Podcasts about Longtime

This episode was originally released on 7/1/2019. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 93 we ride the rails with some of the most famous stars in radio history. During radio's golden age, there were three main production hubs: New York, Chicago, and Los Angeles. With so much daily content to produce, radio's greatest minds developed programs and episodes centered around every recognizable theme, like the New York city subway. While this episode will take place in or around New York's public transportation system, we'll focus just as much on the relationships forged by radio's legends on both coasts. Highlights: • Mercedes McCambridge, Himan Brown, and Grand Central Station • How Bill Spier influenced the careers of his wife June Havoc and his protégé Elliott Lewis • From Suspense to Broadway is My Beat, Elliott Lewis shines • Jack Benny stars on Suspense • Cathy Lewis: Mrs Radio • Mandel Kramer, Jan Miner, and Subway Soaps from New York • Byron Kane and Subways Are For Sleeping • William N. Robson, Shirley Mitchell, Virginia Gregg and Jack Kruschen on radio in the 1950s • Bob and Ray head down into the Subway • Himan Brown brings dramatic radio back to life in the 1970s • Next Stop: The Soda Shop The WallBreakers: thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: patreon.com/TheWallBreakers The reading material used in today's episode was: • On The Air - By John Dunning • The CBS Radio Mystery Theater Handbook - by Gordon Payton & Martin Grams Jr. • Network Radio Ratings, 1932-53 - by Jim Ramsburg • The Museum of Broadcast Communications Encyclopedia of Radio - by Christopher H. Sterling as well as articles from: • Broadcasting Magazine - November 3rd, 1947 • And Billboard Magazine - May 1st, 1948 On the interview front: • Himan Brown, June Havoc, Mandel Kramer, Elliott Lewis, E.G. Marshall, Jan Miner, William Spier and William N. Robson were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. These interview can be heard at GoldenAge-WTIC.org. • Ralph Bell, Himan Brown, Lawrence Dobkin, Betty Lou Gerson and Byron Kane, were with SPERDVAC. For more information, please go to S-P-E-R-D-V-A-C.com. • Himan Brown, Virginia Gregg, Elliott Lewis, Mercedees McCambridge, Shirley Mitchell and Alan Reed were interviewed by Chuck Schaden. Hear their full chats and many others from Chuck's over thirty-nine year career and SpeakingofRadio.com. • Ellott Lewis was with John Dunning on May 23rd, 1982. • Jack Kruschen, Shirley Mitchell, and George Walsh were with Jim Bohannon on September 12, 1987. • And Morton Fine was with Dan Haefele on August 9th, 1988. Selected music featured in today's episode was: • It's been a Long, Long Time - by Keely Smith • Smoke Gets in Your Eyes - by the Mallet Men • The Big Heist and Salute to Charlie Christian - by Barney Kessel • Atlantis and Roller Coaster - by Les Baxter • I'll Take Manhattan - by Blossom Dearie • And Fly Me To the Moon - by Julie London

Longtime friend of the show William Lea returns to the Talk Dirt to Me studio for his third appearance, and this one's a banger. We dive deep into the state of modern agriculture. Why it feels like farming is on life support, and what it's really going to take for American farmers to become profitable again. We break down the harsh realities growers are facing in 2025, the ugly truth about margins, and how the next wave of successful farmers will be those willing to adapt or die. We also unpack the new federal payment program being floated to help farmers recover from the brutal financial hits of 2023 and 2024. Will it be enough, or is it just another drop in the bucket? Plus, in our Made in America segment, we spotlight a Southern staple: Bryan Foods, a company with deep roots in American meat production. This is an episode for every farmer feeling the pressure, and for anyone who wants to understand what it really takes to survive in ag right now. Agzaga is the official sponsor of Talk Dirt to Me! It is the ultimate online farm store. American owned and operated. Go check out their site and get what you need. Be sure to use the code TalkDirt20 to get $20 off your order of $50 or more! Visit them at: https://agzaga.com 

Another morning of record highs on the S&P and NASDAQ: Sara Eisen and Carl Quintanilla kicked things off with a fresh read on where things stand when it comes to the U.S. consumer (as new sentiment data hits its highest levels since February, retail sales came in strong, and names like American Express say spending has remained healthy). Longtime market veteran Ed Yardeni joined the team with his take on the action – arguing you should remain bullish here. Plus: hear from Deputy Treasury Secretary Michael Faulkender, in a wide ranging interview spanning the administration's crypto ambitions – to where he sees the economy headed in the 2nd half… along with a live read on the trade front thanks to Flexport's Ryan Peterson. Squawk on the Street Disclaimer

Longtime listeners might think Laine was the first person to roar like a lion in this episode, but it was Meg!

