Podcast appearances and mentions of Linda Ronstadt

Welcome back to Transmissions, a weekly interview podcast created and curated by Los Angeles online music magazine Aquarium Drunkard. This week on the show, host Jason P. Woodbury speaks with a living legend, and one of our all-time favorite vocalists and songsmiths: Emmylou Harris.  On November 7th, New West Records will re-release an expanded edition of her 1998 live album Spyboy, back in print after 27 years. Recorded in the wake 1995's Wrecking Ball, an LP that redefined Harris for a whole new generation, Spyboy finds Harris and her band—Buddy Miller, Brady Blade and Daryl Johnson—on the road and stretching out into feverish new territory for the storied singer. Harris released her first album in 1970, and along the way, she's collaborated with artists like country rock pioneer Gram Parsons, Dolly Parton, Linda Ronstadt, Bob Dylan, Neil Young, and countless more. But as she settled into the ‘90s, she felt that country radio no longer made space for voices like hers—prompting a shift into a new direction with producer Daniel Lanois, who crafted a spectral, haunted sound for Wrecking Ball, placing her voice at the dreamy center. The resulting era introduced Harris to new ears—and we were thrilled to speak with her about it for this episode. Transmissions is created in partnership with the Talkhouse Podcast Network. We're brought to you by ⁠⁠⁠⁠Aquarium Drunkard⁠⁠⁠⁠, an independent music media crew headed by Justin Gage. Over at Aquarium Drunkard, you'll gain access to 20 years of music writing, playlist, essays, mixtapes, radio special, podcasts, videos and more.

It's Halloween, so we thought it would be crazy not to dive into the legendary artist who brought us the lyric “little old lady got mutilated late last night.” That's right…this week, we're diving into the life and career of Warren Zevon and his most famous single, 1978's “Werewolves of London.” A dark sense of humor paired with a songwriting voice all of his own made Zevon a favorite among his contemporaries, from Jackson Browne to Linda Ronstadt to Bruce Springsteen. Unfortunately, he may have slipped under the radar to some casual music listeners. This week, we're here to howl as loud as we can about the incomparable Warren Zevon. One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/onehitthunder Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded live at Emory IDEAS Fest in Covington, GA on October 18, 2025, this episode brings together Rosanne Cash—four-time Grammy winner, songwriter, and Americana icon—and psychologist Dr. Robyn Fivush for a conversation about how the stories we tell across generations shape who we become. Rosanne shares the story of “The List”—the 100 essential country songs her father, Johnny Cash, gave her when she turned 18—and how a vivid dream involving Linda Ronstadt sparked her decision to leave Nashville and reinvent herself in midlife. Dr. Fivush unpacks these moments through the lens of psychology, explaining how researchers classify such turning points, or “crises,” and how Erik Erikson's theories of identity and midlife development help make sense of them. Together, they explore the overlap between Joseph Campbell's power of myth and Rosanne's work as a storyteller, and Dr. Fivush discusses her landmark dinnertime study, which found that children who grow up hearing family stories at the table tend to become more resilient and grounded adults. The episode ends on a high note as Matt and Rosanne lead the audience in a joyful sing-along—reminding us that sometimes the best way to pass down a story is through song.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2020 conversation with Stax legend David Porter.ABOUT DAVID PORTER Named one of Rolling Stone magazine's “100 Greatest Songwriters of All Time,” Porter is best known for his songwriting partnership with Isaac Hayes that helped define the sound of Memphis's legendary Stax Records. As the first African American staff songwriter at Stax, Porter, along with his partner, wrote and produced songs such as “B-A-B-Y” for Carla Thomas, “Your Good Thing (Is About to End)”—an R&B hit for Mable John that later became a pop and R&B smash for Lou Rawls, and his own recording of “Can't See You When I Want To.” Hayes and Porter are best known, however, for their work with Sam & Dave, including such classic hits as “You Don't Know Like I Know,” “You Got Me Hummin',” “Hold On! I'm Comin'” (which later became a country hit for Waylon Jennings and Jerry Reed), “Soul Man” (which became a hit a second time thanks to the Blues Brothers), “I Thank You” (which was later covered by ZZ Top), and “When Something is Wrong with My Baby” (which was reimagined as a memorable duet between Otis Redding and Carla Thomas, a country hit for Sonny James, and an adult contemporary hit for Linda Ronstadt and Aaron Neville). The list of artists who've covered Porter's songs includes Aretha Franklin, Bruce Springsteen, William Bell, Melissa Ethridge, Bonnie Raitt, Garth Brooks, Etta James, Celine Dion, Wilson Pickett, George Benson, Dusty Springfield, Jerry Lee Lewis, The Staple Singers, Solomon Burke, James Brown, Eric Clapton, B. B. King, Tina Turner, Jackie Wilson, and more. His songs have been used as samples in countless recordings by artists such as Jay-Z, Eminem, Wu-Tang Clan, The Notorious B.I.G., Justin Bieber, Mariah Carey, and others. A highly celebrated giant among celebrated songwriters, Porter was inducted into the Songwriters Hall of Fame in 2005.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Kitty Wells - "It Wasn't God Who Made Honky Tonk Angels" - Greatest Hits [0:00:00] Roy Orbison - "Ride Away" - The Classic Roy Orbison 1965-68 [0:05:11] harmonica george - "Sputnik Music" - Chicago Ain't Nothin' But a Blues Band [0:07:18] Lighting Hopkins - "Smokestack Lightning" - Moanin' in the Moonlight [0:09:56] Bert Janch - "The Waggoner's Lad" - Jack Orion [0:13:07] Hank Williams - "move it on over" - The Complete Hank Williams [0:15:50] Maxine Brown - "Sugar Cane County" - Sugar Cane County [0:18:33] Duane Eddy - "Moovin' N' Groovin'" - Have Twangy Guitar Will Travel [0:20:59] Robert Johnson - "32-20 Blues" - King of the Delta Blues [0:23:50] Lee Hazlewood - "No Train To Stockholm" - Cowboy in Sweden [0:26:19] Jackson C. Frank - "Kimbie" - Jackson C. Frank [0:28:00] john fahey - "Bottleneck Blues" - The Voice of the Turtle [0:31:11] Cyril Lefebvre - "Ou l'on entend une vieille boite a musique" - Cocaine Blues [0:34:16] Miss Abrams and the Strawberry Point 4th Grade Class - "Running In The Green Grass" - Miss Abrams and the Strawberry Point 4th Grade Class [0:35:46] C.W. Stoneking - "On a Desert Isle" - Gon Boogaloo [0:38:11] Elizabeth Cotten - "Shake Sugaree" - Shake Sugaree [0:42:53] Mississippi John Hurt - "I'm Satisfied" - Today! [0:48:14] Walt Robertson - "Wandering" - American Northwest Ballads [0:50:46] Linda Ronstadt - "blue bayou" - Blue bayou 45" [0:53:23] Willie Nelson - "Unclouded Day" - The Troublemaker [0:57:55] https://www.wfmu.org/playlists/shows/157446

