Podcast appearances and mentions of Linda Thompson

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

This week's show, after a Billy Bragg belt: brand new Doves, Wet Leg, Skymender, Fawns of Love, DoubleVee, New Model Army, and Ras Fraser Jr. (with Natty King), plus Wade Flemons, Doors, Richard & Linda Thompson, David Bowie, Joni Mitchell (with Bob Dy...

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In this classic audio series, Bill interviews Linda Thompson. She was an American lawyer and militia movement supporter. In 1993, she quit her job as a lawyer in Indianapolis, Indiana, to start the American Justice Federation, a group that promoted pro-gun causes through a shortwave radio program, a computer bulletin board system, and sales of its newsletter and videos.Rumble: https://rumble.com/c/TheFactHunter Website: truthernet.com Email: thefacthunter@mail.com Snail Mail: George Hobbs PO Box 109 Goldsboro, MD  21636Copyright Disclaimer under Section 107 of the Copyright Act of 1976: Allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education, and research.

On this week's edition of RITY, our mini theme is Down By The Railroad Tracks... Also, music from three Cincinnati area bands... How Paul Simon found love on Saturday Night LIVE... Mr. Sardonicus and his connection to rock 'n' roll... Music from a group named after a random 93 year old woman... Deep cuts from Hall & Oates, Belly, Jesse Ed Davis, Genesis, Richard & Linda Thompson, and much more! For more info on the show, visit reelinwithryan.com

Join us for another episode of the Neuronoodle Neurofeedback Podcast featuring Jay Gunkelman, the man who has read over 500,000 brain scans, and hosted by Pete Jansons. Get ready for lively discussions about cognitive tests for lawmakers, CEO selection criteria, and advancements in EEG technology.✅ Topics Discussed:✅ Should lawmakers take cognitive tests?✅ CEO search criteria — What tests determine mental fitness?✅ Photobiomodulation and brain stimulation advances✅ Using Raspberry Pi for DIY EEG amplifiers✅ Can you perform EEG with just one sensor?✅ Jay Gunkelman's "Gunkelmentary" documentary✅ Mary Tracy's Happy Birthday shoutoutKey Moments:0:00 Welcome to NeuroNoodle Neurofeedback Podcast0:36 Mitch McConnell and his fall — Should lawmakers have cognitive tests?2:44 Quentin Burdick, North Dakota Senatorhttps://en.wikipedia.org/wiki/Quentin...5:00 CEO search criteria — How to determine if a candidate is mentally fit?   • 

Esta semana, en Islas de Robinson, despedimos al fin el plomizo mes de enero. Lo hacemos con enormes clásicos, entre 1969 y 1974. Suenan: RICHARD & LINDA THOMPSON - "CALVARY CROSS" ("I WANT TO SEE THE BRIGHT LIGHTS TONIGHT", 1974) / NICK DRAKE - "THINGS BEHIND THE SUN" ("PINK MOON", 1972) / JOHN MARTYN - "SOLID AIR" ("SOLID AIR", 1973) / VAN MORRISON - "TWILIGHT ZONE (ALTERNATIVE TAKE)" (1974) / JONI MITCHELL - "COURT AND SPARK" ("COURT AND SPARK", 1974) / GRATEFUL DEAD - "CHINA DOLL" ("FROM MARS HOTEL", 1974) / TIM BUCKLEY - "CHASE THE BLUES AWAY" ("BLUE AFTERNOON", 1969) / PETER HAMMILL - "DROPPING THE TORCH" ("CHAMELEON IN THE SHADOW OF THE NIGHT", 1973) / ROY HARPER - "HORS D'OEUVRES" ("STORMCOCK", 1971) / DAVID ACKLES - "LOVE'S ENOUGH" ("AMERICAN GOTHIC", 1972) / TOWNES VAN ZANDT - "HIGH, LOW AND IN BETWEEN" ("HIGH, LOW AND IN BETWEEN", 1972) /Escuchar audio

Joe Boyd's revered productions of artists ranging from Pink Floyd, The Incredible String Band and Nick Drake had been widely-circulated and universally-acclaimed. He had worked with Stanley Kubrick at Warner Bros to assemble the soundtrack to A Clockwork Orange. He founded the UFO Club which featured avant-garde artists like Soft Machine — which became his house band — and Yoko Ono. Productions of R.E.M., Billy Bragg, 10,000 Maniacs, Fairport Convention and Richard and Linda Thompson followed. He directed Jimi Hendrix, the eponymous documentary. But if you were paying attention, you would have made note of the through-line running through Joe's prolific output — World Music. His productions of artists such as Dagmar Krause, Nazakat & Salamat Ali, the Trio Bulgarka, ¡Cubanismo!, Virginia Rodrigues, Damir Imamović and several others demonstrated his versatility to trancend not only genre, but also language and culture. Joe's vibrant musical output eclipsed what we thought was possible in the art and science of music. His latest book, And the Roots of Rhythm Remain, examines the origins, impact and cultural undertones which define world music through his lens. In our conversation, we discussed the roots of his latest masterpiece; political-songwriting through shifting of culture; categorization as a benefit toward creativity; and musical and storytelling experiences with Brian Eno, David Bryne, Bob Dylan, Mike Heron and others.Opening Credits: 1st Contact - Just Quickly I CC BY-SA; Ahmadreza Safarian - Forgotten Corpses I CC BY-NC-SA. Closing Credits: Till Paradiso - Here the Stars for You (TP 063) - CC BY-NC-SA.