Longtime college football insider Phil Steele joined Mike Asti to discuss the release of his 2025 preview. Asti asked Steele about his thoughts on playoff expansion and which format works best and if he believes contracts and a salary cap and contracts are coming. Steele then broke down his expectations for WVU, Pitt and Penn State with fall camp just weeks away.

Kevin Corn, a PGA professional and golf coach, joins Chris and Amy after Ranken Jordan Pediatric Hospital's junior golf program has been named for him following years of service to the hospital. He shares remarkable stories about the success of the program.

The Cyber Resilience Act (CRA) is a regulation designed to enhance cybersecurity for products mainly sold in Europe. It establishes common cybersecurity standards for hardware and software, requiring manufacturers to build security into their products from design through the products' complete lifecycle. It's this latter concept that can be troubling, as sometimes devices stay in use for a long, long time. So what's a manufacturer to do? That's the concept that was on the table for this week's Embedded Executives podcast with Eystein Stenberg, founder and CTO of Northern.tech.

Amy Silverberg is a comedian and writer based in Los Angeles. Her stand-up comedy has been featured on Comedy Central, Hulu, NPR, and Amazon Prime. Her short fiction has appeared in Best American Short Stories, The Paris Review, Granta, and The New Yorker. She holds a Ph.D. in Creative Writing from USC, where she now teaches. Prior to publication, Amy's debut novel First Time, Long Time was hailed by Oprah Daily as “a funny, high-spirited novel…the book humorously describes a lesser-seen side of Los Angeles: the unglamorous neighborhood of Van Nuys, the humiliations of fame, the agony of trying—and failing—to be someone else, and the thrill of discovering yourself along the way.” “Somebody is always going through something,” she writes in the novel, just published by Grand Central Publishing. “Somebody is always reading a book and finding himself there.” Join us for a funny, thoughtful look at the ways Amy's comedy informs her writing, the ways her writing fuels her comedy, and the many ways she finds herself in her work. Learn more about Amy Silverberg: Website Instagram Threads  TikTok Twitter Please support the sponsors who support our show: Gotham Ghostwriters' Gathering of the Ghosts Ritani Jewelers Daniel Paisner's Balloon Dog Daniel Paisner's SHOW: The Making and Unmaking of a Network Television Pilot Heaven Help Us by John Kasich Unforgiving: Lessons from the Fall by Lindsey Jacobellis Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Film Freaks Forever! podcast, hosted by Mark Jordan Legan and Phoef Sutton Everyday Shakespeare podcast A Mighty Blaze podcast The Writer's Bone Podcast Network Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Wizard Pins (WRITERSBONE) | 20% discount

Longtime pastor John MacArthur died of pneumonia on the 14th of July. I will teach how we should respond to this biblically and how his life pointed to a much larger problem of celebrity Christianity.I did an in-depth, long video exposing John MacArthur and how wicked he was:https://www.youtube.com/watch?v=Y8tiTW3bE6Y&t=5sTRIVITA:Use my TRIVITA link to get started onyour wellness journey: https://bit.ly/restored-healthOR CALL: 800-991-7116 and use giftcard number: RSCBSQRJ  PIN: 5398Covenant Eyes:If you want to protect yourself andyour loved ones from the dangers of porn, get Covenant Eyes: https://bit.ly/Restore-Covenant USE CODE RESTORE30 at checkout to get yourfirst 30 days FREE when you use the link Other ways for you to support theministry:

Want to Start or Grow a Successful Business? Schedule a FREE 13-Point Assessment with Clay Clark Today At: www.ThrivetimeShow.com   Join Clay Clark's Thrivetime Show Business Workshop!!! Learn Branding, Marketing, SEO, Sales, Workflow Design, Accounting & More. **Request Tickets & See Testimonials At: www.ThrivetimeShow.com  **Request Tickets Via Text At (918) 851-0102   See the Thousands of Success Stories and Millionaires That Clay Clark Has Helped to Produce HERE: https://www.thrivetimeshow.com/testimonials/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire   See Thousands of Case Studies Today HERE: www.thrivetimeshow.com/does-it-work/  