Kitty Wells - "It Wasn't God Who Made Honky Tonk Angels" - Greatest Hits [0:00:00] Roy Orbison - "Ride Away" - The Classic Roy Orbison 1965-68 [0:05:11] harmonica george - "Sputnik Music" - Chicago Ain't Nothin' But a Blues Band [0:07:18] Lighting Hopkins - "Smokestack Lightning" - Moanin' in the Moonlight [0:09:56] Bert Janch - "The Waggoner's Lad" - Jack Orion [0:13:07] Hank Williams - "move it on over" - The Complete Hank Williams [0:15:50] Maxine Brown - "Sugar Cane County" - Sugar Cane County [0:18:33] Duane Eddy - "Moovin' N' Groovin'" - Have Twangy Guitar Will Travel [0:20:59] Robert Johnson - "32-20 Blues" - King of the Delta Blues [0:23:50] Lee Hazlewood - "No Train To Stockholm" - Cowboy in Sweden [0:26:19] Jackson C. Frank - "Kimbie" - Jackson C. Frank [0:28:00] john fahey - "Bottleneck Blues" - The Voice of the Turtle [0:31:11] Cyril Lefebvre - "Ou l'on entend une vieille boite a musique" - Cocaine Blues [0:34:16] Miss Abrams and the Strawberry Point 4th Grade Class - "Running In The Green Grass" - Miss Abrams and the Strawberry Point 4th Grade Class [0:35:46] C.W. Stoneking - "On a Desert Isle" - Gon Boogaloo [0:38:11] Elizabeth Cotten - "Shake Sugaree" - Shake Sugaree [0:42:53] Mississippi John Hurt - "I'm Satisfied" - Today! [0:48:14] Walt Robertson - "Wandering" - American Northwest Ballads [0:50:46] Linda Ronstadt - "blue bayou" - Blue bayou 45" [0:53:23] Willie Nelson - "Unclouded Day" - The Troublemaker [0:57:55] https://www.wfmu.org/playlists/shows/157446

Air Date - 23 October 2025Join Host Marc Lainhart – The Intuitive Prospector™ this Wisdom Wednesday as we welcome to the show for the first time, Actor, Musician, Author, Humanitarian, Poet, and Pilot Mr. Chris Howard to discuss his new Autobiography of a Waking Brain, ‘From My Soul To Yours! The Poem Journeys of a Mystic Mind.' “Think of these poems as hugs from my soul to yours to inspire and uplift you on your own journey to the divine.” -Christian HowardPlease join us for another inspiring, encouraging, educational, healing, motivational, and transformational show! “Prospecting to discover the diamond within and the many hidden gems all around us!”#KristenGuillory #InspiredLiving #MarcLainhart #InterviewsAbout the GuestMr. Howard's industry is humanity, and his products are what uplift and inspire everybody to bring some light into their lives. His two books are the tools for his mission, and the 5-star reviews show he is accomplishing his goal.As a professional actor, he was in the Warner Bro film Camelot. He's a musician, and Linda Ronstadt recorded one of his songs. He owned a marketing company, and he still restores classic cars, FB at /classic rides factory. He's a private pilot who owns his own planes. His spiritual journey is unparalleled. From meditation, he reached and explored the superconscious. He later became a licensed hypnotherapist and learned the power of the subconscious. He combines his knowledge and presents a unique approach because he uses quantum physics to support his spiritual goals.Mr. Howard is fluent in Spanish and, with a teleprompter help could give talks in French, German, and Russian. He's a father and grandfather. He continues to write music and fulfill his goal as a positive influence in people's lives.WEBSITE: https://www.word-songs.org/Visit the Inspired Living show page https://omtimes.com/iom/shows/inspired-living-radio/Connect with Marc Lainhart at http://www.marclainhart.com/Subscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazineConnect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/Twitter: https://twitter.com/OmTimes/Instagram: https://www.instagram.com/omtimes/LinkedIn: https://www.linkedin.com/company/2798417/Pinterest: https://www.pinterest.com/omtimes/

Genny Schorr in conversation with David Eastaugh  https://hozacrecords.com/product/pre-order-all-roads-lead-to-punk-book-7-record-set-by-genny-schorr/ https://gennyschorr.com/ As a founding member of one of Los Angeles' earliest female-led bands, BACKSTAGE PASS, Genevieve Schorr lived and breathed rock'n roll growing up like a lot of teenagers at the time. What set her apart was forging her unique band so early in the punk timeline (a direct shot from her glam & pub rock influences) and eventually evolving her life into becoming a professional rock'n roll stylist to the stars. Genny's book reads like a lost diary trapped in a punk house time capsule from the era, complete with tales of dereliction and unsuspecting victories along the way. Crossing paths with such wildly diverse characters such as The Screamers, The Mumps, Dr. Feelgood, The Damned, The Quick, Jon Stewart, Jim Carrey, The Bangles, and Linda Ronstadt, All Roads Lead To Punk is an invigorating flash through a wild life not to be forgotten. This book comes also with a limited edition BACKSTAGE PASS 7″ single

Diese Sendung hat Andreas Pasternack zusammengestellt. Das LIVE – Anspiel diesmal ist: „Can't we be friends“ – 1929 von Kay Swift für die Musikrevue „The little Show“ komponiert. Folgende Titel sind zu hören: 1. All or nothing at all – Frank Sinatra 3:40 2. Softly as in a morning sunrise – Paul Chambers Quintet 3:11 3. This Love of mine – Ellas Fitzgerald 2:56 4. I'm satisfied – Kurt Elling 2:51 5. Love me or leave me – Nina Simone 4:05 6. When you're smiling – Benny Goodman Trio 2:38 7. Can't we be friends – Linda Ronstadt 2:30 8. Eleanor Rigby – Wes Montgomery 3:08 9. My Baby just cares for me – George Michael 1:46 10. Caravan – Duke Ellington & His Orchestra 5:27 11. Gonna set your Soul on fire – Ramsey Lewis 2:02 Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

In this episode, the dl discusses various iconic albums, including Bonnie Raitt's 'Nick of Time', Harry Styles' 'Harry's House', and Linda Ronstadt's 'Heart Like a Wheel'. The conversation also touches on Phil Spector's 'Back to Mono' compilation, Guns N' Roses' 'Welcome to the Jungle', and Lil Nas X's 'Old Town Road'. Each album is analyzed for its cultural significance, musical style, and the impact it has had on the music industry. 00:00Introduction to the Podcast and Current Events 04:50Bonnie Raitt: A Deep Dive into 'Nick of Time' 24:36Harry Styles: Analyzing 'Harry's House' 31:37Linda Ronstadt: The Impact of 'Heart Like a Wheel' 37:01Linda Ronstadt's Influence and Best Album 41:13Phil Spector's Back to Mono: A Compilation Controversy 50:41Miles Davis's Kinda Blue: A Jazz Landmark 56:31Guns N' Roses: Welcome to the Jungle's Legacy 01:02:15Lil Nas X's Old Town Road: A Genre-Bending Hit 01:06:04The Breeders' Cannonball: A Look Back

Helen and Gavin chat about Marvel Zombies, and Spinal Tap II: The End Continues, and One Battle After Another, and it's Week 20 of the list of Grammy Record of the Year Winners from 1978, which will be picked from You Light Up My Life by Debby Boone, Hotel California by The Eagles, Don't it Make My Brown Eyes Blue by Crystal Gayle, Blue Bayou by Linda Ronstadt, Evergreen (Love Theme from A Star is Born) by Barbra Streisand.