On this week's show, the hosts chew over Nightbitch, Marielle Heller's (Queen's Gambit, Can You Ever Forgive Me, The Diary of a Teenage Girl, MacGruber), fourth feature film. Amy Adam stars as “Mother,” a former artist who has given up her creative pursuits to care for her infant son full-time — a transition so taxing, that she begins dissociating and transforming into a dog at night. And while there's a lot to like here (it's an adaptation of Rachel Yonder's magical realism novel of the same name, for example), does the film ever achieve lift-off?  Then, the three rip Black Doves to shreds, Netflix's latest espionage show starring Keira Knightly, Sarah Lancashire, and Ben Whishaw that has far too many plot holes to name (although, Stephen does try to.) Finally, the panel digs into the strange case of Luigi Mangione, the suspected shooter in the murder of UnitedHealthcare CEO Brian Thompson — and the internet's sardonic, if not jubilant, reaction to the fatal shooting. In the exclusive Slate Plus segment, the panel explores the celebrity look-alike contest: a puzzling and mildly delightful phenomenon that's been sweeping the nation. (Read Nadira Goffe's excellent reporting on the Timothée Chalamet tournament that started it all, here.) FINAL CALL: We are down to the final week! To submit your question for our annual call-in show (for inspiration, check out last year's episode), please call (260) 337-8260 to leave us a voicemail, or record a voice note and email it to us at culturefest@slate.com.  Or, email us at culturefest@slate.com if you just want to gab.  Endorsements: Dana: The Year of Lear audiobook, written by James Shapiro and narrated by Robert Fass.  Julia: Tree.fm — a project by Sounds of the Forest and aporee, where you can tune into forest soundscapes from around the world.  Stephen: A cover of Richard and Linda Thompson's “Down Where the Drunkards Roll,” performed by Loudon Wainwright III and Rufus Wainwright.  Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, the hosts chew over Nightbitch, Marielle Heller's (Queen's Gambit, Can You Ever Forgive Me, The Diary of a Teenage Girl, MacGruber), fourth feature film. Amy Adam stars as “Mother,” a former artist who has given up her creative pursuits to care for her infant son full-time — a transition so taxing, that she begins dissociating and transforming into a dog at night. And while there's a lot to like here (it's an adaptation of Rachel Yonder's magical realism novel of the same name, for example), does the film ever achieve lift-off?  Then, the three rip Black Doves to shreds, Netflix's latest espionage show starring Keira Knightly, Sarah Lancashire, and Ben Whishaw that has far too many plot holes to name (although, Stephen does try to.) Finally, the panel digs into the strange case of Luigi Mangione, the suspected shooter in the murder of UnitedHealthcare CEO Brian Thompson — and the internet's sardonic, if not jubilant, reaction to the fatal shooting. In the exclusive Slate Plus segment, the panel explores the celebrity look-alike contest: a puzzling and mildly delightful phenomenon that's been sweeping the nation. (Read Nadira Goffe's excellent reporting on the Timothée Chalamet tournament that started it all, here.) FINAL CALL: We are down to the final week! To submit your question for our annual call-in show (for inspiration, check out last year's episode), please call (260) 337-8260 to leave us a voicemail, or record a voice note and email it to us at culturefest@slate.com.  Or, email us at culturefest@slate.com if you just want to gab.  Endorsements: Dana: The Year of Lear audiobook, written by James Shapiro and narrated by Robert Fass.  Julia: Tree.fm — a project by Sounds of the Forest and aporee, where you can tune into forest soundscapes from around the world.  Stephen: A cover of Richard and Linda Thompson's “Down Where the Drunkards Roll,” performed by Loudon Wainwright III and Rufus Wainwright.  Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week the genre is baroque proto-power pop and the song is "She May Call You Up Tonight" by The Left Banke, Great melodies by Michael Brown, a killer chorus, velvet vocals by Steve Martin Caro ... but what's it all about?! A band called California Spectrum produced a faithful cover in '68 and added some cool fuzz ... but why does the singer sound like they're 12?! Who cares, it's garage! Canadian ICON Anne Murray tried her voice out on the song, which got retitled "He May Call." A sweet but sensible performance, with a crazy, period-apropo brass section and some woody woodblock - this one's as wacky as Anne gets!  Ex-Fairport Conventioneer Ian Matthews made the song into the powerpop gem it was meant to be in the bleak year of 1980. And finally, Linda Thompson stripped the song back in the early 80s, making it folky and campfire smoky. Come back, Anne!!!!!

Linda Thompson v. Army and Air Force Exchange Se

Enjoy our discussion of Richard and Linda Thompson's I Want To See The Bright Lights Tonight! --- Support this podcast: https://podcasters.spotify.com/pod/show/three-different-ones/support

Joe Boyd has had many job descriptions over the course of his nearly sixty-year career in music, and there was simply no way to cover everything in this conversation. That said, Paul and Joe focus on Boyd's important new book, And The Roots of Rhythm Remain: A Journey Through Global Music, and themes of cultural cross-pollination in music, the birth of hip hop and ska, the reason Hitler spared the life of virtuoso Roma guitarist Django Reinhardt, what happened with Nick Drake, and Boyd's phenomenal earlier book, the memoir, White Bicycles: Making Music in the 1960s.  As a music producer, Boyd has delivered records by Nick Drake, Pink Floyd, R.E.M., Taj Mahal, Fairport Convention, Richard and Linda Thompson, Sandy Denny. He tour-managed European dates for Muddy Waters, Sister Rosetta Tharpe, and was a production manager at the 1965 Newport Folk and Jazz Festivals, before flying off to open Elektra Records' UK office in London where he and John Hopkins opened the UFO club, giving a psychedelic home to Pink Floyd and others.  In 1971 he moved to Los Angeles to work for Warner Brothers Films (Deliverance, A Clockwork Orange, and the documentary Jimi Hendrix). In 1979, he worked for Lorne Michaels' film company, Broadway Pictures, and the following year, launched his own label, Hannibal Records, releasing works by John Cale, Richard Thompson and more, while bringing global artists such as ¡Cubanismo!, Toumani Diabaté, Ali Farka Touré, Trio Bulgarka, and Songhai, to western audiences. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   Rest in Peace, Phil Lesh: "A box of rain will ease the pain / And love will see you through" 

The 2006 Seattle Jewish Federation shooting was a tragic and violent attack that took place on July 28, 2006, at the Jewish Federation of Greater Seattle building in Seattle, Washington. The shooter, Naveed Haq, a 30-year-old man, entered the building, claiming he was there to speak with a representative of the Federation but then opened fire, killing one person and injuring five others.Haq, who was of Pakistani descent and a Muslim, reportedly had a personal history of mental health issues. He walked into the Federation's offices armed with a handgun and began shooting indiscriminately at the employees present. He also made anti-Israel and anti-Semitic statements during the attack, although the exact motivations behind his actions remain unclear, with some speculating that it was a combination of personal grievances, ideological beliefs, and mental instability.The police arrived and were able to arrest Haq without further violence after a standoff. He was charged with first-degree murder, five counts of attempted murder, and other related crimes.The victim who died was Linda Thompson, a Jewish woman and employee at the Federation. The other five victims, though injured, survived the attack. Haq's actions raised concerns about anti-Semitic violence, and the event sent shockwaves through the Jewish community in Seattle and beyond.In 2009, Haq was convicted and sentenced to life in prison without the possibility of parole for the murder and attempted murders. The attack remains one of the most notable instances of anti-Semitic violence in the United States in the 21st century.www.unforbiddentruth.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/unforbidden-truth--4724561/support.