Hi Weirdos!   Welcome to another episode of KEEP IT WEIRD, the podcast for all things strange and unusual, creepy, kooky & all together spooky!  Everytime we get together we chat about something WEIRD and this week is no exception   It's been a LONG TIME, friends, but today we revisit an old classic: ASK A WEIRDO!  We take the time to answer all of YOUR questions submitted via our patreon and social media pages (this seems like a good time to tell you to join our patreon :))    We chat about religion & spirituality, cryptids, horror movies, snacks, psychics, tattoos, tarot, curses, unsolved murders and so much more.    Check out the list of questions below if you want a reference guide   FOLLOW US on social media @keepitweirdcast   JOIN OUR PATREON at www.patreon.com/keepitweirdpodcast where you will receive BONUS EPISODES every month, discounts on merch and FREE TAROT CARD READINGS!    SUBSCRIBE to our YouTube Channel at www.youtube.com/keepitweirdpodcast    Emily asks: (6:44) What is your favorite and least favorite sub-genre of horror? Heidi asks: (12:50) Where do we go when we die? Greg asks: (18:20) I know you are both ex-Christians… but If someone were to ask you what your spiritual beliefs are/what religion you are - how would you answer them? Wolfman Mac asks:(26:42)  If you were both Cryptids what would you be?  Mel asks: (31:00)  Do you believe the unity theory of the paranormal? Brendan asks: (38:53) What is an element of the paranormal you previously thought was total bunk, but now 100% buy into and what made you switch sides? Lilo asks: (50:30) What tattoo should I get next?  Something witchy. Jenny asks: (53:11) What is the wildest rumor you've ever heard about yourself? Joann asks: (01:02:10) What do you think about animal psychics? JG Asks:(01:05:59) Have you ever cast a curse on someone who pissed you tf off? Emily Asks: (01:10:12) Two unsolved cases: JonBenet and Madeline McCann— what happened? Jo Asks: (01:15:42) What is the weirdest snack/snack combo that you love?

Longtime sailors Ed Muir and his wife, Cory, were looking to navigate to the next phase of their maritime life onboard a power cruiser and set their sights on a Pilgrim 40. The couple talk about the multiyear process to find their forever boat. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today: A longtime Mansfield park that once echoed with the sounds of ballgames is about to be transformed into a brand-new golf destination, and it could change the north side in a big way.Support the show: https://richlandsource.com/membersSee omnystudio.com/listener for privacy information.

Longtime Buffalo concert promoter Don Tomasulo gives his thoughts on ticket demand and more as Sir Paul returns to KeyBank Center in November.

Longtime friend of the show Kat Anker stops by to give us a full account of the entire Back to the Beginning concert from the rail! The good, the bad and the ugly as we say goodbye to living legends, Ozzy Osbourne and the mighty Black Sabbath featuring performances by Lamb of God, Halestorm, Gojira, Alice In Chains, Tool, Slayer, Pantera and, of course, Metallica. And special guests like Billy Corgan, Tom Morello, Chad Smith, Travis Barker, Jake E. Lee, Steven Tyler, Sammy Hagar  and Nuno Bettencourt. Enjoy! If you think Metal Up Your Podcast has value, please consider taking a brief moment to leave a positive review and subscribe on iTunes here:https://podcasts.apple.com/us/podcast/metal-up-your-podcast-all-things-metallica/id1187775077You can further support the show by becoming a patron. All patrons of Metal Up Your Podcast at the $5 level receive volumes 1-4 of our Cover Our World Blackened EP's for free. Additionally, patrons are invited to come on the show to talk about any past Metallica show they've been to and are given access to ask our guests like Ray Burton, Halestorm, Michael Wagener, Jay Weinberg of Slipknot and members of Metallica's crew their very own questions. Be a part of what makes Metal Up Your Podcast special by becoming a PATRON here:http://www.patreon.com/metalupyourpodcastJoin the MUYP Discord Server:https://discord.gg/nBUSwR8tPurchase/Stream Lunar Satan:https://distrokid.com/hyperfollow/lunarsatan/lunar-satanPurchase/Stream VAMPIRE:https://distrokid.com/hyperfollow/clintwells/vampirePurchase/Stream our Cover Our World Blackened Volumes and Quarantine Covers:https://metalupyourpodcast.bandcamp.comFollow us on all social media platforms.Write in at:metalupyourpodcastshow@gmail.com