"Ain't it foggy outsideAll the planes have been groundedAin't the fire inside?Let's all go stand around it"Yes, this morning the Marine Layer was Summer's last gasp as we await the start of Autumn tomorrow. Please say farewell to Summer with great tunes from Booker T & Priscilla,, Blodwyn Pig, Aerosmith, Van Morrison, Simon & Garfunkel, Traffic, XTC, Linda Ronstadt,  Fleetwood Mac, The Beatles,  Batdorf and Rodney, The Doobie Brothers, Badfinger, Paul Butterfield's Better Days, Jethro Tull, John Lennon, Bad Company, The Band, Buzzy Linhart and America.

In this episode, we speak with legendary songwriter Billy Steinberg, co-writer of Talk on Corners' “Intimacy,” about his remarkable career and the story behind his work with The Corrs.Billy recalls how he first discovered his passion for songwriting, from his breakthrough hit “How Do I Make You” for Linda Ronstadt, to writing some of the most iconic songs of the 1980s including Madonna's “Like a Virgin,” Cyndi Lauper's “True Colors,” and Heart's “Alone.”He takes us inside the origins of the song “Intimacy,” written with Rick Nowels and Neil Giraldo for Pat Benatar before finding its way to The Corrs through David and Jaymes Foster.Billy reflects on hearing the band's version, the lyrical changes that surprised him, and gives us details regarding recording the track at A&M Studios with the band which included a guest appearance by David Foster on synth bass.We also hear about his friendships with Andrea, Sharon, and Caroline Corr, the unreleased track “In Love So Deep,” and the unique experience of working with one of Ireland's most successful groups during their rise to international fame.At 00:10:06 you can hear a clip of the demo for 'Intimacy' created by Billy Steinberg and Rick Nowels and sung by Marc Nelson.At 00:21:42 you can hear a clip of the unreleased song 'In Love So Deep'.In this interview Billy mentions a photo taken by his late friend Robert Zuckerman at A&M Records, to see this image please see the link HERE. A copy of this photo is still proudly hung in Captain Americas on Grafton Street, Dublin.This work is licensed under a Creative Commons Attribution 4.0 International License.CorrsCast.comInstagramTwitterFacebookDiscordPatreon#CorrsCast on social media.#TheCorrsPlease subscribe, rate and review CorrsCast on iTunes or a platform of your choosing. Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Bandwich Tapes, I sit down with the legendary vocalist Arnold McCuller, whose voice has graced stages and recordings alongside artists such as James Taylor and Phil Collins, among others. While we reflect on some of his most iconic musical moments, our conversation centers on his current mission as a recovery coach and interventionist, as well as his involvement with Harmonium. This powerful organization supports creatives in recovery.We talk about the unique pressures musicians face, how addiction weaves into the culture of performance, and the courage it takes to rebuild a life and career on new terms. I also share some of my own journey of sobriety — nearing one year — and Arnold offers wisdom on moving past shame, reclaiming creativity, and finding freedom through community.This is a conversation about music, resilience, and hope — one that every artist (and human) will find something in.Music from the Episode:Witness (Arnold McCuller)Chances Are (Arnold McCuller)Hard Times (Arnold McCuller)You'll Never Leave Harlan Alive (Arnold McCuller)Above the Rain (Arnold McCuller)To learn more about Arnold and his incredible work, please visit his website. Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

Leslie Dowdall chats about her incredible career, and her upcoming celebration of Carole King and Linda Ronstadt with pal, Flo McSweeney

Last week the "How We Heard It" hosts came up with a list of the greatest women singers in modern music, debating Janis Joplin vs. Whitney Houston and Karen Carpenter vs. Barbra Streisand while also finding endless praise for everyone from Aretha Franklin to Linda Ronstadt to Annie Lennox to Billie Eilish. This week, "How We Heard It" pivots to men singers, going back in time to crooners like Frank Sinatra and Bing Crosby and country legends like Hank Williams and George Jones. From there, the hosts come forward, breezing through classic singer-songwriters like Jim Croce and James Taylor, R&B pioneers such as Ray Charles, Marvin Gaye and Stevie Wonder, and all manner of rock singers, including Elvis Presley and Freddie Mercury, while pausing to engage in the inevitable Paul McCartney vs. John Lennon debate. The 1980s and 1990s are represented by the likes of Bruce Springsteen, Prince, Sting, Robert Palmer, Michael Hutchence, Trent Reznor, Vince Gill and Randy Travis. And today's stars are also evaluated, including Post Malone, The Weeknd, Harry Styles, Benson Boone and John Legend. Meanwhile, you might be surprised to find out where many of the others fall into place, including Elton John, Willie Nelson, Michael Jackson and Robert Plant. Especially Robert Plant.

An interview with Little Anthony & Brooke Moriber about their 2025 duet version of the Little Anthony Imperials 1965 hit "Hurt So Bad." They discuss the way their collaboration came together, recording with the instrumentalists in the studio and putting together their vocals, the 1980 Linda Ronstadt version of the song, and more.See omnystudio.com/listener for privacy information.

1980s Dublin wasn't all emigration and recession. There was great music, mad nights out and a capital city bursting with homegrown talent. Irish rock icons Leslie Dowdall of In Tua Nua and Flo McSweeney of Toy With Rhythm and Moving Hearts were at the epicentre of it and now they have teamed up to present Natural Women, a collaboration which will see them covering songs by 1970s songwriting legends Carole King and Linda Ronstadt in Vicar Street. They came in to talk to host Roisin Ingle about their 1980s heyday, the scene in the Pink Elephant nightclub and why they wanted to make music together after all these years. They even give us a bit of a song. But first, Irish Times Opinion Editor Jennifer O'Connell is here to talk about some of the biggest stories of the week including the at home cervical screening that has arrived in the UK and the presidential chances of conservative Catholic Maria Steen. Hosted on Acast. See acast.com/privacy for more information.