Americana, Roots, Folk, Blues and Country music. Featured Artists . New and classic tracks.40 BEST SINGER SONGWRITER ALBUMS. (PART 1 0F 3)Episode includes Bob Dylan, John Martyn, Kate & Anna McGarrigle, Richard & Linda Thompson and J.D. Souther.

Esta semana, en Islas de Robinson, caemos entre 1978 y 1979. Sesión de clásicos mayúsculos. Suenan: VAN MORRISON - "FULL FORCE GALE" ("INTO THE MUSIC", 1979) / DIRK HAMILTON - "HOW YOU FIGHT FIRE" ("MEET ME AT THE CRUX", 1978) / RICKIE LEE JONES - "THE LAST CHANCE TEXACO" ("RICKIE LEE JONES", 1979) / RICHARD & LINDA THOMPSON - "BORROWED TIME" ("SUNNYVISTA", 1979) / PATTI SMITH GROUP - "DANCING BAREFOOT" ("WAVE", 1979) / PETER HAMMILL - "MY FAVOURITE" ("PH7", 1979) / THE ROCHES - "PRETTY AND HIGH" ("THE ROCHES", 1979) / J.J. CALE - "DON'T CRY SISTER" ("5", 1979) / JOE EGAN - "WHY LET IT BOTHER YOU" ("OUT OF NOWHERE", 1979) / STEVE FORBERT - "WAIT" ("JACKRABBIT SLIM", 1979) / BOB DYLAN - "PRECIOUS ANGEL" ("SLOW TRAIN COMING", 1979 ) / WARREN ZEVON - "ACCIDENTALLY LIKE A MARTYR" ("EXCITABLE BOY", 1978) / Escuchar audio

This week on Transmissions, we're sitting down with a genuine legend: Joe Boyd, author of And The Roots of Rhythm Remain: A Journey Through Global Music, out September 24 from ZE Books. On the front cover of the book Brian Eno—a venerated saint in the Aquarium Drunkard canon—declares: “I doubt I'll ever read a better account of the history and sociology of popular music than this one.”  Joe Boyd's career is the stuff of myth. As a producer, he's worked with a murder's row of collaborators, including Pink Floyd, Nick Drake, Fairport Convention, R.E.M., Richard and Linda Thompson, Incredible String Band, Vashti Bunyan, 10,00 Maniacs, and many more. In 2006, Boyd released a memoir, White Bicycles – Making Music in the 1960s, which documented his time in the studio during that decade, but And the Roots of Rhythm Remain casts an even wider net, exploring the overlap of musical cultures and the complicated, human negotiations that undergird creative synthesis.  As you'll hear in the early part of our talk, Joe played a pivotal role Transmissions host Jason P. Woodbury's music writing journey. In 2008, Woodbury reviewed a Nick Drake box set for the sorely missed Tiny Mix Tapes. The piece also included an email interview with Boyd, whose responses were insightful and in-depth—an experience that inspired Woodbury to chase after interviews. So this conversation picks up the thread some decade and a half later, detailing not only Boyd's new book, but also his experiences with Nick Drake, Fairport Convention, Richard Thompson, Sandy Denny, Vashti Bunyan, and many more adventures. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Esta semana, en Islas de Robinson, esencia clásica superior. Entre 1973 y 1975 suenan: ALAN HULL - "BAD SIDE OF TOWN" ("SQUIRE", 1975) / IAN MATTHEWS - "A WAILING GOODBYE" ("SOME DAYS YOU EAT THE BEAR AND SOME DAYS THE BEAR EATS YOU", 1974) / THE BAND - "ACADIAN DRIFTWOOD" ("NORTHERN LIGHTS-SOUTHERN CROSS", 1975) / RONNIE LANE & SLIM CHANCE - "ANYMORE FOR ANYMORE" ("ANYMORE FOR ANYMORE", 1974) / GALLAGHER & LYLE - "WE" ("THE LAST COWBOY", 1974) / RICHARD & LINDA THOMPSON - "THE POOR BOY IS TAKEN AWAY" ("POUR DOWN LIKE SILVER", 1975) / GAY & TERRY WOODS - "SIDE TRACKED" ("BACKWOODS", 1975) / KATE & ANNA MCGARRIGLE - "MY TOWN" ("KATE & ANNA MCGARRIGLE", 1975) / TOM WAITS - "OLD SHOES (& PICTURE POSTCARDS)" ("CLOSING TIME", 1973) / MARIA MULDAUR - "LONG HARD CLIMB" ("MARIA MULDAUR", 1973) / LAMBERT & NUTTYCOMBE - "CHILD'S CARE" ("AS YOU WILL", 1973) / TUCKER ZIMMERMAN - "GOOD OLD DAYS" ("OVER HERE IN EUROPE", 1974) / TED LUCAS - "I'LL FIND A WAY (TO CARRY IT ALL)" ("TED LUCAS", 1975)Escuchar audio

Linda Thompson and her album Proxt Music have quite the story. Linda was diagnosed with Spasmodic dysphonia and could no longer sing, but did that stop her from making an incredible album??? no. Let's talk about it! --- Support this podcast: https://podcasters.spotify.com/pod/show/album4theday/support

