our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else!  Other EXCLUSIVE supporter perks and more!

Former custodian Eric never expected his nighttime rounds at a preschool to feel like detention in the Twilight Zone. Built in the early 1900s, the district's oldest school still echoes with tiny sneakers—except the classrooms are empty. A ghost child warns staff to avoid the locker-room staircase because “Mr. Wiggles” lives below. Lights snap on in locked libraries, dodgeballs restack themselves with teacher-shaming precision, and something with distinctly adult footsteps stalks the boys' bathroom after hours. Eric may have quit mopping floors, but the memories—and whatever Mr. Wiggles is—still scrub at his nerve This is a daily EXTRA from The Grave Talks. Grave Confessions is an extra daily dose of true paranormal ghost stories told by the people who survived them! If you have a Grave Confession, Call it in 24/7 at 1-888-GHOST-13 (1-888-446-7813) Subscribe to get all of our true ghost stories EVERY DAY! Visit http://www.thegravetalks.com Please support us on Patreon and get access to our AD-FREE ARCHIVE, ADVANCE EPISODES & MORE at http://www.patreon.com/thegravetalks

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

Gametime Ticket Offer: $20 off with code "FARZY" at gametime.co The Farzy Show presented by MyBookie Promo: No-strings-attached cash bonus up to $200 Promo Codes: FARZY ..  https://mybookie.website/joinwithFARZYManscaped Offer: 20% off AND Free Shipping with code "Farzy20" at Manscaped.comCopyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.