Don't let our second to last Muppet Show episode blow by you! Shoop shoop that Play button and you'll be so happy to hear us talk about the great Linda Ronstadt, rhythmic frogs, a cat who came back (with multiple tunes), fan dancers, old dreams, and of course a trunk full of fungus. All with our very special guest star, Christie's Mom! https://muppeturgy.com/episodes/linda-ronstadtSend us your questions for our grand Muppet Show finale (but not our Muppeturgy finale): muppeturgy@gmail.com.

Welcome to the Daily Compliance News. Each day, Tom Fox, the Voice of Compliance, brings you compliance-related stories to start your day. Sit back, enjoy a cup of morning coffee, and listen in to the Daily Compliance News. All, from the Compliance Podcast Network. Each day, we consider four stories from the business world, compliance, ethics, risk management, leadership, or general interest that are relevant to the compliance professional. Top stories include: War Hero and corrupt Congressman dies. (NYT) The world will need oil and the FCPA for a long, long time. (NYT) The great state of Texas is MAHA. (FT) Texas says Chinese can't own land in Texas. (BBC) Linda Ronstadt Long, Long Time on YouTube Learn more about your ad choices. Visit megaphone.fm/adchoices

Rock N Roll Archaeology explores the 1970s LA Sound, a world of sun-drenched harmonies and seismic ambition. From a bizarre funeral pact for Gram Parsons at the Troubadour to the rise of the Eagles from Linda Ronstadt's backing band, this is the story of how a community of folk idealists, including Jackson Browne, gave birth to a billion-dollar industry. We chart the collision course between artistic collaboration and corporate rock, right on the fault line. Producer and Host: Christian Swain Head Writer: Richard Evans Sound Designer: Jerry Danielsen Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's program features tuneage from Stevie Ray Vaughn, Laura Nyro, Talking Heads, Mark Knopfler, Three Dog Night, Steely Dan, Tears For Fears, The Left Banke, XTC, The Doors, Linda Ronstadt, Santana, Chick Corea w Return To Forever, Dire Straits, Brian Auger's Oblivion Express, The Verve, Coldplay, The Youngbloods, Who,  Sons Of Champlin and Chicago Transit Authority.

This week on “Talk About Las Vegas With Ira,” Grammy and Emmy-nominated trumpeter and arranger Greg Adams joins the conversation ahead of his August 22nd performance with East Bay Soul in Myron's Cabaret at The Smith Center. From picking up the trumpet at an early age to taking over his high school band, Greg shares how his self-taught arranging skills led him to become a founding member of Tower of Power. He takes us behind the scenes of iconic moments—joining Elton John for the legendary Caribou sessions, working in the storied Capitol Records building, arranging with Quincy Jones, collaborating with George Martin, and why Linda Ronstadt holds a special place in his heart. Greg opens up about his “chameleon” approach to arranging—blending seamlessly with a singer's voice, knowing when less is more, and drawing inspiration from greats like Nelson Riddle. He reflects on “Back to Oakland” as his favorite Tower of Power album, his ability to balance the energy of live performance with the precision of studio work, and the joy of creating his latest album, “The Real,” with East Bay Soul,. Plus, he hints at why Las Vegas might just become a regular stop on his musical journey. (Also Watch Full Podcast Video)

Yahritza y Su Esencia, la banda originaria de Yakima, Washington, conversa con Albina Cabrera sobre su herencia mexicana y su ascenso en la escena del regional mexicano. Desde su primer TikTok viral en 2022 hasta su éxito global con el EP Obsessed y su nuevo álbum. El episodio explora cómo la música mexicana ha influenciado su vida y carrera. Yahritza, Jairo y Armando comparten su cancionero personal, incluyendo las canciones que los definieron, desde el sierreño hasta el mariachi y los corridos tumbados. Escucha este episodio en español en el feed del podcast El Sonido: Cancioneros y con subtítulos en inglés en el canal de YouTube de KEXP. Una producción original de KEXP. Cancionero curado por Yahritza y Su Esencia:• “Flor Hermosa” – Miguel y Miguel• “Se va muriendo mi alma” – Remmy Valenzuela• “Los Laureles” – Linda Ronstadt• “Carcel” – Marco Antonio Solís• “Soy El Único” – Yahritza y Su Esencia Créditos:Producción y conducción: Albina CabreraAsistencia de producción: Dev Vasquez GonzalezEdición editorial: Dusty HenryDirección editorial: Larry Mizell Jr.Mastering: Jackson LongMúsica original del podcast: Roberto Carlos Lange (Helado Negro)Una producción original de KEXP. Donde la música importa.Apoya El Sonido: kexp.org/el-sonido Yahritza y Su Esencia, the band from Yakima, Washington, speaks with Albina Cabrera about their Mexican heritage and rise in the regional Mexican music scene. From their viral TikTok moment in 2022 to their global success with the EP Obsessed and their upcoming album, the episode explores how Mexican music has shaped their lives and careers. Yahritza, Jairo, and Armando share their personal songbook, featuring tracks that have defined them, from sierreño to mariachi and corridos tumbados. Listen to this episode in Spanish on the El Sonido: Cancioneros podcast feed and with English subtitles on KEXP's YouTube channel. An original KEXP production. Songbook curated by Yahritza y Su Esencia:• “Flor Hermosa” – Miguel y Miguel• “Se va muriendo mi alma” – Remmy Valenzuela• “Los Laureles” – Linda Ronstadt• “Carcel” – Marco Antonio Solís• “Soy El Único” – Yahritza y Su Esencia Credits:Host & Producer: Albina CabreraProduction Assistant: Dev Vasquez GonzalezEditorial Editing: Dusty HenryEditorial Director: Larry Mizell Jr.Audio Mastering: Jackson LongOriginal Podcast Music: Roberto Carlos Lange (Helado Negro)Support El Sonido: kexp.org/el-sonidoAn original KEXP production.Support the show: http://kexp.org/elsonidoSee omnystudio.com/listener for privacy information.

Este sábado estuvimos muy contentos con la presencia de Mariana de Elli Noise, quien nos contó todo sobre su aniversario 25 como banda y los 20 años del disco Aire Frío. Su concierto en el Foro Alicia. También nos acompañó nuestra amiga Ingrid del Festival Hipnosis que trae a The Horrors, Molchat Doma, Dinosaur Jr. , Pavement entre otros. Es un muy buen festival que tiene una gran curaduría musical. Hablamos de la muerte del héroe del acordeón: El Flaco Jiménez, quien tocó con Ry Cooder, Bob Dylan, The Rolling Stones, Linda Ronstadt, Willie Nelson y tuvo bandas como los Super Seven y Los Texas Tornados. Hablamos del funeral de Ozzy y del italiano al que le cantaron Imagine de John LennonSee omnystudio.com/listener for privacy information.