Welcome to Episode 48 of This is Not Happening (TINH).  An Album of the Month (AOTM) Podcast where in Part 1 we deep dive into an Album that one of us has chosen and in Part 2 we play 'Spin it or Bin it'.  This is where we pick a theme and each select a song that represents that theme. We judge each others selections by asking the question 'Spin It or Bin It'?This month, in Part 1, Guy has picked the an album that could not be further from last month's Charli XCX outing. He's also picked the best named TINH AOTM ever, Linda Thompson's Proxy Music.In Part 2, Spin It or Bin It, the theme is simple ... 'Long Songs' no explanation of the theme required here apart from Guy's completely arbitrary suggestion that all tracks had to be over 8 minutes. Part 1 | Linda Thompson | Proxy MusicEnglish Folk musician legend Linda Thompson has lived enough life for several people. The good, the bad and everything in between. She's now a 72 year old songwriter force who has sadly lost her super-power to sing ... so she's written songs for other artists to perform. The album is an eclectic collection of songs and collaborators pulled together through the concept of performing through a proxy. The critics love it with a combined Metacritic Score of 86. There's a lot of love on the pod but not without a few reservations along the way.Listen to the album here.Watch Linda on Jools Holland back in 2011 videos here.Guy references a couple of articles in his introduction and conversation they're worth a look and can be found here and here.Part 2 | Spin It or Bin It | Long Songs.We love a long song. Even our resident (but absent on this episode) pop being loves a long song. Guy defines a long song as anything over 8 mins, who are we to argue with that kind of logic. So them's the rules. Who bought what to the table to judge in Spin It or Bin It?Guy chose ''Black Star' by David Bowie.Nolan chose'Dance Yrself Clean'   by LCD SoundsystemJoey chose 'Menneskekollectivet' by Lost GirlsSee you on Episode 49 ... We've been writing the blog for years come and have a look - https://thisisnothappening.net/

Send us a Text Message.In this episode of The Music in Me we embark on a captivating journey through the powerful and emotional world of Olympic music. From the timeless Olympic Hymn that has signaled the start of the Games for over a century, to the national anthems that accompany athletes' triumphant moments on the podium, we'll explore the rich history and profound significance of the music that makes the Olympics so unforgettable. We will dive into some of the most iconic Olympic anthems, including Whitney Houston's "One Moment in Time," Céline Dion's "The Power of the Dream," and Gloria Estefan's "Reach," all of which have inspired both athletes and fans alike. We'll also pay tribute to the legendary composer John Williams, whose epic pieces like "Olympic Fanfare and Theme" and "Summon the Heroes" have become synonymous with the spirit of the Games. Throughout the episode, you'll hear about the emotional impact of these anthems, how they symbolize unity, triumph, and the shared dreams of athletes from around the world, and the unforgettable moments they have soundtracked. Whether you're an Olympics enthusiast or a music lover, this episode is a celebration of the melodies that have defined some of the greatest moments in sports history.SONGS MENTIONED: Olympic Hymn written by Spyridon Samaras and Kostis PalamasOne Moment in Time  sung by Whitney Houston & written by Albert Hammond and John BettisThe Power of a Dream sung by Celine Dion & written by David Foster, Linda Thompson, and BabyfaceReach sung by Gloria Estefan & written by Gloria Estefan and Diane WarrenJOHN WILLIAMS SONGS:Olympic Fanfare and ThemeThe Olympic SpiritSummon the HeroesCall of the Champions Support the Show.Keep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

This month's show features music from Rachel Sermanni, Naomi Bedford and Paul Simmonds, Sam Lee, Kinghfishr, Linda Thompson and Fink. Lucy Shields has all the latest festival, gig and album news.---We rely on support from our listeners to keep this show on the road. If you like what we do please either...Become a member and get great rewards: patreon.com/folkonfootOr just buy us a coffee: ko-fi.com/folkonfootSign up for our newsletter at www.folkonfoot.comFollow us on Twitter/Facebook/Instagram: @folkonfoot---Subscribe to the Folk Forecast to explore all the gigs and album news we ran through in the show: https://thefolkforecast.substack.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode, Lisa explores the crucial role of intuition in FIRM Leadership and how it can prevent burnout and foster organizational success. Join  Lisa and her guest, Gallup-certified Strengths Coach Linda Thompson as they unravel the intricacies of leveraging strengths and intuition for personal and professional growth. Key Insights: Intuition, defined as the ability to understand something immediately without conscious reasoning, develops through repeated experiences and feedback. Trust, compassion, stability, and hope are the foundational elements followers seek in their leaders, according to Gallup's research. Leaders can cultivate intuition by reflecting on past successes, seeking feedback from trusted colleagues, and embracing their innate talents. Engineering intuition can be accessed by framing questions around data, problem-solving, and evidence-based decision-making. Actionable Steps: Reflect on past successes and identify patterns of intuition at play. Ask yourself, "What matters most right now?" and "What is the next right action?" Engage in dialogue with trusted colleagues to gain diverse perspectives and insights. Frame questions in alignment with your field of expertise to access intuition effectively. Listen in and join the ongoing journey of leadership empowerment and organizational transformation. This is your opportunity to reboot leadership drive. Mentioned in this episode: RLD Group -  https://rldgroupllc.com/ Clifton strengths assessment - https://www.gallup.com/cliftonstrengths RLD Group's FIRM Leadership Lab: ⁠⁠https://rldgroupllc.com/firm-leadership-lab⁠ The episode is brought to you by RLD Group Let's Connect: RLD Group's FIRM Leadership Lab: ⁠⁠https://rldgroupllc.com/firm-leadership-lab⁠ RLD Group's LinkedIn: ⁠⁠https://www.linkedin.com/company/rldgroupll⁠c RLD Group on X: ⁠⁠https://twitter.com/rldgroupllc⁠ Lisa Duerre on LinkedIn: ⁠⁠https://www.linkedin.com/in/lisaduerre/⁠ ⁠Ctrl+Alt+Delete with Lisa Duerre™ on YouTube: ⁠⁠https://www.youtube.com/@realtalkwithlisa⁠

This week, hosts Jason Jefferies and Reggie Worth discuss the new releases of June 21, 2024 including Stung! by Pond, Texicali by Dave Alvin and Jimmie Dale Gilmore, Good Together by Lake Street Dive, WeirdOs by O., Afraid of Tomorrow by The Mysterines,  and Proxy Music by Linda Thompson.  Happy listening!    

British singer, songwriter and guitarist Richard Thompson OBE was part of the groundbreaking folk rock band Fairport Convention in the 1960's, made records with his then-wife, Linda Thompson, and has many fan-favourite solo records as well. Rolling Stone lists him as one of the 100 greatest guitarists of all time and the LA Times called him the greatest living songwriter after Bob Dylan. The folk-shredder and troubadour Richard Thompson joins us to play some acoustic solo versions of songs from his 2018 album, called 13 Rivers. (From the Archives.) Watch the full session here:   

Folk hero Richard Thompson joins Sodajerker to discuss the artistic process behind his excellent new record Ship to Shore. In this in-depth conversation, the guitar slinging virtuoso talks about making efficient creative decisions, reliving the old songs on stage, and sharing his musical knowledge through his songwriting camp.

The first half of 2024 has been stuffed with blockbuster albums, and as we reach the midpoint of the year, we've got one more to add to the list. On this week's episode of New Music Friday from All Songs Considered, Hazel Cills and Anamaria Sayre discuss the new album from the breakout star of the Mexican Regional movement. Peso Pluma's new Éxodo sees the singer branching out with new sounds and new collaborators.Also out this week: the always captivating Kehlani gets adventurous on Crash and the Icelandic singer Emiliana Torrini fashions an album of songs out of letters written to a friend's mother. Featured Albums:• Peso Pluma, 'Éxodo'• Kehlani, 'Crash'• Emiliana Torrini, 'Miss Flower'Other notable albums out June 21:• Wild Up, 'Julius Eastman Vol. 4: The Holy Presence'• Gracie Abrams, 'The Secret of Us'• Lake Street Dive, 'Good Together'• Linda Thompson, 'Proxy Music'• Various Artists, 'Miles Away: One'• Been Stellar, 'Scream from New York, NY'• Daryl Hall, 'D'• Jim Lauderdale, 'My Favorite Place'• Kate Nash, '9 Sad Symphonies'• Sumac, 'The Healer'• Various Artists, 'Petty Country: A Country Music Celebration of Tom Petty'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Richard started as guitarist in the folk-rock staple Fairport Convention in 1967 but left in 1970 after five albums. He then recorded his debut solo album, six as Richard and Linda Thompson, and has since recorded 20 more solo albums of lyrically inventive, stylistically varied tunes that nearly always feature very skilled guitar work. We discuss "Freeze," the first single from his new album Ship to Shore, "The Ghost of You Walks" from You? Me? Us? (1996), and "Don't Take It Lying Down" from Still/Variations EP (2015). End song: "When I Get to the Border" by Richard and Linda Thompson from I Want to See the Bright Lights Tonight (1974). Intro: "1952 Vincent Black Lightning" from Rumor and Sigh (1991). More at richardthompson-music.com. Hear more Nakedly Examined Music. Support us on Patreon.

Guitarist's guitarist and UK folk/rock legend Richard Thompson joins Paul to discuss his brand new album Ship to Shore (out now from New West Records), but also his early work with Sandy Denny in Fairport Convention, the great duo records with Linda Thompson, and his 90s solo work with Mitchell Froom. He also expounds on his memoir, the importance of Joe Boyd, and what Nick Drake was really like. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day. Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.

La carrera conjunta de Richard i Linda Thompson, malgrat la seva brevetat i el seu final abrupte i traum

La carrera conjunta de Richard i Linda Thompson, malgrat la seva brevetat i el seu final abrupte i traum

Rumours Review by Stephen Thomas Erlewine Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend -- it's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era. Prior to this LP, Fleetwood Mac were moderately successful, but here they turned into a full-fledged phenomenon, with Rumours becoming the biggest-selling pop album to date. While its chart success was historic, much of the legend surrounding the record is born from the group's internal turmoil. Unlike most bands, Fleetwood Mac in the mid-'70s were professionally and romantically intertwined, with no less than two couples in the band, but as their professional career took off, the personal side unraveled. Bassist John McVie and his keyboardist/singer wife Christine McVie filed for divorce as guitarist/vocalist Lindsey Buckingham and vocalist Stevie Nicks split, with Stevie running to drummer Mick Fleetwood, unbeknown to the rest of the band. These personal tensions fueled nearly every song on Rumours, which makes listening to the album a nearly voyeuristic experience. You're eavesdropping on the bandmates singing painful truths about each other, spreading nasty lies and rumors and wallowing in their grief, all in the presence of the person who caused the heartache. Everybody loves gawking at a good public breakup, but if that was all that it took to sell a record, Richard and Linda Thompson's Shoot Out the Lights would be multi-platinum. No, what made Rumours an unparalleled blockbuster is the quality of the music. Once again masterminded by producer/songwriter/guitarist Buckingham, Rumours is an exceptionally musical piece of work -- he toughens Christine McVie and softens Nicks, adding weird turns to accessibly melodic works, which gives the universal themes of the songs haunting resonance. It also cloaks the raw emotion of the lyrics in deceptively palatable arrangements that made a tune as wrecked and tortured as "Go Your Own Way" an anthemic hit. But that's what makes Rumours such an enduring achievement -- it turns private pain into something universal. Some of these songs may be too familiar, whether through their repeated exposure on FM radio or their use in presidential campaigns, but in the context of the album, each tune, each phrase regains its raw, immediate emotional power -- which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time. --- Send in a voice message: https://podcasters.spotify.com/pod/show/comics-in-motion-podcast/message

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In today's episode, we talk with Erik Rohde about conducting and education!   Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia.  He is the Director of Orchestral Activities at the University of Northern Iowa and the Artistic Director and Conductor of the Winona Symphony Orchestra (MN). Prior to his appointment at the University of Northern Iowa, Rohde served as the Director of String Activities and Orchestra at Indiana State University where he conducted the Indiana State University Symphony Orchestra and taught violin, chamber music, and Suzuki pedagogy. In Indiana, he also founded the Salomon Chamber Orchestra, an orchestra dedicated to promoting the works of living composers and of Haydn and his contemporaries. Having grown up in Rochester, Rohde is particularly excited to return to his hometown to conduct the orchestra that includes former teachers, classmates, and colleagues. He began his musical studies with Linda Thompson on the violin at the age of 4 and first heard the Rochester Symphony at one of their annual educational concerts a few years later. Having begun his musical journey in Rochester, this is an exciting chance to return and make music in a new way in a community that he loves and one that helped shape the early part of his musical journey. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. In addition to regularly bringing new orchestral works to programs each season, he is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola. The duo released their first recording on the Navona label in December of 2022. At Indiana State University, he helped to host the annual Contemporary Music Festival – now running for over 50 years. He has worked with Joan Tower, Augusta Read Thomas, Libby Larsen, Chen Yi, Meira Warshauer, Elliott Miles McKinley, Christopher Walczak, Michael-Thomas Foumai, Pierre Jalbert, James Dillon, David Dzubay, Marc Mellits, Carter Pann, Narong Prangcharoen and countless others. In 2019, he released two recordings with composer Elliott Miles McKinley, conducting his percussion concerto Four Grooves and performing on his eighth string quartet. In his native Minnesota, Rohde has served as the Music Director of the Buffalo Community Orchestra, conductor and violinist for the Contemporary Music Workshop, Camarata Suzuki orchestra conductor for the MacPhail Center for Music, String Ensemble conductor at the Trinity School, and first violinist of the Cantiamo and Enkidu String Quartets.  Rohde holds a Doctorate of Musical Arts in Conducting from the University of Minnesota – Twin Cities, where he studied with conductors Mark Russell Smith, Kathy Saltzman Romey, and Craig Kirchhoff and violin pedagogue Mark Bjork. He also holds degrees in Violin Performance and Biomedical Engineering. Rohde lives in Cedar Falls, IA with his wife Erin and their children.   Betwixt Bach: Suite for Solo Violin (2021) Performed by Erik Rohde

In today's episode, we talk with Erik Rohde about conducting and education!   Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia.  He is the Director of Orchestral Activities at the University of Northern Iowa and the Artistic Director and Conductor of the Winona Symphony Orchestra (MN). Prior to his appointment at the University of Northern Iowa, Rohde served as the Director of String Activities and Orchestra at Indiana State University where he conducted the Indiana State University Symphony Orchestra and taught violin, chamber music, and Suzuki pedagogy. In Indiana, he also founded the Salomon Chamber Orchestra, an orchestra dedicated to promoting the works of living composers and of Haydn and his contemporaries. Having grown up in Rochester, Rohde is particularly excited to return to his hometown to conduct the orchestra that includes former teachers, classmates, and colleagues. He began his musical studies with Linda Thompson on the violin at the age of 4 and first heard the Rochester Symphony at one of their annual educational concerts a few years later. Having begun his musical journey in Rochester, this is an exciting chance to return and make music in a new way in a community that he loves and one that helped shape the early part of his musical journey. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. In addition to regularly bringing new orchestral works to programs each season, he is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola. The duo released their first recording on the Navona label in December of 2022. At Indiana State University, he helped to host the annual Contemporary Music Festival – now running for over 50 years. He has worked with Joan Tower, Augusta Read Thomas, Libby Larsen, Chen Yi, Meira Warshauer, Elliott Miles McKinley, Christopher Walczak, Michael-Thomas Foumai, Pierre Jalbert, James Dillon, David Dzubay, Marc Mellits, Carter Pann, Narong Prangcharoen and countless others. In 2019, he released two recordings with composer Elliott Miles McKinley, conducting his percussion concerto Four Grooves and performing on his eighth string quartet. In his native Minnesota, Rohde has served as the Music Director of the Buffalo Community Orchestra, conductor and violinist for the Contemporary Music Workshop, Camarata Suzuki orchestra conductor for the MacPhail Center for Music, String Ensemble conductor at the Trinity School, and first violinist of the Cantiamo and Enkidu String Quartets.  Rohde holds a Doctorate of Musical Arts in Conducting from the University of Minnesota – Twin Cities, where he studied with conductors Mark Russell Smith, Kathy Saltzman Romey, and Craig Kirchhoff and violin pedagogue Mark Bjork. He also holds degrees in Violin Performance and Biomedical Engineering. Rohde lives in Cedar Falls, IA with his wife Erin and their children.   Betwixt Bach: Suite for Solo Violin (2021) Performed by Erik Rohde

For the 50th anniversary of Richard and Linda Thompson's first album as a duo, I Want to See the Bright Lights Tonight, we take a detailed look at how it was made. After Richard helped pioneer British folk rock in the late 1960s with Fairport Convention, he was feeling burnt out and decided to leave the band to focus on writing. In 1972, he married Linda Peters, who had been performing in the folk scene during the same time as Fairport. Richard was under contract with Island Records and released his first solo album, Henry the Human Fly in 1972. The album was a commercial disappointment and Richard convinced Linda to start performing with him in the folk club circuit. Eventually they decided to record an album as a duo and booked studio time with their friend John Wood at Sound Techniques without informing their label. By working with musicians they had played with before, they were able to move quickly and fly under the radar of their label while cutting the album over a few days. When Island got word of the album, they held onto it for a year, claiming that the vinyl shortage was preventing them from putting it out. I Want to See the Bright Lights Tonight was eventually released in the spring of 1974. In this episode, Richard Thompson describes his writing process for this album and how he was less focused on guitar than he had been up to this point and how he was more interested in songwriting. Since he was writing different characters, he explains how he found Linda to be a helpful collaborator who could sing in a variety of styles and fully inhabit the characters. Linda Thompson offers her perspective on the songs Richard was presenting and how her background in traditional music and acting helped shape her performances. Due to Linda's vocal condition of dysphonia, her daughter, Kami Thompson, reads her interview responses throughout the episode. From integrating the electric guitar into traditional music, to coming up with the song titles first, to musical diversity and the importance of track sequencing, to taking inspiration from The Band, to a crash course in arranging horns, to a shared love of bleak songs in the folk tradition, we'll hear the stories of how the record came together.

With Mark Ellen in foreign parts David Hepworth and Alex Gold light cigars, pass the port in the correct direction and discuss…..…..the fact that there is only one way to play a Beatles song and that is the way the Beatles did it.…..the chances that Taylor Swift is reaching her imperial phase and nobody is prepared to tell her what she really needs to hear.….the very good reason that all contemporary pop records do literally sound the same.…the 50th anniversary of Richard and Linda Thompson's “I Want To See The Bright Lights Tonight”.….the story of the Allman Brothers' “Jessica”, a jam that turned into Dickey Betts' pension.….how the Blue Nile got a plug which is worth all the bought media in the world.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

With Mark Ellen in foreign parts David Hepworth and Alex Gold light cigars, pass the port in the correct direction and discuss…..…..the fact that there is only one way to play a Beatles song and that is the way the Beatles did it.…..the chances that Taylor Swift is reaching her imperial phase and nobody is prepared to tell her what she really needs to hear.….the very good reason that all contemporary pop records do literally sound the same.…the 50th anniversary of Richard and Linda Thompson's “I Want To See The Bright Lights Tonight”.….the story of the Allman Brothers' “Jessica”, a jam that turned into Dickey Betts' pension.….how the Blue Nile got a plug which is worth all the bought media in the world.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

durée : 00:54:50 - Very Good Trip - par : Michka Assayas - Pour cette nouvelle émission, on parcourt les voix féminines de la folk et du swing avec Em Beihold, girl in red ou encore Julia Holter et Linda Thompson. - réalisé par : Stéphane Ronxin

When you get married people often say, “what's mine is yours” and if that's true, your spouse's experiences and stories are your experiences and stories therefore Linda Thompson has hella experiences and stories. The ex-girlfriend of Elvis Presley and Ex-wife of a pre-Kardashain Caitlin Jenner and a pre-Yolanda David Foster Linda Thompson has been at parties with some really interesting people.  Keep up with all the latest:  https://celebritymemoirbookclub.biz/ Use the code WORM35 for 35% off at Cozy Earth! COME SEE US ON TOUR 4/18/24 - Austin, TX NEW: 5/8/24 - Fort Lauderdale, FL  NEW: 5/9/24 - Tampa, FL  NEW: 5/22/24 - Columbus, OH  NEW: 5/23/24 - Charlotte, NC  Join our Geneva Community to chat with the other worms!!!!  Join the Patreon for new episodes every Thursday! https://www.patreon.com/celebritymemoirbookclub  Follow us on Twitter @cmbc_podcast and Instagram @celebritymemoirbookclub  Art by @adrianne_manpearl and theme song by @ashleesimpsonross

Welcome back to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.comI will read your scores out on the following episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Like a Stone by Audioslave (2002)Song 1: Troubles by Drew Holcomb & the Neighbors (2023)Song 2: Wake Up Little Susie by The Everly Brothers (1957)Song 3: Counting Blue Cars by Dishwalla (1995)Song 4: New York City by The Peter Malick Group (2003)Song 5: Make 'Em Say Uhh by Master P (1997)Song 6: Queen of the Rodeo by Orville Peck (2019)Song 7: Little Sadie by Norman Blake (2000)Song 8: Touch Me by The Doors (1968)Song 9: I'll Fly Away by Johnny Cash (2003)Song 10: Shoot Out the Lights by Richard & Linda Thompson (1982)

Aren't we all in the pursuit of finding fulfillment?    Often, we find ourselves juggling multiple roles - parent, spouse, careerist, artist, etc. Each carries its unique challenges and rewards, demanding our attention, commitment, and passion.    So how do we discover our true selves and thrive amidst life's demands?   This is what we dive into in this episode of the Darin Olien Show with guest Brandon Jenner. We discuss the intersection of parenthood and personal passions, and the balance required to maintain individual growth amidst the responsibilities of parenting. We also explore the therapeutic power of music, discussing its role as a tool for self-discovery and emotional navigation. Lastly, we highlight the importance of personal growth and self-discovery, focusing on the value of self-awareness, and the role various avenues like travel and meditation play in expanding personal understanding and perspective.   Brandon Jenner is an American musician, singer, songwriter, and television personality. He is the second oldest son of reality star and Olympic gold medalist Caitlyn Jenner and the oldest son of songwriter and actress Linda Thompson.   What we discuss: (0:00:07) - How becoming a father of three has shaped Brandon's perspective (0:14:16) - How parenthood impacts personal ambitions and the societal pressures that can influence these ambitions (0:31:26) - The therapeutic power of music and Brandon's personal journey as a musician that despite feeling inadequate at times, he finds solace in creating music that resonates with his empathetic heart (0:42:15) - The importance of self-awareness and living authentically, and how travel can lead to personal growth and a better understanding of different ways of life (0:53:44) - Self-discovery and perspective through travel and meditation, and Brandon's plans for music with next year   Thank you to our sponsors: Therasage: Go to www.therasage.com and use code DARIN at checkout for 15% off. Manna Vitality: Go to www.mannavitality.com and use code DARIN12 at checkout for 12% off. Barùkas: Go to www.barukas.com and use code DARINPOD10 for a 10% discount.   Find more from Brandon Jenner: Instagram: https://www.instagram.com/brandonjenner/   Find more from Darin: Website: https://darinolien.com/ Instagram: https://www.instagram.com/darinolien/ Book: https://darinolien.com/fatal-conveniences-book/ Down to Earth: https://darinolien.com/down-to-earth/  

There are more than one viable possibilities as to what happened to 13-year-old Blanca Elisa Roberson when she disappeared on August 6th, 1989. Though the initial investigators had their primary suspect, and for good reason, Private Investigator Richard Norgard isn't so sure. He's uncovered information that suggests several different possibilities and even recently released new details in order to generate more tips. Whatever the case, tragedy continued within the Roberson family for years to come, undoubtedly inspired in virtually every case by Elisa's disappearance.To keep up with the case, join the Missing Elisa Roberson Facebook page at: facebook.com/groups/739117898034158If you have any information about the disappearance of Blanca Elisa Roberson, please email missingelisa1989@gmail.comThanks to Richard Norgard, Linda Thompson, Ruby Roberson Hall, and Marina Quintana Tomchak for their contributions to this episodeCheck out the new podcast Box in the Basement by Arlene and Leah at: https://www.iheart.com/podcast/269-box-in-the-basement-135173620/?cmp=web_share&embed=true&pname=fb&campid=s&keyid=8001869248&fbclid=IwAR00NpujF3mE_s_Ig6DCiSl3vSdyRuFo-kji-_xxH7sAg2IljCtQK8bGOHIDonate to Leon Laureles's Birthday memorial by buying coats, blankets, and other winter necessities at: https://www.walmart.com/registry/er/ffee0156-26cb-4668-a75c-5288e5191ba1?fbclid=IwAR2FH8QZ8rR4bbIfzIRkZOa0QtVwEj2VofgQVu6RXU6RDRDqkwGCXAHyhS0You can support gone cold and listen to the show ad-free at patreon.com/gonecoldpodcastFollow gone cold on Facebook, Instagram, Threads, TikTok, YouTube, and X. Click linknbio.com/gonecoldpodcastThe Corpus Christi Caller-Times and The Aransas Pass Progress were used as a sources for this episode. #JusticeForElisaRoberson #WhereIsElisaRoberson #AransasPass #AransasPassTX #Texas #TX #TexasTrueCrime #TrueCrime #TrueCrimePodcast #Podcast #Unsolved #ColdCase #MissingPerson #Disappearance #Vanished #NonFamilyAbduction #Abduction #Kidnapping #UnsolvedMysteriesThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3203003/advertisement

This is the last podcast on Dana's Kardashian Dynasty dive for now, if you like this one make sure to go listen to Ep 157 and 158, which complement today's show. For today, Dana uses a different resource, the Kardashian Dynasty by Ian Halperin.  She tells you about another prophecy that changed the destiny of the Kardashians.  We then get into a deep dive of Bruce Jenner and Dana finds out many unknown details about him.  Turns out he had many secrets besides that he is a woman locked in a man's body. We discuss his childhood, teen years, first marriage and family with Christy Scott (nee Crownover), second marriage and family with Linda Thompson and third marriage and family with Kris Kardashian.  This episode will shock you as many of the narrative that Kris, Bruce and Caitlyn put out over the years intentionally skipped some detail that will for sure interest you.  Once we understand Bruce and Kris's relationship better, everything will become clear to you.  We move on and Dana briefly discusses Nicole Brown and Kris Kardashian's friendship. Dana is careful not to go down the OJ Simpson rabbit hole. We move on to the Kim Kardashian and Khloe Kardashian pre-show years and boy they get into a lot of trouble and Khloe has a lot of traumas coming out of it!  Kim Kardashian is not discovered by Paris Hilton, but instead another famous person at the time and in the process, Kim Kardashian becomes an answer to a famous blind. Dana loves a eureka moment on a blind and Dana gives it to you. Caitlyn has been cut off by Kris Kardashian, but you will never know the seriousness of this gesture until listening to todays' show.   This will explain the recent docuseries participated by Caitlyn without Kardashian editorial control, but Caitlyn better be careful don't piss off the Kardashian, God Mother Kris, things might not end up so good for you. Also mentioned in this episode is Ray J, Damon Thomas, Brandy, Justin Timberlake, Jessica Simpson and more.Link to the full 1 hour and half episode of 159: https://www.patreon.com/DishingDramaWithDanaWilkeySupport the showDana is on Cameo!Get Dishing Drama Dana Merch!https://represent.com/store/dishing-drama-dana-wilkeyFollow Dana: @Wilkey_Dana$25,000 Song - Apple Music$25,000 Song - SpotifyTo support the show and listen to full episodes, become a member on PatreonTo learn more about sponsorships, email DDDWpodcast@gmail.comDana's YouTube Channel

Aransas Pass Police Lt. Linda Thompson was making up for lost time on the morning of August 7th, 1989. The evening before, 13-year-old Elisa Roberson vanished, but the Lt., and the department's Chief of Detectives Mike Thompson, weren't notified. A bloodhound was quickly brought in from Rockport and widespread searches got underway. But as days turned to weeks, nothing was panning out. When the department started receiving mysterious and anonymous letters from an apparent “tipster” implicating Elisa's mother's abusive past boyfriend, was it the information they were looking for?If you were ever a part of the CESAR searches for Elisa, please contact us at gonecoldpodcast@gmail.comIf you have any information about the disappearance of Blanca Elisa Roberson, please contact Tri-County Crime Stoppers at (800) 245-8477 or submit a tip online at TCCS Online Tip Form: p3tips.com/tipform.aspx?ID=437Thanks to Linda and Mike Thompson, Ruby Roberson Hall, and Marina Quintana Tomchak for their contributions to this episodeYou can support gone cold and listen to the show ad-free at patreon.com/gonecoldpodcastFollow gone cold on Facebook, Instagram, Threads, TikTok, YouTube, and X. Search @gonecoldpodcast at both or just click linknbio.com/gonecoldpodcastThe Corpus Christi Caller-Times, and The Aransas Pass Progress, were used as additional sources for this episode#JusticeForElisaRoberson #WhereIsElisaRoberson #AransasPass #AransasPassTX #Texas #TX #TexasTrueCrime #TrueCrime #TrueCrimePodcast #Podcast #Unsolved #ColdCase #MissingPerson #Disappearance #Vanished #NonFamilyAbduction #Abduction #Kidnapping #UnsolvedMysteriesThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3203003/advertisement

Today on The Casey Adams Show I sat down with Brandon Jenner. Brandon Jenner is an American musician, singer, songwriter and television personality. He is the second oldest son of reality star and Olympic gold medalist Caitlyn Jenner and the oldest son of songwriter and actress Linda Thompson. During this conversation we explore the impact of fame and how it can be a double-edged sword, leading to loneliness and isolation. We also discuss social media impact on our lives, the importance of human connection, and how it is more rewarding than fame or money. Follow Brandon Jenner on Instagram: https://instagram.com/brandonjenner Follow Casey Adams on Instagram: https://instagram.com/casey Watch on YouTube: https://youtu.be/QaL4tffapqg