What if land deals could show you what freedom in business really feels like? Today on The Land Academy Show, join Steven Jack Butala and Jill DeWit as they uncover investor career secrets in a powerful interview with Michelle Bridger, a seasoned entrepreneur who discovered how land investing offered a glimpse into a simpler, more aligned way of doing business. Michelle opens up about leading a high-pressure agency, hitting a breaking point, and making bold decisions to restructure her team—and her life. Together, they dive into themes of clarity, delegation, shifting leadership identity, and what happens when you stop tolerating “busy” and start intentionally designing your work around your life. If you're a business owner ready to work less, live more, and finally build a business that supports you, this episode is a must-listen.

Longtime analyst Walter Piecyk making a stunning call that Tim Cook needs to go. We discuss with our Steve Kovach and Wedbush's Dan Ives. Plus, we get a shareholder's take with Malcolm Ethridge from Capital Area Planning Group. And, Former Fed Vice Chair Richard Clarida maps out his forecast for the fed. 

223. In this episode of the Tailoring Talk Magazine, Jon shares his honest verdict after spending a full month with the Nintendo Switch 2.As a long-time Nintendo Switch user with experience across the original, Switch OLED, and Switch Lite models, Jon walks through his real-world experience using the Switch 2 daily - including performance upgrades, display quality, docked 4K gameplay, Joy-Con improvements, accessories like the Pro Controller and camera, and whether it's truly worth the upgrade.

Episode 120 taken from Patreon.com/michaeldeconListen to the full episode only on Patreon.Based in Quebec, Canada, Eugene is not only a seasoned mixed martial arts trainer but also an experienced substitute teacher—bringing a unique blend of discipline, insight, and real-world perspective to our discussions.In this episode, we dive deep into some of today's most pressing and provocative topics, including the Ukraine War, Donald Trump, COVID, and the LGBTQ agenda. Longtime listeners are in for a treat: Eugene's sharp analysis and candid commentary promise to elevate the conversation and challenge conventional thinking. Get ready for a fresh, dynamic addition to the program—Eugene is here to shake things up and keep you engaged every step of the way.

Longtime radio colleague Eddie Cross joins Stew to preview a very busy weekend in wrestling, with AEW All In Texas, ROH Supercard Of Honor, WWE Saturday Night's Main Event, and WWE Evolution.

The Trump administration continues immigration enforcement efforts across California. There's growing concern among the state's immigrant population about possible deportation. Many are not showing up to work. Some are even fearful of leaving the house at all. But one Central Valley resident made the difficult decision to leave the country on her own. Guest: Patricia Vázquez Topete U.S. Senator Alex Padilla is introducing a bill to require federal immigration officers to display ID.  Reporter: Nina Thorsen, KQED   Learn more about your ad choices. Visit megaphone.fm/adchoices

Giants broadcaster Dave Flemming joins The Roast to talk about another wild walk-off win for the Giants, and why there are no issues between Rafael Devers and Will Clark.

Castiglione had been the longest tenured AD in college sports, beginning with the Sooners in 1998, hiring Bob Stoops to rejuvenate the football program The same program has been one of the most consistently successful programs in the country since he's been there, and their other sports have been quite successful, also Show Sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Mandolin orchestras were everywhere during the early 20th Century. It turns out that the Bay Area is the birthplace of a mandolin super-group founded by a man who doesn't even play the instrument. He wanted to honor the memory of a Jewish mandolin ensemble whose members perished in the Holocaust.

In this 2006 conversation, legendary writer and editor Denny O'Neil joins Word Balloon to revisit his groundbreaking 1980s run on The Question, a series that helped redefine the character for a new generation. Originally created by Steve Ditko for Charlton Comics, Vic Sage found new life under O'Neil's pen—philosophical, gritty, and deeply human.We also explore Denny's novel Helltown, which digs into Vic Sage's origin story in a bold new way. Longtime fans will notice some departures from past continuity, but the spirit—and sharp commentary—are pure O'Neil.Plus: Denny shares stories from his early days in comics, working under editors like Julie Schwartz and Stan Lee, and yes, there's some great Batman talk too—no surprise from the man who helped shape the Dark Knight for over three decades. A must-listen for fans of classic comics, noir storytelling, and one of the true legends of the mediu