Two-time Grammy winner and songwriting superhero Patty Griffin joins us for a wide-ranging discussion about her craftPART ONEReflecting on the lives of recently-departed songwriters Alan Bergman and Ozzy Osbourne, which might be the only time those two were discussed in the same conversation! PART TWOOur in-depth conversation with Patty GriffinABOUT PATTY GRIFFINPatty Griffin is a singer's singer and a songwriter's songwriter. With a catalog of finely-crafted selections that includes “Let Him Fly,” “One Big Love,” “Top of the World,” “Rain,” “Long Ride Home,” “Heavenly Day,” “Up to the Mountain,” “Ohio,” and many others, she has carved out a space as one the most respected artists and songwriters of the last 30 years. The seven-time Grammy nominee and two-time winner blends folk, blues, and other roots music traditions into her own unique style. Patty has received the Americana Music Association's Lifetime Achievement Award for Songwriting, and her songs have been covered by a long list of artists that includes The Chicks, Solomon Burke, Linda Ronstadt, Emmylou Harris, Miranda Lambert, Kelly Clarkson, Bette Midler, Martina McBride, Maura O'Connell, and others. Patty's eleventh, and most recent, studio album is called Crown of Roses.  

Lionel wraps up the show with arguments about the trial of George Zimmerman and Catholicism. If things couldn't get stranger, he hears about how burying pork cures warts, rubbing a potato on your head cures headaches and he talks with Linda Ronstadt's ex-lover and a man who scared and harassed the poor woman too. Learn more about your ad choices. Visit megaphone.fm/adchoices

On The Other Side of Midnight, Lionel talks about the destructive power of tsunamis. He also discusses The Banana Man, Ed Sullivan and Ghislaine Maxwell. Lionel later discusses weather control. He also talks about the existence of a Catholic patron saint for every occasion and occupation, practicing Santeria and core principles of Catholicism. Lionel starts the third hour talking to a range of some of the most demented callers you'll hear. He later gives the latest on the Epstein case and also chats with a man who has been in love since his past life. Lionel wraps up the show with arguments about the trial of George Zimmerman and Catholicism. If things couldn't get stranger, he hears about how burying pork cures warts, rubbing a potato on your head cures headaches and he talks with Linda Ronstadt's ex-lover and a man who scared and harassed the poor woman too. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kris McPeak and Annie Pruitt are back with another exciting episode of the Top Five Podcast! As part of their new 'Songs A to Z' series, they explore songs that have colors in the title. Please tune in to hear their top picks and personal stories linked to each song. Be ready for some fun music trivia and nostalgic memories. Don't forget to rate, review, and subscribe! And don't forget about that playlist!  It's right HERE. 00:00 Introduction and Greetings 00:30 Upcoming Pop Culture Plans 01:00 Songs A to Z Series Overview 01:35 Today's Theme: Songs with Colors 02:26 Chris's First Pick: Orange Crush by REM 04:39 Annie's First Pick: Blue Bayou by Linda Ronstadt 05:52 Chris's Second Pick: True Blue and Blue Kiss 07:26 Annie's Second Pick: Red-Eyed Troll by The Muffs 09:28 Chris's Third Pick: Crimson and Clover by Joan Jett 10:59 Annie's Third Pick: Tie A Yellow Ribbon by Tony Orlando and Dawn 12:57 Chris's Fourth Pick: Band of Gold by Belinda Carlisle 14:18 Annie's Fourth Pick: Goodbye Yellow Brick Road by Elton John 16:09 Chris's Fifth Pick: I Saw Red by Warrant 18:10 Annie's Honorable Mention: Back in Black by Amy Winehouse 19:21 Chris's Number One: Pink by Aerosmith 20:38 Annie's Number One: Welcome to the Black Parade by My Chemical Romance 23:28 Recap and Conclusion

A charming song by one of our favorite songwriters, and a band that carved out its place in history, and the cover where everyone realized the world had changed in an important way. Different Drum, originally by the Greenbriar Boys, covered by Stone Poneys.  Outro music is Papa Gene's Blues, by The Monkees, because we don't often get to share a song where Mike Nesmith is credited as the lead vocalist. 

Welcome true believers to X-Men Horoscopes where each week our host Lodro Rinzler is in conversation with a special guest to discuss the X-Men issue that aligns with a significant month and year from their life and what that issue reveals about their future. This week we have podcast host and author Daryl Richard Lawrence on the show to discuss X-Factor Files and his newest book True North: A Complete Reference Guide and Analysis of Alpha Flight's First Volume. We discuss what it's like to host a podcast with your spouse, why anyone should care about Alpha Flight and his birth month and year issue (Uncanny X-Men 202) where Rachel Grey fights the Beyonder! Also in this episode: Secret Wars II: Electric Boogaloo the Beyonder was so mean to Nightcrawler Colossus rips his pajamas when you call his name and Wolverine sleeps in a kimono All this plus a Days of Future Past retrospective thanks to the jheri curled Beyonder. What does any of it mean for Daryl's future? Tune in to find out! Daryl Richard Lawrence is an author in his spare time, which is divided between that, hosting the X-Factor Files podcast with his husband Phillip, reading, gardening, and spoiling his pet rabbits. He is also the Programming Director for The Uncanny Experience. His previous books include one about Linda Ronstadt's solo career and a dual biography of two of his ancestors. He lives in the North Star state of Minnesota and his new book True North: A Complete Reference Guide and Analysis of Alpha Flight's First Volume came out on July 1st. More of Lodro Rinzler's work can be found here and here and you can follow the podcast on Instagram at xmenpanelsdaily where we post X-Men comic panels...daily. Have a question or comment for a future episode? Reach out at xmenhoroscopes.com

National Be a dork day.  Entertainment 1987.  Rosetta Stone found in Eygypt, Zebulon Pike sets out on expediton, Duck billed platypus put on display.  Todays birthdays - Rembrandt, Linda Ronstadt, Alicia Bridges, Willie Aames, Forest Whitaker, Brigitte Nielsen, Scott Foley, Brian Astin Green, Gabriel Iglasias.  Gianni Versace died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/Dork for you - Pepper Jill & JackAlone - HeartI know where I'm going - The JuddsBirthdays - In da club - 50 Cent    https://www.50cent.com/ When will I be loved - Linda RonstadtI love the night life - Alicia BridgesCharles in Charge TV themeExit - Three words away - Wes Ryan    https://wesryan.pro/countryundergroundradio.comHistory & Factoids webpage

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 3ú lá de mí Iúil, liomsa Lauren Ní Loingsigh. I 1981 tharla easaontas leis an CIE agus de bharr sin ní raibh aon mbus I mBaile Átha Cliath don lá sin. I 1992 mharaíodh duine a bhí I ndrong nuair a bhí siad ag argóint faoi airgead. I 1981 bhí súil ag comhairle contae an Chláir chun píosa den chéad chéim a bheith déanta acu den seachbhóthar roimh dheireadh an bhliain. I 1992 rinne an ghrúpa GPA athnuaite den dúthracht don tSionainn an tseachtain seo. Sin La Roux le Bulletproof – an t-amhrán is mó ar an lá seo I 2009 Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1972 fuair Fred McDowell bás de bharr ailse ag aois 68. Rinne an bhanna cheoil The Rolling Stones leagan de a amhrán You Got To Move ar a albam Sticky Fingers. Bhí sé mar mhúinteoir do Bonnie Raitt ar giotár. I 2001 fuair amhránaí Johnny Russell bás ag aois 61. Scríobh sé Act Naturally agus Rinne The Beatles agus Buck Owens leagan den amhrán. Rinne Jim Reeves, Jerry Garcia, Dolly Parton, Emmylou Harris, agus Linda Ronstadt leagan de a amhráin chomh maith. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Peggy Gou sa Chóiré Theas I 1991 agus rugadh aisteoir Tom Cruise I Meiriceá ar an lá seo I 1962 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 3rd of July, with me Lauren Ní Loingsigh 1981: CIE dispute left dublin without buses on this day. 1992: provo gang victim was killed in cash row. 1981: clareco.council hoped to have land for the first stage of the town by pass purchased by the end of 1981. 1992: The GPA group renewed its commitment to shannon this week. That was La Roux with Bulletproof – the biggest song on this day in 2009 Onto music news on this day In 1972 Blues singer, guitarist Mississippi Fred McDowell died of cancer aged 68. The Rolling Stones covered his 'You Got To Move' on their Sticky Fingers album. He coached Bonnie Raitt on slide guitar technique 2001 American singer, songwriter Johnny Russell died aged 61. He wrote 'Act Naturally' covered by The Beatles and Buck Owens. Jim Reeves, Jerry Garcia, Dolly Parton, Emmylou Harris, and Linda Ronstadt had all covered his songs. And finally celebrity birthdays on this day – DJ Peggy Gou was born in South Korea in 1991 and actor Tom Cruise was born in America on this day in 1962 and this is some of the stuff he has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Arizona has been home to many musical acts — some born and raised here, others who found fame along the way. But who's the biggest artist to come out of the Grand Canyon state? Is it Alice Cooper? Stevie Nicks? Linda Ronstadt? The answer might surprise you. This week on Valley 101, a podcast by The Arizona Republic and azcentral.com about metro Phoenix and beyond, host ⁠Bill Goodykoontz teams up with Republic pop music critic and reporter Ed Masley⁠ to settle the debate. ⁠Submit your question⁠⁠⁠⁠ about Phoenix! Subscribe to ⁠⁠⁠⁠The Watchlist⁠⁠⁠⁠, our Friday media newsletter. Follow us on ⁠⁠⁠⁠X,⁠⁠⁠⁠ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ and ⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠. Guests: Ed Masley Host: ⁠⁠⁠⁠Bill Goodykoontz⁠⁠⁠⁠ Producer: ⁠⁠⁠⁠Abby Bessinger Learn more about your ad choices. Visit megaphone.fm/adchoices

Tony Award-winning actor and director John Benjamin Hickey joins me on Tracks of Our Queers.From his breakout role in Terrence McNally's Love! Valour! Compassion! to his devastating turn in Larry Kramer's The Normal Heart, John has been at the heart of some of theatre's most important queer work. Far from being typecast, John has appeared in hundreds of roles across TV, film, and theatre (I loved him in The Big C, and of course, the dad in Pitch Perfect).Outside of acting and directing, John once presented his own music interview series on SiriusXM, My Favorite Song. It's a thrill to turn the interviewing tables on him and hear about some of his most cherished music, through a queer lense. The other bits:Tracks of Our Queers is recorded and edited between Gadigal and Ngarigo land in Australia, by me, Andy GottListen to all of the music discussed in the pod with the Selections from Tracks of Our Queers playlistYou can email me your own queer tracks or guest recommendations at tracksofourqueers@gmail.comOur beautiful artwork is illustrated by Luke Tribe.Support the showI'd love to hear about your queer tracks. Send me a voice note of a song, album, or artist that has resonated with your life, and I'll include it in an upcoming episode. You can email me your voicenote at tracksofourqueers@gmail.com. Help keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.

GGACP celebrates the birthday (b. June 22) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher by presenting this ENCORE of an interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Peter “inspires” Austin Powers, Linda Ronstadt teams with Nelson Riddle and Peter and Gordon play the '64 World's Fair. PLUS: Spike Milligan! Del Shannon! Jackie Gleason acts out! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts!  Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Chat and live music with the performers (and longtime friends) who are playing Vicar Street in September in 'Natural Women', singing the songs of Linda Ronstadt and Carole King (for copyright reasons the full tracks performed during this interview cannot be made available in the podcast)

Leland Sklar Live on Game Changers With Vicki Abelson Happy Happy Joy Joy, that's spending time conversing with our good friend, Leland Sklar, who's made it all about the bass with everybody on everything, from Phil Collins, James Taylor, Linda Ronstadt, Jackson Browne, Billy Cobham, Carole King, Hall & Oates, Crosby Stills, & Nash, Barbra Streisand, Joe Cocker, Toto, Lyle Lovett, and the list goes on and on, and on, and on… over 2500 + albums worth. I'm exhausted typing this. How the hell does he do it? An activist, Lee's stood up, spoken out, and paid the price innumerable times. A voice of clarity, passion, and reason, we got into it big time… the LA protests, the insanity surrounding them, the terrifying regime, our hope for Newsom, the unknowing of how to stop it, or how it will ultimately shake out… the fires, the transition back to living post the pandemic. Of course, we did talk music too. Respects to Brian Wilson and Sly Stone, Lee having played with the former, and influenced by the latter… how health has befallen so many heroes, Phil Collins, Linda Ronstadt, Billy Joel, Neil Diamond… and the wonder of Leland, currently doing 3 hr concerts with Lyle, still standing. That boy has good genes. Levis. The ongoing and upcoming big tour with Lyle and the sad putting aside, for now, of The Immediate Family. We talked about the lads, his brothers, Russ Kunkel, Danny Kortchmar, Waddy Wachtel, and Steve Postel, what makes that band so rockin' special, we talked about James Taylor, Peter Asher, who Lee holds responsible for launching his career, Phil Collins, and his amazingly talented son, Nick, Toto, Stevie Nicks, his book, Everybody Loves Me, which I'm blessed to be in, and Lee's marriage that has endured for 54 years and counting. Lee's one of the most universally adored musicians for his playing, his humanity, his humor, and his great big heart. I adore him. Who doesn't? Well, maybe a couple of fools on Capitol Hill. The man's a marvel. Leland Sklar Live on Game Changers With Vicki Abelson Wednesday, 6/11/25, 5 PM PT, 8 PM ET Streamed Live on my FB https://bit.ly/4dZz0Lx And YouTube https://www.youtube.com/watch?v=BU7luUSTrRU&t=22s