In today's episode, we talk about a major case update in a recent case and an older case out of New York.https://static.foxnews.com/foxnews.com/content/uploads/2023/04/FELONY-COMPLAINT-HOLLEY.pdfhttps://www.justiceformegan.com/This podcast was made possible by www.labrottiecreations.com Check out their merchandise and specifically their fun pop pet art custom pieces made from photos of your very own pets. Use the promo code CRIMEXS for 20% off a fun, brightly colored, happy piece of art of your own pet at their site.Music in this episode was licensed for True Crime XS. Our theme song is No Scars from slip.fmYou can reach us at our website truecrimexs.com and you can leave us a voice message at 252-365-5593. Find us most anywhere with @truecrimexsThanks for listening. Please like and subscribe if you want to hear more and you can come over to patreon.com/truecrimexs and check out what we've got going on there if you'd like to donate to fund future True Crime XS road trip investigations and FOIA requests. We also have some merchandise up at Teepublic http://tee.pub/lic/mZUXW1MOYxMSources:www.namus.govwww.thecharleyproject.comwww.newspapers.comFindlaw.comVarious News Sources Mentioned by NameAd Information:New Era Caps: https://zen.ai/dWeCYLHxxANOaZ6NcKocEwLiquid IV: Link: https://zen.ai/45lYmDnWl1Z3cR66LBX5mAZencastr: Link: https://zen.ai/SFkD99OGWGNz_plc2c_Yaw

Longtime friends FINNEAS and Ashe have a habit of casual collabs that create hits. Think: “Moral of the Story” (2019) and “Till Forever Falls Apart” (2021). Now they've made it official by adopting a new moniker (The Favors) and hitting us with their golden-age-of-Laurel-Canyon-esque new single “The Little Mess You Made.” And that's not all, The Favors have a debut LP set for release on Sept. 19.

Longtime listeners know that The Wolf & Action Jackson hava a special place in their hearts for Rush, the Canadian power trio that went through many phases and sounds over their more than 4 decades together. To wrap up our 2nd year of First Concert Memories, our monthly sidecast about special moments in our lives that revolve around a live rock show, we welcomed our Pantheon Podcasts brother Brad Page. Brad grew up in greater Boston and tried to see Rush on the Permanent Waves Tour. However, after he and his friends trekked over 2 hours to Cape Cod for the show, at the last second it was cancelled. Brad was worried that he'd never get to see one of his very favorite bands live. However, that was actually good fortune in that the boys made up the date during a brief tour between Permanent Waves and Moving Pictures that saw the band debut some of the stuff they were working on. Those songs turned out to be Limelight and Tom Sawyer off the forthcoming Moving Pictures, the album that would change the fortunes of Rush forever. Brad tells us how he and his buddies freaked out when Geddy announced they'd be playing something new. But he also remembers hearing some of his all time favorites like Xanadu and the inimitable La Villa Strangiato. The setlist was phenomenal and the venue was smaller than any of the others from that brief tour between major album tours. So Brad saw the greatest setlist, a killer stage production and heard the debut of a couple of stone cold Rush classics before they went back in the studio to finish them. It's a fun story of a night for which we wish we'd been there. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Tell your smart speaker to "Play One Oh Three One Austin"

Longtime sportscaster, producer, reporter, analyst and host Dick Gabriel (Big Blue Insider, UK Sports Network, WKYT) joined us to talk about Aaron moving to Florida, the tough beats UK baseball endured but the exciting future they still have, Jaland Lowe and year two for Kentucky basketball under Mark Pope. This was just part one of the interview. Be sure to check out part two when it drops too! Go Cats! Follow and subscribe!

In this NCAA Opinions of the Week, Kevin and Austin discuss the announcement of a video game for college basketball. Let us know your thoughts in the comments.

The boys are back in Hawkins.In this very special return to our roots, Kit, Andy, and Steve launch the Streaming Things Stranger Things Rewatch—a hilarious journey back to where it all began. Longtime listeners will remember: this podcast was born from our obsession with Stranger Things. Now, as we gear up for the final season, we're revisiting every single episode with fresh eyes, full hearts, and maybe even a few Chocolate Puddings.Chapter One: The Vanishing of Will Byers kicks off the story in 1983 Hawkins, Indiana, where a young boy named Will disappears without a trace. As his friends search for him, they stumble upon a mysterious girl with a shaved head and supernatural powers.00:00:00 - Introduction:Welcome to a new episode of Streaming Things, where we dive deep into the world of streaming content!00:06:33 - Stranger Things MadLibs Word Search:Steve solicits Kit and Andy for words to create a MadLibs story.00:09:10 - Overall Thoughts:Our hosts share their initial impressions and overarching thoughts on today's movie/TV episode.00:21:08 - Scene by Scene Recap:Join us as we break down the episode or movie scene by scene.01:23:12 - Chocolate Puddings:The hosts list their top 3 moments of the episode.01:31:56 - Easter Eggos:The hosts name any easter eggs from the 80s they were able to pull from watching this episode.01:49:09 - Eleven out of 10 Performance:The hosts recognize the talent they think delivered the best performance of the episode.01:51:08 - Step Into the Nina:Steve plays clips from the podcast's original coverage for Kit and Andy to react to.01:58:03 - Stranger Things MadLibs Story Reveal:Steve reads the MadLibs story that Kit and Andy helped create.Video Version of this Episode: YouTubeFollow Us on Social MediaStreaming Things PatreonStreaming Things InstagramFollow Kit LazerTikTokInstagramYouTubeFollow SteveInstagramFollow AndyInstagramVisit Our WebsiteCheck Out Our MerchSend Us Mail:Streaming Things6809 Main St. #172Cincinnati, OH 45244 Hosted on Acast. See acast.com/privacy for more information.

Here For A Short Time Not A Long Time Learn more about your ad choices. Visit megaphone.fm/adchoices

Longtime friend of the pod Ethan Edwards joins me today to chat about injuries, retrobolting, and the importance of public lands. Ethan will detail his surgery and recovery process from a skiing injury, and he'll share how he's approached training during this time so that he can be in the best shape possible once he's completed convalescence. Then, he'll tell us all about his retrobolting/rebolting project at Crow Hill in Massachusetts. We'll discuss the delicate process of the importance of social buy in for retrobolting projects and how he navigated the situation in a way that seemed to appeal to everyone involved. If you live in the west and you believe in the importance of our public lands, please call your representatives to tell them to support keeping public lands protected! We have almost reached our fundraising goal for the new parking lot at Miriam Woods/Russell Crag! Help us get over the top by donating at https://www.centralnhclimbers.org/Join us over on the First Ascent Patreon. For $5, $7 or $10 a month, you'll get access to wide ranging bonus content from greats like Mark Hudon, Scott Stevenson and many more. Plus you'll get a Discord chat, exclusive beta, route info, and more. Check it out here:  https://www.patreon.com/FirstAscentPodcastDo you have a listener question or a topic idea? Let us know at @firstascentpod on Instagram! Jay can be found at @jayknower. Disclaimer: The information expressed in this episode is for entertainment purposes only, and is not intended as, nor should it be interpreted as, informational or instructional.

Longtime friend of the show Aalex Aviña (@Alexander_Avina) returns to guest host an episode with journalist Abraham Marquez (@abemarquez3) about the recent intensification of the war on racialized communities and undocumented people. Check out Abraham's article, "Paramount and Compton rise up for undocumented workers" on his Substack Watch the video edition on The East is a Podcast YouTube channel Consider supporting the show  www.patreon.com/east_podcast  

00:00 - 25:42 – JMV is back in the saddle, and he kicks things off by reacting to the news that Myles Turner is signing with the Milwaukee Bucks. He gives his take on the move, where the Pacers go from here, and what Turner’s legacy in Indy will be. 25:43 – 40:52 – Greg Rakestraw from the ISC Sports Network and more joins the show! Greg and JMV react to the Myles Turner news, and look ahead to what next season will be like for Indiana. They also wonder what the Pacers offer to Turner was, and if they let him walk or got outplayed. 40:53 – 46:43 – JMV wraps up the 1st hour of the show! 46:44 – 1:08:46 – John talks more about the Myles Turner news, how Turner will fit with the Bucks, and if he will have the same amount of success playing without Tyrese Haliburton. He takes some calls from listeners as well! 1:08:47 – 1:23:46 – JMV goes back to the phone lines as the show keeps rolling! 1:23:47 – 1:29:56 – JMV wraps up the 2nd hour with another phone call! 1:29:57 – 1:50:12 – Kevin Pelton of ESPN joins the show! Kevin and JMV try and make some sense of Myles Turner going to the Bucks, and try and figure out who will fill the hole at center? They also discuss the financial aspects of the deal for Milwaukee, and how they managed to swing this move. 1:50:13 – 2:08:56 – Evan Sidery of Forbes Sports and more joins the show! Evan and JMV discuss the Myles Turner news, what the Pacers do from here, and how we got to this point where the longest-tenured Pacer on the roster is now leaving for a hated divisional rival. 2:06:57 - 2:12:04 – JMV wraps up the show! Support the show: https://1075thefan.com/the-ride-with-jmv/See omnystudio.com/listener for privacy information.

Longtime wrestling contributor and local historian Nick Headford joins Windy City Slam Podcast to discuss a special event to honor the life of Eric Priest, who passed away suddenly earlier this year. Headford talks about the diverse group of talent who are scheduled to work at “A Day For Priest” at the end of July in West Chicago, memories of Priest and what to expect from the show, as well as the latest in POWW Entertainment. Plus, Mike recaps loaded Freelance Wrestling and AAW Pro shows from over the weekend as well as the newsworthy events of WWE Night of Champions. Mike Pankow is a 25-year-plus professional journalist and wrestling superfan who covers local Chicagoland wrestling and national promotions like AEW and WWE. If there is something going on in Chicago, Mike knows about it. Enjoy "Wrestling, Chicago-Style" on The Broadcast Basement On-Demand Radio Network! Music by Jason Shaw on Audionautix.com. Get your local wrestling fix every Tuesday everywhere podcasts can be found and always at WindyCitySlam.com!

In this episode, I talk about a mindset to "catch yourself waiting." I talk about how to incentivize yourself to take the leap of faith now, rather than resent yourself in the future for waiting too long.Get your listener bonus: casekenny.com/bookInstagram: @case.kenny

It's a star-studded roundup of ‘Jenna & Friends' highlighting our favorite comedic co-hosts. Jenna and former ‘Weekend Update' anchor Amy Poehler face off in a tongue-twisting round of ‘Prompter Wars.' Plus, Kevin Hart surprises co-host Regina Hall with an impromptu appearance – and his favorite stories from the pair's friendship. Plus, Amy Schumer, Jillian Bell and Brianne Howey join Jenna and SNL cast member Ego Nwodim to talk their Netflix movie ‘Kinda Pregnant,' extravagant engagement plans and their off-camera bond.  

Longtime best-friend and founding cast member LB Hunktears returns for a special episode full of surprises and adventure, as John, Niki and merritt walk LB through everything they've missed over the last few weeks, including Niki's plan to "do We Are the World again," Bane JNCOs, Frankenstein, the Spaceballs sequel, the latest issue of that AARP magazine Niki gets in the mail for some reason, jelqing, and dude, somehow even more.Welcome to If You're Driving, Close Your Eyes, a listener-supported comedy podcast where three noble explorers chip away at the crumbling foundations of reality, five or six simultaneous topics at a time. Hosted by Niki Grayson, merritt k and John Warren, and produced by Jordan Mallory, with music by Jordan and art by Max Schwartz.Follow us on Bluesky: https://bsky.app/profile/ifyouredriving.bsky.socialSupport us on Patreon: https://www.patreon.com/ifyouredriving Hosted on Acast. See acast.com/privacy for more information.

Longtime friend Erin, who works as Community Manager for 2K Games on Borderlands, joins us for a special reunion episode filled with nostalgia, cryptid sightings, and Hollywood career revelations.• Harold and Kumar are getting a new sequel with original stars John Cho and Kal Penn expected to return• Discussing whether early 2000s stoner comedies can successfully translate to today's entertainment landscape• Erin shares bizarre cryptid sightings including an alien on a doorbell camera and a potential Bigfoot in New Hampshire• Will Smith revealed he rejected Christopher Nolan's Inception in addition to The Matrix and Django Unchained• Examining Hollywood's trend of producing sequels to films from 15+ years ago rather than complete reboots• Reminiscing about our early content creation daysFollow Erin on Twitch here: https://www.twitch.tv/erinmylaundry

In today's episode, we talk about a major case update out of Pennsylvania.This podcast was made possible by www.labrottiecreations.com Check out their merchandise and specifically their fun pop pet art custom pieces made from photos of your very own pets. Use the promo code CRIMEXS for 20% off a fun, brightly colored, happy piece of art of your own pet at their site.Music in this episode was licensed for True Crime XS. Our theme song is No Scars from slip.fmYou can reach us at our website truecrimexs.com and you can leave us a voice message at 252-365-5593. Find us most anywhere with @truecrimexsThanks for listening. Please like and subscribe if you want to hear more and you can come over to patreon.com/truecrimexs and check out what we've got going on there if you'd like to donate to fund future True Crime XS road trip investigations and FOIA requests. We also have some merchandise up at Teepublic http://tee.pub/lic/mZUXW1MOYxMSources:www.namus.govwww.thecharleyproject.comwww.newspapers.comFindlaw.comVarious News Sources Mentioned by NameAd Information:New Era Caps: https://zen.ai/dWeCYLHxxANOaZ6NcKocEwLiquid IV: Link: https://zen.ai/45lYmDnWl1Z3cR66LBX5mAZencastr: Link: https://zen.ai/SFkD99OGWGNz_plc2c_Yaw

In this episode of Perfectly Good Podcast, hosts Jesse and Sylvan dissect John Hiatt's song 'Long Time Comin' from his album 'Terms of My Surrender.' They discuss the lyrics, the song's haunting and ethereal qualities, and its place within the Americana genre. They also explore the song's nostalgic essence and Hiatt's ability to blend bittersweet emotions. Join them for an in-depth analysis and a celebration of Hiatt's musical journey. Don't forget to reach out with your thoughts and join the conversation! 00:00 Opening Lyrics and Introduction 01:15 Welcome to the Perfectly Good Podcast 02:04 Discussing 'Long Time Coming' by John Hyatt 02:42 Album Details and Production Insights 03:27 Analyzing the Lyrics 06:20 Personal Reflections and Interpretations 17:57 Rating the Song 19:25 Closing Remarks and Contact Information Learn more about your ad choices. Visit megaphone.fm/adchoices

Longtime attorney and KSL legal expert Greg Skordas provides insight on the latest of the legal lawsuit involving Jake Retzlaff.

On this week's episode, writer and comedian, Amy Silverberg, is back to chat about her new book (First Time, Long Time), shrimp emojis, airplane confessions, kooky aunts, and so much more.Pre-order Amy's new book, First Time, Long Time!Los Angeles! Go to Amy's book release event in Los Angeles at Skylight Books: Thursday, July 24, 2025!~ NEW JJGo MERCH ~Jordan's new Spider-Man's comic is out now!Order Jordan's new Godzilla comic! Be sure to get our new ‘Ack Tuah' shirt in the Max Fun store.Or, grab an ‘Ack Tuah' mug!The Maximum Fun Bookshop!Follow the podcast on Instagram and send us your dank memes!Check out Jesse's thrifted clothing store, Put This On.Follow brand new producer, Steven Ray Morris, on Instagram.Listen to See Jurassic Right!

Longtime friend of the show and frequent guest host Louis Allday (@Louis_Allday) was invited to Iran for an international media conference hosted by Press TV.   Watch the full episode on Press TV website https://www.presstv.ir/Detail/2025/06/01/749030/Becoming-a-Critical-Thinker-&-an-Anti-Imperialist-Writer Check out Liberated Texts

Longtime pals David Spade and Dana Carvey take you behind the curtain of showbiz as they hang out and chat with friends (old and new) from all corners of the entertainment world. Be a “Fly on the Wall” every Thursday as the guys and their guests share stories, tell jokes, do impressions, and deep dive into the comedy mind.  On Mondays, join Dana and David to riff on current events, pop culture, trending clips, and answer audience questions. Kick back, relax, and enjoy the comedy, absurdity, and world-class banter from your favorite duo. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

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

In this episode, Dinesh explores the contention of critics that Trump and America is on the verge of making the same mistake with Iran that America under Bush made with Iraq in the early 2000s. Dinesh reviews the Supreme Court’s landmark decision affirming a Tennessee law banning certain transgender procedures. Longtime radio host and now podcaster Michael Savage joins Dinesh to give his characteristically blunt take on issues of the day.See omnystudio.com/listener for privacy information.