Text us about this show.Steve March-Tormé and Michael Murphy return to Into The Music to introduce you to the title character of their new album, Dalton Diamond. This is an album just over four decades in the making having originated in a West Los Angeles bedroom as the idea of Steve along with his friend, Craig Copeland. In the mid 1980s, nine of the album's were written by Steve and Craig and two additional songs that round out the narrative were written forty years later by Steve and Michael. The feel of the album harkens back to the 1970s southern California country rock of the Eagles, J.D. Souther, Jackson Browne, and The Flying Burrito Brothers to name a handful of Dalton's influences. This episode serves as a preview of the album and Steve and Michael throw in a live performance for good measure. Enjoy!"Only Passing Through" and "I'm In Love With You" performed by Steve March-Tormé & Michael Murphywritten by Steve March-Tormé and Craig Copeland℗ 2025 Living Room Records, LLC. Used with permission of Steve March-Tormé & Michael Murphy"Aurelia" and "Bullseye On The Run" performed by Steve March-Tormé & Michael Murphywritten by Steve March-Tormé and Michael Murphy℗ 2025 Living Room Records, LLC. Used with permission of Steve March-Tormé & Michael MurphyMelody Audiology LLCAudiology services for all. Specializing in music industry professionals and hearing conservation.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2025 by Project X Productions. All rights reserve...

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2017 conversation with Jimmy Webb. ABOUT JIMMY WEBBJimmy Webb emerged as a superstar songwriter and arranger in 1967 when two of his songs – The 5th Dimension's “Up, Up and Away” and Glen Campbell's “By the Time I Get to Phoenix” - were among the five nominees for the Grammy's Song of the Year award. He went on to write a string of major hits for Campbell, including “Wichita Lineman,” “Galveston,” "Where's the Playground Susie,” “Honey Come Back,” and many others. Additionally, he penned “MacArthur Park,” which was a hit for a diverse range of artists, including Richard Harris, Waylon Jennings, Tony Bennett, Andy Williams, and Donna Summer; “The Worst That Could Happen,” which was a Top 5 hit for The Brooklyn Bridge; “Didn't We,” which was recorded by Thelma Houston, Frank Sinatra, Diana Ross, and Barbra Streisand; “All I Know,” which became a Top 10 hit for Art Garfunkel; “The Moon's a Harsh Mistress,” which has been recorded by Joe Cocker, Judy Collins, Linda Ronstadt, and Josh Groban; and “If These Walls Could Speak,” which was recorded by Glen Campbell, Amy Grant, Nanci Griffith, and Shawn Colvin. Others who've covered material from the Jimmy Webb songbook include Diana Ross, Dusty Springfield, Nina Simone, The Four Tops, Roberta Flack, The Temptations, The Association, Tom Jones, Dionne Warwick, Cass Elliot, Harry Nilsson, Nancy Wilson, Cher, Bob Dylan, The Everly Brothers, Nick Cave, John Denver, Kenny Rogers, Sheena Easton, David Crosby, Rosemary Clooney, Michael Feinstein, R.E.M., Aimee Mann, America, Aretha Franklin, Isaac Hayes, Peggy Lee, Bette Midler, James Taylor, Carrie Underwood, Dwight Yoakam, and The Highwaymen (consisting of Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson), who took Jimmy's song “Highwayman” to #1, earning him a Grammy for Country Song of the Year. As an artist, he has released more than a dozen albums. One of the most celebrated songwriters on the planet, Jimmy is the only individual to win Grammy awards for music, lyrics, and orchestration. He was inducted into the Songwriters Hall of Fame, the Nashville Songwriters Hall of Fame, and the Great American Songbook Hall of Fame. Additionally, he has received ASCAP's Lifetime Achievement Award, the Influential Songwriter Award from the National Music Publishers Association, and the Academy of Country Music's prestigious Poets Award. In 2015 he was named among Rolling Stone magazine's 100 Greatest Songwriters of All Time. Jimmy's memoir, The Cake and the Rain, details his formative years and early career through 1973. It's available now from St. Martin's Press. 

Send us a textIn this episode, I chat with book publicist Megan Beatie about book publicity in a revealing conversation about the art and science of literary promotion.Drawing on over 25 years of experience working with authors ranging from Linda Ronstadt to Tess Gerritsen, Megan shares how the publishing landscape has undergone a dramatic transformation since she began her career. She explains the crucial difference between publicity (earned media) and marketing (paid media), and why authors need to understand both to succeed in today's competitive marketplace."I'm only as good as what I'm representing," Megan explains, revealing why passion for the books she promotes has been fundamental to her success. This philosophy has served her well, helping numerous clients achieve bestseller status and prestigious awards, including Danielle Trussoni's recent LA Times Book Prize for Best Mystery Thriller, The Puzzle Master.For debut authors feeling overwhelmed by marketing expectations, Megan offers practical wisdom: start early (ideally a year before publication), maintain an updated website as your "ground zero," choose social media platforms that match your personality rather than trying to be everywhere, and recognize when to seek professional help instead of attempting DIY publicity.Beyond tactics, our conversation delves into the deeper value of cultivating genuine relationships with booksellers, fellow authors, and readers. Megan challenges the common "is it worth it?" mindset about events and appearances, encouraging authors to see the long-term value in the connections they make. "If you go to a festival and don't sell a single book but you're on a panel with a better-known author who might give you a blurb for your next book, you just never know."Whether you're a published author looking to elevate your publicity game, an aspiring writer curious about the business side of publishing, or simply a book lover interested in how your favorite titles find their way to you, this episode offers valuable insights into the evolving art of connecting books with readers in meaningful ways.Megan Beatie CommunicationsThe Puzzle Master, Danielle TrussoniThe Puzzle Box, Danielle TrussoniThe Martha's Vineyard Beach and Book Club, Martha Hall KellyThe View From Lake Como, Adriana TrigianiVianne, Joanne HarrisThe Lion Women of Tehran, Marjan KamaliJoin or Die documentarySupport the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

On the surface, veteran stage and screen actress Maureen Stapleton may seem like an odd choice to host Saturday Night Live. After watching this episode, that assessment might hold true.Season 4's penultimate episode stands as one of the more peculiar outings from SNL's original era. The accomplished host finds herself surprisingly underutilized, appearing in only a couple of sketches that truly showcase her talents. The show meanders through a mix of recurring characters and familiar formats—some expected, others quite surprising. And while the musical guests – Linda Ronstadt & Phoebe Snow – look good on paper, their performances just don't seem to click.The entire episode feels oddly restrained, as if everyone involved was operating at half-speed. Was this the inevitable result of Season 4's notoriously grueling production schedule finally catching up with the cast and crew? Or were they simply coasting, saving their energy for the following week's season finale host?We try to answer these questions and more, though first one of us had to figure out exactly who Maureen Stapleton was—and perhaps more importantly, who she wasn't.---------------------------------Subscribe today!Follow us on social media: X (Twitter): NR4PTProjectBluesky: nr4ptproject.bsky.socialInstagram: nr4ptprojectFacebook: The Not Ready for Prime Time ProjectContact Us: Website: https://www.nr4project.comEmail: nr4ptproject@gmail.com

Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis.   … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Marv and I are honored to be joined by Chris O'Dell, as we discuss her travels through rock and roll.     After some initial forays into the industry, she met Derek Taylor (who introduced her to her new roommate, Teri Garr.     Soon enough, she found herself in EMI with the Beatles (and cameo-ing on both "Hey Jude" and "Revolution"), the Apple rooftop, then the Concert for BanglaDesh, the Rolling Stones, and a decade WORKING for both the solo Beatles and many other members of rock royalty.     Her story is now streaming in a documentary "Miss O'Dell" (based in part on her book), available on Peacock, Tubi, Amazon Prime in the US with UK (and worldwide) distribution in the works.

Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis.   … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

            In Episode 435 of Things We Said Today Ken Michaels, Allan Kozinn and Darren DeVivo speak with Chris O'Dell, who worked at Apple (and then for George Harrison, the Rolling Stones, and a long list of musicians that includes Bob Dylan, Eric Clapton, Earth Wind and Fire and Linda Ronstadt, among many others), had songs written about her by both George Harrison and Leon Russell, and is now the subject of the new documentary “Miss O'Dell.” (You may also have read her book, also called “Miss O'Dell”). The interview begins after Ken's news segment, at 16'20”. As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             Be sure to check out the video version of Things We Said Today on our YouTube channel, https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A. The audio version can be found at Podbean: https://beatlesexaminer.podbean.com/ as well as at iHeart Radio, Apple podcasts and other distributors of fine podcasts.             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             BlueSky: @thingswesaidtoday             Twitter @thingswesaidfab             Facebook: Things We Said Today video podcast       ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed. Allan's Twitter/X feed: @kozinn Bluesky: @allankozinn.bsky.social Threads: allan_kozinn The McCartney Legacy's website: mccartneylegacy.co.uk/ The McCartney Legacy on Facebook: McCartney Legacy, on Twitter/X: @McCARTNEYLEGACY and on Bluesky: @mccartneylegacy.bsky.social The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN's radio show can be heard 10pm to 2am Monday through Thursday and 1pm to 4pm Saturday on WFUV 90.7 FM (or 90.7 FM HD2), or at wfuv.org, or on the WFUV app.             Darren on Facebook: Darren DeVivo, and Darren DeVivo: WFUV DJ and Beatles Podcaster Darren's email: darrendevivo@wfmu.org

Rosemary Butler Live on Game Changers With Vicki Abelson Part 2 Rosemary Butler has sung with everyone on every song I love. Pretty damn close. In this, our 2nd sitdown, Rose picked up where we left off, post Paul & Ringo, The Rolling Stones, and Three Dog Night - see Part 1 for those fab stories, and took us through Bonnie Raitt, Jackson Browne, Linda Ronstadt, James Taylor, The Section, Kenny Loggins, Michael McDonald (her first student, who taught her to create her own unique voice), Neil Diamond (on his Christmas album… to which Neil said, I'm Jewish, why am I doing this) Joe Cocker, Johnny Mathis, The Bish, Willie Nelson, David Lindley (the most fun), Warren Zevon, Alan Parsons, Don Henley, Bruce Springsteen (when he was sleeping under the Jersey pier with his guitar), Billy Joel, Joni Mitchell (her idol), and Paul Simon. Rosemary's voice intermingles magically with all of them. Stories, stories, more stories about hero after shero. Peter Asher, she credits with opening the doors. Teaching and sharing what she's learned and what she knows, you too can study with the master - reach out at RosemaryButler.com. And, catch her Live with The Tribe at their 10th anniversary celebration at The Canyon Club in L.A. where it all started. I'm so grateful for this opportunity to traverse a career and a life brilliantly lived. The road, the buses, the food, the fun, and the hit music her iconic voice is synonymous with. Can I ever hear Running on Empty and not think of her… no way. Love the Rosemary Butler! Rosemary Butler Live on Game Changers With Vicki Abelson Part 2 Wednesday, 5/21/25, 5 PM PT, 8 PM ET Streamed Live on my Facebook & YouTube Replay Links: https://bit.ly/3Fj8Syt https://www.youtube.com/watch?v=dgO9MJHZNj4

I'm super excited to welcome Bill Payne, founding member of @littlefeat_official, for this week's episode!!  For over five decades, Bill has been playing music and delighting fans with his expert piano and keyboard playing, great vibes and amazing songwriting. Bill is also a legendary collaborator and has played on 100s of albums and toured with a legion of amazing bands in addition to his enduring commitment to the music of Little Feat.  He's toured with The Doobie Brothers, James Taylor, Simon & Garfunkel, Jimmy Buffett and Bonnie Raitt just to name a few. Bill is also a noted photographer and author, and is currently working on a memoir documenting a life in music and his passion for collaboration.Little Feat is still going strong -- producing music full-time -- and are excited about the release of their first studio album in 15 years, Strike Up The Band, out May 9. They're hitting the road in May with tour dates throughout the remainder of the year.Bill is a stellar human with a terrific sense of humor — he's a kind soul with a firm grasp of the history of music and his place in that world — and it's truly an honor to share this interview with all of you!!  Enjoy!!Show Notes:New Little Feat album, Strike Up The Band, out May 9!!More info on Little Feat and tour dates, click here For more info on Bill Payne's artistic and creative efforts, click here for Bill's website:  Bill Payne CreativeDon't forget to please leave a review describing what you enjoyed most about this episode!!  Thanks for listening!!  =============================For more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer  

***This show is brought to you by DistroKid. Go to http://distrokid.com/vip/the500 for 30% off your first year!*** The Very Best of Linda Ronstadt is a combination of her two greatest hits albums, with 16 of the 21 songs coming from when she was consistently atop the charts, with the remaining five songs sourced from her late-'80s/early-'90s adult contemporary comeback. Peter Asher discusses what it was like to work with Linda on some of her most famous tracks.  Follow Peter on Social Media: https://www.instagram.com/officialpeterasher/ https://www.facebook.com/PeterAsherOfficial/ http://peterasherbook.com/ DistroKid Artist Of The Week: Margaret Cho https://www.youtube.com/watch?v=gT7Tteb6K-c Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on TikTok: https://www.tiktok.com/@joshadammeyers Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Josh's Website: https://www.joshadammeyers.com/ Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show's website: http://the500podcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices