Podcast appearances and mentions of Louie Louie

One of the most mysterious texts in the world lives here in Connecticut. The Medieval Voynich Manuscript is at the Beinecke Library at Yale University. Scholars have been trying for over a century to decipher it. This hour, we look at the Voynich and at other examples of mysterious manuscripts from around the world. GUESTS: Lisa Fagin Davis: Professor of Practice in Manuscript Studies at the Simmons University School of Library and Information Science and Executive Director of the Medieval Academy of America Garry J. Shaw: Author and journalist covering archaeology, history, and world heritage. His newest book is Cryptic: From Voynich to the Angel Diaries, the Story of the World's Mysterious Manuscripts David Weinberg: Podcast producer and writer. He is lead instructor for the Transom Traveling Workshops. He formerly worked at Marketplace and KCRW. He produced an episode about "Louie Louie" for the podcast Lost Notes MUSIC FEATURED (in order): Lost in Translation – The Neighbourhood Columba aspexit, BN 54 – Christopher Page, Emma Kirkby, Gothic Voices Secret Messages – Juliana Hatfield The Book of Love – Mike Doughty The Philosopher’s Stone – Van Morrison Louie, Louie – The Kingsmen Louie, Louie – The Sandpipers Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Colin McEnroe and Dylan Reyes contributed to this show, which originally aired on October 29, 2025.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

There are two things we know a lot about in New Orleans: partying and hurricanes. For a long time those weren't unrelated. The hurricane party was a New Orleans institution — you'd ride out the storm with your neighbors, a case of beer, and a sense of invincibility. These days, after Katrina and Ida, hurricanes aren't quite the occasion they used to be. But there's still a connection between the two — just a more businesslike one. Now, the connection shows up after the storm, not during it. When you drive around New Orleans after a big storm, you see a lot of blue roofs. They’re tarps. When you drive around any other time, you see houses draped in tarps in other colors, covering houses that are being fumigated, mostly for termites. All of these tarps, plus many others used in places like grain ships, in transporting seafood, and for keeping ammunition weather-proof for the US military, are manufactured in Ponchatoula by a New Orleans company – J&M Industries. The Managing Owner and President of J&M Industries is Maurice Gaudet IV. After the hurricane’s blown through and you get back to partying, there’s another local manufacturer you might want to know about. The company and their product are both called Louie Louie. Louie Louie are cans of effervescent drinks, in flavors like Hurricane Punch, Ginger Cucumber and Blackberry Lemon. But it’s more than the flavor that sets these drinks apart from a regular seltzer. Louie Louie describes itself as a, “cannabis infused beverage.” Each can has 5 milligrams of THC, the active ingredient in cannabis that, when you smoke it, gets you high. And 5 milligrams of CBD, the cannabis derivative that promotes relaxation. When you drink Louie Louie it’s reportedly quicker acting and not as long lasting as eating a gummy and, according to the company’s marketing, gives the drinker “a relaxed buzz.” Marie LaFrance is a Co-Founder of Louie Louie. Anyone who has had any contact with the news media over the last decade has heard politicians from every party and at every level – federal, state, and local – talk about "manufacturing." Once you hear that word, the next part of the conversation is usually about China, Canada, the Midwest or northeast of the US. It’s very rare, if ever, that you hear about manufacturing in New Orleans. And yet, here we are. J&M Industries has been around for over 50 years and are are showing no signs of slowing down. Louie Louie has been only been around a few years and every indication is they’re just getting started. Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Jill Lafleur at itsneworleans.com.See omnystudio.com/listener for privacy information.

Tres acordes, una letra ininteligible y más de mil versiones después, "Louie Louie" sigue siendo una de las canciones más influyentes de la historia del rock. Lo que muchos conocen por la explosiva interpretación de The Kingsmen en 1963 nació en realidad varios años antes, de la mano de Richard Berry, y hunde sus raíces aún más atrás, en los ritmos caribeños y en una melodía inspirada por un popular cha-cha-chá cubano. Entre acusaciones de obscenidad, una investigación del FBI y una larga cadena de préstamos musicales, Jorge Flo explora la sorprendente genealogía de un himno que demuestra que la historia de la música popular es, sobre todo, una historia de mestizaje.

Tres acordes, una letra ininteligible y más de mil versiones después, "Louie Louie" sigue siendo una de las canciones más influyentes de la historia del rock. Lo que muchos conocen por la explosiva interpretación de The Kingsmen en 1963 nació en realidad varios años antes, de la mano de Richard Berry, y hunde sus raíces aún más atrás, en los ritmos caribeños y en una melodía inspirada por un popular cha-cha-chá cubano. Entre acusaciones de obscenidad, una investigación del FBI y una larga cadena de préstamos musicales, Jorge Flo explora la sorprendente genealogía de un himno que demuestra que la historia de la música popular es, sobre todo, una historia de mestizaje.Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/mas-noticias--4412383/support.ESCUCHAR RADIO 

Air Week: June 1-7, 2026 Arthur Lee Maye & The Crowns Arthur Lee Maye did something that few had ever done. He concurrently had a career as a R&B singer, leading the LA-based group Arthur Lee Maye & The Crowns while also playing minor and major league baseball as an outfielder for the Milwaukee Braves. Both of his careers virtually began in 1954 and since Lee Maye was busy playing baseball from April until October, he could only make records during the off-season. These records consisted of some of the greatest West Coast Rhythm & Blues Vocal Group sounds you’re ever going to hear. Maye and the Crowns began on the Modern Records family of labels, jumping from Flair to RPM to the parent company without scoring a significant hit. Then it was off to Art Rupe’s famed Specialty Records for a one-off single, before recording a few sides for Johnny Otis’ Dig Records. Richard Berry, who famously recorded the original “Louie Louie” for Flip Records in 1956 was an original member of the group and it was also the Crowns with Lee Maye who backed Berry on his first solo sides. However, the Crowns did not receive any credit on those early Berry recordings. Several of Maye’s records; “Gloria” and “Set My Heart Free” have become vocal group classics. Matt The Cat digs in and aims for the fences this week as we present the seldom heard, but nonetheless brilliant recordings of Arthur Lee Maye and the Crowns. LISTEN BELOW

July 4th was supposed to be a festive day filled with fireworks, but instead, it turned into a disaster for me.Picture this: I'm all set to enjoy the show, but as I step out, the sky starts drizzling. Naturally, I whip out my phone to scroll through social media, because who doesn't love seeing what everyone else is up to while ignoring the world around them?Fast forward a few moments, and bam! My foot hits an uneven sidewalk, my phone goes flying, and I'm face-first in the concrete. My knees did not fare well. Everyone around me thinks it's a scene from a slapstick comedy, and I'm just trying to play it cool, you know?But here's the kicker: this little escapade has everything to do with podcasting. Yeah, you heard me right. Looking stupid while starting a podcast? It's practically a rite of passage. We'll dive into how to embrace that awkwardness and turn it into something valuable. So, buckle up; it's going to be a wild ride!We've Looked Stupid BeforeI live near Cleveland Ohio and if I go into a room of 30 adults and scream, "Here we go brownies here were go!" they will answer with RUFF RUFF! Grown adulst will bark like a dog.Also being Ohio means you must stand and spell your state when someone plays the song Louie Louie.My favorite is the "Chicken Dance" at weddings how this tradition of some demonic polka got started I will never know, but again everyone is willing to look stupid.When you venture into podcasting one of two things will happen. You will have a successful show that you love doing, you'll have that story about the time you started a podcast.I Can HelpTakeaways:So, if you're thinking about starting a podcast, brace yourself, because looking stupid is basically part of the package.People worry too much about looking dumb on a podcast; trust me, we all do it sometimes, and it's totally fine.You can learn from your own mistakes, but learning from others is even better, so listen up, folks.In the end, podcasting is about having fun and sharing stories, not about being perfect.When you finally start your podcast, remember: you might end up with a great show or a hilarious story about your failed attempts.If you want to avoid looking stupid, just don't do stupid stuff, but let's be real, we all mess up sometimes.Links referenced in this episode:schoolofpodcasting.comThis podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

Kylie Kelce wins a Webby Award for Best Podcast...Lola Sheen posts a moving IG story about the late actor Patrick Muldoon looming so large in her childhood...Mae West's secret interracial relationship with prizefighter Chalky Wright.https://mydeals.page/q7j8

National Submarine day. International Louie Louie day. Entertainment from 1965. 190 million dinosaur eggs found in China, NY Congressmen gets kicked out the re-elected to fill his seat, US Navy buys 1st modern submarine. Todays birthdays - Joel Gray, Peter Riegert, Steve Azar, Joss Stone. The Elephant Man died.Intro - God did good - Dianna Corcoran https://www.diannacorcoran.com/Yellow Submarine - The BeatlesLouie Louie - The KingsmenI'm telling you now - Freddie and the DreamersKing of the Road - Roger MillerBirthdays - In da club - 50 Cent http://50cent.com/I don't have to be till Monday - Steve AzarYou had me - Joss StoneExit - My break-up anthem - Caitlyn Shadbolt https://www.caitlynshadbolt.com/History & Factoids about today Playlist on SpotifyHistory & Factoids about today webpagecooolmedia.comcountryundergroundradio.com

Join Lionel on "The Other Side of Midnight" for a fast-paced, late-night ride through the cultural zeitgeist. In this eclectic episode, Lionel and his callers dive into the nostalgia of the Dewey Decimal system and analog records, debate the money-driven evolution of gangster rap from NWA to Death Row Records, and dissect the meticulous forensic timelines of the OJ Simpson trial and the JFK assassination. Wrapping up with a fiery take on the absurd history of music censorship and the "forbidden fruit" effect—covering everything from the FBI's investigation of "Louie Louie" to the PMRC and Ice-T's "Cop Killer"—this episode proves that no idea is too controversial to explore. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Sandy Kaye sits down with one of the true pioneers of Australian rock music — Ross Wilson. With a career spanning more than six decades, Ross has shaped the sound of Australian music as a performer, songwriter and producer.From his early beginnings in Melbourne in the '60s, Ross quickly became part of the thriving local music scene. Inspired by blues records and armed with a harmonica, he joined his first band The Pink Finks while still at school, scoring a local chart hit with their version of Louie Louie. In an era when dance halls were packed with teenagers eager to hear live bands, Ross honed his craft performing night after night.After experimenting with original songwriting and travelling to England, Ross returned to Australia full of ideas. By '70 he formed Daddy Cool, a band that would change Australian rock forever. Their breakthrough hit “Eagle Rock” became a national phenomenon, spending weeks at number one and becoming one of the most iconic Australian songs ever recorded.Ross shares the fascinating story behind the creation of Eagle Rock — from the blues influences that inspired its riff to the unusual way the song was written across continents. He also talks about Daddy Cool's wild stage shows, the band's rapid rise to fame and their attempts to break into the American market.Beyond performing, Ross also played a crucial role behind the scenes in Australian music. As the producer of Skyhooks' groundbreaking debut album, he helped launch one of the most influential bands of the '70s and opened the door for a new wave of Australian rock artists.Ross later returned to the spotlight with Mondo Rock, scoring a string of major hits. During this time he continued writing, producing and collaborating with artists including John Farnham and Jimmy Barnes.Today, Ross Wilson remains as passionate about music as ever. He continues to perform live, write new songs and connect with audiences who have grown up with his music.In this warm and engaging conversation, Ross reflects on the highs, the surprises, the creativity and the longevity that have defined one of the most remarkable careers in Australian music.Ross Wilson's early days in Melbourne's '60s music sceneJoining his first band The Pink FinksSongwriting with The Party MachineTravelling to England and discovering new musical ideasThe formation of Daddy CoolThe story behind the iconic hit “Eagle Rock”Daddy Cool's rise to national fameProducing the groundbreaking debut album for SkyhooksThe formation and success of Mondo RockWriting classic hits including Cool World and Come Said the BoyCollaborating with artists such as John Farnham and Jimmy BarnesRoss Wilson's continuing career and new musicIf you enjoythis episode of A Breath of Fresh Air with Sandy Kaye, make sure to subscribe so you never miss a conversation with the legends of music.This one in particular is a warm, entertaining and insightful look at the life and music of a true Australian rock pioneer.

It's no secret that Louisiana culture and cuisine have broad national and even international appeal. This week, we look at some local companies that have successfully leveraged a love for Louisiana to expand their operations across the state and beyond. We begin with the cannabis-infused seltzer brand, Louie Louie. Brewed on the banks of the Mississippi in New Orleans, the company celebrates our state's flavors in every can. And people are drinking it up – everywhere from local restaurants like Mosca's and the Napoleon House to locations across the nation. Two of the company's founders, Ken Jackson and Eric Becker, join us. Then, we sit down with Braithe Tidwell. The corporate beverage director for the Ralph Brennan Restaurant Group tells us how Louie Louie Pimm's Cup cocktails made their way onto the Napoleon House menu. Next, we learn about the fast-casual seafood restaurant company, Off the Hook. Founded in Thibodaux, the business had been steadily expanding across Louisiana – most recently opening a location in Lafayette. We speak with CEO Paxton Moreaux about growing his brand while keeping everything authentic and hyper-local. Finally, we speak with Jennifer Weishaupt, founder and CEO of the Ruby Slipper Restaurant Group. The Ruby Slipper Café has prospered and multiplied in a way that Jennifer and her husband Eric could never have anticipated when they opened their very first Mid-City location in 2008. She tells us about her ever-expanding breakfast and brunch empire, now serving hungry diners in locations across six states. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

It's no secret that Louisiana culture and cuisine have broad national and even international appeal. This week, we look at some local companies that have successfully leveraged a love for Louisiana to expand their operations across the state and beyond. We begin with the cannabis-infused seltzer brand, Louie Louie. Brewed on the banks of the Mississippi in New Orleans, the company celebrates our state's flavors in every can. And people are drinking it up – everywhere from local restaurants like Mosca's and the Napoleon House to locations across the nation. Two of the company's founders, Ken Jackson and Eric Becker, join us. Then, we sit down with Braithe Tidwell. The corporate beverage director for the Ralph Brennan Restaurant Group tells us how Louie Louie Pimm's Cup cocktails made their way onto the Napoleon House menu. Next, we learn about the fast-casual seafood restaurant company, Off the Hook. Founded in Thibodaux, the business had been steadily expanding across Louisiana – most recently opening a location in Lafayette. We speak with CEO Paxton Moreaux about growing his brand while keeping everything authentic and hyper-local. Finally, we speak with Jennifer Weishaupt, founder and CEO of the Ruby Slipper Restaurant Group. The Ruby Slipper Café has prospered and multiplied in a way that Jennifer and her husband Eric could never have anticipated when they opened their very first Mid-City location in 2008. She tells us about her ever-expanding breakfast and brunch empire, now serving hungry diners in locations across six states. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Another wild episode! Jon looks at how FIFA and the World Cup may play a role in international politics going foward, while Chris gets disillusioned by global economic and cultural hegemony and besides that gets his facts wrong. PLUS lucky slobs from Ohio-- Fed chairpersons-- the pornography of the Kingsmen's "Louie Louie"-- the Fool's Gold Sandwich-- and so much more!    

One of the most mysterious texts in the world lives here in Connecticut. The Medieval Voynich Manuscript is at the Beinecke Library at Yale University. Scholars have been trying for over a century to decipher it. This hour, we look at the Voynich and at other examples of mysterious manuscripts from around the world. GUESTS: Lisa Fagin Davis: Professor of Practice in Manuscript Studies at the Simmons University School of Library and Information Science and Executive Director of the Medieval Academy of America Garry J. Shaw: Author and journalist covering archaeology, history, and world heritage. His newest book is Cryptic: From Voynich to the Angel Diaries, the Story of the World's Mysterious Manuscripts David Weinberg: Podcast producer and writer. He is lead instructor for the Transom Traveling Workshops. He formerly worked at Marketplace and KCRW. He produced an episode about "Louie Louie" for the podcast Lost Notes MUSIC FEATURED (in order): Lost in Translation – The Neighbourhood Columba aspexit, BN 54 – Christopher Page, Emma Kirkby, Gothic Voices Secret Messages – Juliana Hatfield The Book of Love – Mike Doughty The Philosopher’s Stone – Van Morrison Louie, Louie – The Kingsmen Louie, Louie – The Sandpipers Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Louie Louie is a song frequently heard at bars, athletic events, and open mics. Then the FBI decided to take a closer look at the lyrics.If you're wearing jeans, look at your right pocket and you'll see a tiny, seemingly useless additional pocket. Any ideas?Sources:https://www.npr.org/2023/10/31/1209181745/louie-louie-the-story-behind-the-song-everyone-knows-but-no-one-understandshttps://www.businessinsider.com/small-pocket-pants-jeans-watch-2018-03http://www.commutethepodcast.comFollow Commute:Instagram - instagram.com/commutethepodcast/Twitter - @PodcastCommuteFacebook - facebook.com/commutethepodcast

Welsh harpist Catrin Finch and musician and composer Rhodri Marsden join Jeffrey Boakye and Anna Phoebe as they add five more tracks, with unexpected and surprising connections. The eclectic music choices range from an Americana classic knocked off in just 30 mins to the winner of this year's Ivor Novello Award for Best Album, via a reworking of a Bach organ sonata for piano.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Louie Louie by The Kingsmen I Will Survive by Gloria Gaynor Organ Sonata No.4 movt II (Andante) by Bach, played by Víkingur Ólafsson My Dearest Dear by Ivor Novello – sung by Mary Ellis WHO AM I by BerwynOther music in this episode:P.I.M.P. by Bacao Rhythm & Steel Band Killing Me Softly With His Song by Fugees El Loco Cha Cha by René Touzet Louie Louie by Richard Berry Fly Me To The Moon by Bart Howard, sung by Frank Sinatra Someone Like You by Adele Hotel California by The Eagles It's a Sin by Pet Shop Boys Organ Sonata No.4 movt II (Andante) by Bach, played by Robert Quinney

Immortalised by Hendrix, ‘Hey Joe' had its roots in 18th century murder ballads, ‘60s folk and rock clubs before the world got to hear it. Jason Schneider unravels its twisted genesis in ‘That Gun In Your Hand', and talks to us here about the miracles that allowed it to happen and the sad fate of Billy Roberts, the man who claimed he wrote it. Along with … … “all pop records are built on the back of other pop records” … the allure of violent songs: “we get our kicks from real-life murder” … the bit-part players in the story – David Crosby, Dino Valenti, Tim Rose, Cass Elliot, the Byrds, the Leaves, the Creation and Bob Dylan … the final twist: how Chas Chandler was looking to make Hey Joe a hit when Linda Keith pointed him at Hendrix … “a song with no chorus and a circle of fifths”: why it was a rock staple alongside Gloria and Louie Louie … the cruel fate of Billy Roberts who never recorded Hey Joy as couldn't bear to give away 50 per cent of the royalties … the girl murders the man? “It's a song still in evolution” … how Andy Summers was the first person to hear Hendrix play in the UK … 1,881 guitarists mass-performed Hey Joe in 2007 but could you even release a version of it now? You can order ‘That Gun In Your Hand: The Strange Saga of Hey Joe and Popular Music's History of Violence' from Anvil Press here: https://www.anvilpress.com/books/that-gun-in-your-hand-the-strange-saga-of-hey-joe-and-popular-musics-history-of-violence And from the US distributor Asterism here: https://asterismbooks.com/product/that-gun-in-your-hand-the-strange-saga-of-hey-joe-and-popular-musics-history-of-violence-jason-schneiderFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Immortalised by Hendrix, ‘Hey Joe' had its roots in 18th century murder ballads, ‘60s folk and rock clubs before the world got to hear it. Jason Schneider unravels its twisted genesis in ‘That Gun In Your Hand', and talks to us here about the miracles that allowed it to happen and the sad fate of Billy Roberts, the man who claimed he wrote it. Along with … … “all pop records are built on the back of other pop records” … the allure of violent songs: “we get our kicks from real-life murder” … the bit-part players in the story – David Crosby, Dino Valenti, Tim Rose, Cass Elliot, the Byrds, the Leaves, the Creation and Bob Dylan … the final twist: how Chas Chandler was looking to make Hey Joe a hit when Linda Keith pointed him at Hendrix … “a song with no chorus and a circle of fifths”: why it was a rock staple alongside Gloria and Louie Louie … the cruel fate of Billy Roberts who never recorded Hey Joy as couldn't bear to give away 50 per cent of the royalties … the girl murders the man? “It's a song still in evolution” … how Andy Summers was the first person to hear Hendrix play in the UK … 1,881 guitarists mass-performed Hey Joe in 2007 but could you even release a version of it now? You can order ‘That Gun In Your Hand: The Strange Saga of Hey Joe and Popular Music's History of Violence' from Anvil Press here: https://www.anvilpress.com/books/that-gun-in-your-hand-the-strange-saga-of-hey-joe-and-popular-musics-history-of-violence And from the US distributor Asterism here: https://asterismbooks.com/product/that-gun-in-your-hand-the-strange-saga-of-hey-joe-and-popular-musics-history-of-violence-jason-schneiderFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Immortalised by Hendrix, ‘Hey Joe' had its roots in 18th century murder ballads, ‘60s folk and rock clubs before the world got to hear it. Jason Schneider unravels its twisted genesis in ‘That Gun In Your Hand', and talks to us here about the miracles that allowed it to happen and the sad fate of Billy Roberts, the man who claimed he wrote it. Along with … … “all pop records are built on the back of other pop records” … the allure of violent songs: “we get our kicks from real-life murder” … the bit-part players in the story – David Crosby, Dino Valenti, Tim Rose, Cass Elliot, the Byrds, the Leaves, the Creation and Bob Dylan … the final twist: how Chas Chandler was looking to make Hey Joe a hit when Linda Keith pointed him at Hendrix … “a song with no chorus and a circle of fifths”: why it was a rock staple alongside Gloria and Louie Louie … the cruel fate of Billy Roberts who never recorded Hey Joy as couldn't bear to give away 50 per cent of the royalties … the girl murders the man? “It's a song still in evolution” … how Andy Summers was the first person to hear Hendrix play in the UK … 1,881 guitarists mass-performed Hey Joe in 2007 but could you even release a version of it now? You can order ‘That Gun In Your Hand: The Strange Saga of Hey Joe and Popular Music's History of Violence' from Anvil Press here: https://www.anvilpress.com/books/that-gun-in-your-hand-the-strange-saga-of-hey-joe-and-popular-musics-history-of-violence And from the US distributor Asterism here: https://asterismbooks.com/product/that-gun-in-your-hand-the-strange-saga-of-hey-joe-and-popular-musics-history-of-violence-jason-schneiderFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

This week we're dusting off a true gem from the Tone Mob archives! My 2019 conversation with Mike Mitchell of The Kingsmen. Recorded live in a Portland cigar bar, this one dives into the chaotic birth of garage rock and the most famous three chords in history: Louie Louie. Mike tells the story of how the band cut the track in a one-hour, $36 recording session — and then somehow wound up under FBI investigation because nobody could understand the freakin' lyrics. (Imagine J. Edgar Hoover, in a suit and sensible heels, spending taxpayer money trying to figure out if a bunch of teenagers were singing about naughty, naughty things. You can't make this stuff up.) We also get into the invention of Sunn Amps, how their pants-blowing stage volume influenced Hendrix, The Who, and the Stones, and why some folks consider The Kingsmen the accidental godfathers of punk. The Kingsmen's FBI story has been making the rounds on the internet lately, and I thought it fitting to have folks hear it from the man himself. It's a reminder that rock 'n' roll has always been loud, messy, a little stupid, and that's exactly why it's beautiful. So crank this one up, blow your hair back, and enjoy some history from the loudest living room in America. RIP Mike Mitchell. Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/reverb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/sweetwater⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or grabbing your guitar/bass strings from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/stringjoy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Release your music via DistroKid and save 30% by going to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Dem Vinyl Boyz, we throw on the toga, spike the punch, and crank up the chaos with the unforgettable soundtrack to National Lampoon’s Animal House (1978). One of the most iconic comedy films of all time, Animal House didn’t just redefine the college party movie—it also delivered a killer blend of ‘50s and ‘60s rock ’n’ roll that’s still blasting at frat houses today. The soundtrack features classics from Otis Day & The Knights (“Shout” and “Shama Lama Ding Dong”), Sam Cooke, Fats Domino, and the Kingsmen's raucous “Louie Louie,” all tied together by the chaotic, high-energy spirit of the Delta Tau Chi fraternity. Whether you're reliving your wild college days or hearing these tracks for the first time on wax, this episode is a nostalgic, riotous ride through a soundtrack that’s just as legendary as the film itself. And don’t forget: this episode kicks off our 8-week Soundtrack Summer series—spotlighting the most iconic movie soundtracks ever pressed to vinyl.

ONE IF BY LAND, TWO IF BY SEAPAUL REVERE AND THE RAIDERS GREATEST HITS by Paul Revere and the Raiders (Columbia, 1967)This group, this record: they were fundamental elements in the experience of the 13 year old Captain Billy. My band, The Full House, played a smokin' cover of “Steppin' Out”; Dick Clark's WHERE THE ACTION IS tv show was a can't miss, daily after-middle school check in; I coveted those Vox amps and Mark Lindsay's ponytail. And, re-listening to this setlist 56 years later verifies that this band kicked hard and tight. Just ask Quentin Tarantino, who included two of the cuts for the soundtrack of ONCE UPON A TIME IN HOLLYWOOD. America's answer to the British Invasion actually started earlier, in 1958, in Boise Idaho, when keyboardist Paul Revere and sax player Mark Lindsay met and collaborated in the instrumental group The Downbeats. Revere was the organist's actual name, so the subsequent donning of Revolutionary outfits was a natural, if cringey gimmick. The fact that Mark Lindsay was also one of America's best rock singers was a secret weapon.The initial bombshell was dropped in April, 1963, in Portland, Oregon, when the group recorded the seminal rock standard “Louie Louie” in the same year and the same studio as the Kingsmen (the version everybody remembers): The Northwestern Motion Pictures and Sound Recordings, Inc. studio. But, that didn't matter. Yes, The Kingsmen's recording was a one hit mega-wonder, but, the Raiders became a national institution with a string of 12 top 30 hits. The first incarnation of the Raiders dissolved around the same time that this collection came out, but they kept reforming in various line ups until Revere's death from cancer in 2014. Like their contemporaries, The Monkees, there was a media hyped, manufactured quality (Producer Terry Melcher fattened their sound with the help of The Wrecking Crew), but the Raider's street cred as musicians was impeccable, and very few could wail like Mark Lindsay. 

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 of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠⁠here⁠⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠⁠online⁠⁠⁠⁠, on⁠⁠⁠⁠ Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, or ⁠⁠⁠⁠YouTube.⁠⁠⁠⁠ or drops us an email at ⁠⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠⁠McCusker's Tavern⁠⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠⁠Pantheon Media⁠⁠⁠⁠. We're sponsored by⁠⁠⁠⁠ Boldfoot Socks⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠here⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠online⁠⁠⁠, on⁠⁠⁠ Facebook⁠⁠⁠, ⁠⁠⁠Twitter⁠⁠⁠, or ⁠⁠⁠YouTube.⁠⁠⁠ or drops us an email at ⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠McCusker's Tavern⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠Pantheon Media⁠⁠⁠. We're sponsored by⁠⁠⁠ Boldfoot Socks⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

3pm: Guest - Father David Cregan - Resident Director of Villanova Theater // Thoughts on the New Pope & John’s Mom Seeing him Naked // How ‘Louie Louie’ returned to T-Mobile Park for 2025 Mariners season // ‘Louie, Louie’: How a misunderstood masterpiece sent the FBI on a two-year goose chase // Warren & Diane Ball delivered our new “Teeny” diorama! // Jillian Raftery Reports Live From T-Mobile Field

6pm: Guest - Father David Cregan - Resident Director of Villanova Theater // Thoughts on the New Pope & John’s Mom Seeing him Naked // How ‘Louie Louie’ returned to T-Mobile Park for 2025 Mariners season // ‘Louie, Louie’: How a misunderstood masterpiece sent the FBI on a two-year goose chase // Warren & Diane Ball delivered our new “Teeny” diorama! // Jillian Raftery Reports Live From T-Mobile Field

"First you need to know there are no swear words in this show. It was this week back in the 60s when the FBI released a letter stating that there were no curse words in the song Louie Louie. But people keep looking. This is a list of songs that were banned or otherwise maligned because someone was sure the singer was cursing. But there was no curse word. It is a long list."

Ce mardi 6 mai, Marjorie Hache ouvre Pop Rock Station avec le garage rock incendiaire de The Hives. Au programme : du grunge, du punk, du psyché et du rock à l'ancienne avec Led Zeppelin, L7, Dick Dale ou encore Jefferson Airplane. L'actualité musicale n'est pas en reste, Julian Baker et Torres dévoilent un extrait de leur album commun aux sonorités americana queer, tandis que Perfume Genius s'associe à Aldous Harding pour un duo envoûtant. L'album de la semaine est celui de Car Seat Headrest, "The Scholars", concept immersif dans l'univers d'une faculté fictive. On y découvre ce soir "True/False Lover". Côté reprises, Black Flag dynamite le classique "Louie Louie" dans une version punk radicale. La nouveauté Fresh Fresh Fresh vient de Marseille avec La Flemme, qui dégaine un garage rock fuzzy et sans concession. Et pour clore l'émission, le Mark Lanegan Band offre l'atmosphère sombre de "Bleeding Muddy Water". The Hives - Enough Is Enough Led Zeppelin - Black Dog Babyshambles - Nothing Comes To Nothing David Bowie - Rebel Rebel Julien Baker & Torres Mckenzie Scott - Tuesday Sex Pistols - Pretty Vacant L7 - Pretend We're Dead Car Seat Headrest - True False Lover Depeche Mode - I Feel You Sleep Token - Emergence Jefferson Airplane - White Rabbit Perfume Genius - No Front Teeth (Feat. Aldous Harding) Black Flag - Louie Louie The Subways - Rock & Roll Queen Foals - My Number Dinosaur Pile Up - My Way Sly And The Family Stone - Dance To The Music Melissa Auf Der Maur - Out Of Our Minds R.E.M. - Orange Crush (R.E.M. Live) AC/DC - Rock N Roll Aint Noise Pollution Rival Sons - Company Man La Flemme - Sans Fond Queens Of The Stone Age - The Way You Used To Do Dick Dale - Misirlou Marquis De Sade - Wanda's Loving Boy The Chemical Brothers - Block Rockin Beats (Studio) Mark Lanegan Band - Bleeding Muddy Water Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Michelle Delp is the Regional GM for Fearless Restaurants, and she joined our host so we could SPRING into what's fashionable to eat in University City! Louie Louie offers a vibe that feels very European French Bistro, and with their sidewalk-based seating now open, and new spring menu available and Happy Hours extended...everyone who visits can enjoy the atmosphere and menu options no matter what they're looking for! Whether you're looking for a lighter, brighter meal or dining for a richly, decadent dinner...Louie Louie offers whatever you desire to indulge in. And stay tuned for all the new happenings for Louie Louie, including details about their Espresso Martini Tower, events that are coming up, and of course...what to dine on when you're there!https://louielouie.restaurantWhat you eat matters, which is something that Corie Coles, who is the 4th generation-owner of Triple C Angus, knows, works, and stands behind. Although Corie initially left the family farm to seek a different career path, she circled back to her family's business later on. Her parents still run the day-to-day operations related to farming, however Corie took on a different role at Triple C Angus. Today, everything that the farm produces has to pass through Corie's hands to ensure they're offering the best cuts of meat to offer each customer. And to her, the individuals who purchase either pieces or shares of her family's beef, pork, and chicken are not just customers--they are part of her community. So not only does it matter that the animals they raise are well-cared for, it matters to her that she gets to know the people who purchase their products. To the Coles, family and community matters--and so does what they take home to eat. To learn more about Corie and Triple C Angus, stay tuned to hear her story and then visit the family farm and website for more information on what they offer.https://triplecangus.comGet the latest scoop from Irv's Ice Cream when you tune in to hear from Chef and Owner Ilissa Shapiro! Chef Shapiro just opened her second location on East Passyunk Ave, where you can try out her newest ice cream flavor: Sweet Corn! Make every lick count as she creates her custard-based sweet treats from scratch. Chef Shapiro previously worked inside kitchens on both the West and East Coast, and has always enjoyed making ice cream while working for those restaurants. However, a collaboration created an opportunity that turned into owning her own business, and today Ilissa is scooping up her creative flavors for everyone to enjoy! To hear Ilissa's story and what she has in store, stay tuned to the end of the show and visit Irv's Ice Cream online and in-person at either of her locations!https://www.irvsicecream.com

This is a show about censorship…wait, wait!...don't run away…i know that can be a very touchy subject and once the arguments get started, all the grey areas fade away, everyone ends up in a big fight, and needless to say, the party breaks up.  Let try this from a different angle…there is an area of study i'm trying to promote called “stupid history”…learning about the past doesn't have to be about memorizing dates, who fought what wars, who was king or queen or emperor when.  Humans are dumb creatures, and that dumbness is always on display…and this can be really, really funny…if more of this stuff was taught in history classes, we'd have more historians and writers and people curious about the human condition.  Let me give you an idea…instead of going through the details of the war of the roses, include this in a history less…in Britain in the 16th and 17th centuries, it was common knowledge that ground of bits of mummies stolen from tombs in Egypt was good for you…mix in a little chocolate and you have a nice little snack…so yes, cannibalism in powdered form use to be a thing…and this true: it's why there aren't many ancient Egyptian mummies around anymore. Here's another…Andrew Jackson was the 7th President of the United States when he died in June 1845, his beloved parrot was thrown out of his funeral because the thing kept swearing. One more…Jack Daniels—yes, the bourbon guy—died of an infected toe…he stubbed it very badly when he kicked a safe to which he'd forgotten the combinations… See what i mean?...and here on “Uncharted: Crime and Mayhem in the Music Industry,” talk about some seriously grisly and awful things…let's try something a little lighter for a change…  Yes, it is about censorship…but it's also stupid history…it's episode 39…and boy, this is one is dumb…it's the insane true story of The Kingsmen and “Louie Louie”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrew has some ear-witness reporting regarding the Mariners' use of Louie Louie at ball games. He and Luke also discuss Bill Belichick's bizarre CBS interview and a prank phone call to a high-profile football player. And they get a riveting update on the TBTL Junior Sluggers season!

Luke is happy to learn that the Mariners brought “Louie Louie” back to the ballpark, but all is not quite what it seems. He also wants to tell Andrew about a sign he saw in a hotel, but they just keep talking about new TV shows instead.   

National Submarine day.  International Louie Louie day.  Entertainment from 2013.  190 million dinosaur eggs found in China, NY Congressmen gets kicked out the re-elected to fill his seat, US Navy buys 1st modern submarine.  Todays birthdays - Joel Gray, Peter Riegert, Steve Azar, Joss Stone.  The Elephant Man died.Intro - God did good - Dianna Corcoran  https://www.diannacorcoran.com/ Yellow Submarine - The BeatlesLouie Louie - The KingsmenThrift shop - Macklemore  Ryan LewisWagon wheel - Darius Rucker Birthdays - In da club - 50 Cent    http://50cent.com/I don't have to be till Monday - Steve AzarYou had me - Joss StoneExit - My break-up anthem - Caitlyn Shadbolt     https://www.caitlynshadbolt.com/countryundergroundradio.comhttps://coolcasts.cooolmedia.com/

Surtido de novedades flotando en la marmita que comenzamos a presentar con la cantante neoyorquina Grace Bergere aliada con Thurston Moore para hacer juntos esta versión de todo un clásico del primer álbum de The Velvet Underground.Playlist;GRACE BERGERE feat THURSTON MOORE “All tomorrow parties”THE LIMIÑANAS “Louie Louie”CARROTS “The red telephone”MING CITY R*CKERS “Seven ate nine”TERI GENDER BENDER “Nicole speaks out”L.A. WITCH “The Lines”THE TWIST CONNECTION “Concentrate”ILEGALES “El fondo de la noche”THE BELLRAYS “Snakes”MURAT “Crumpled gold”EARLY JAMES “Steely knives”GARY LOURIS “Blow’em away”RAMIREZ EXPOSURE “For the love of things invisible”ZACK KEIM “Wash away the pain” Escuchar audio

Marjorie Hache nous embarque pour deux heures de pop et de rock sous toutes ses formes. Ce soir, on retrouve des légendes comme Oasis, The Stranglers et Dinosaur Jr. Du côté des découvertes, la talentueuse Blondshell dévoile un extrait de son prochain album, tandis que Girlpuppy, venue d'Atlanta, nous livre un titre folk à l'atmosphère envoûtante. L'album de la semaine est signé Lacuna Coil avec "Sleepless Empire", que le groupe défendra sur scène en France cet automne. Pour le live, Ben Harper nous offre une performance poignante de "Burn To Shine", enregistrée à Angers en 2000. La reprise du soir est un classique : "Louie Louie" des Kingsmen revisité par Motörhead, dans une version survitaminée. Enfin, la session longue nous transporte en 1969 avec The Stooges et leur proto-punk viscéral. Une soirée entre énergie brute et découvertes captivantes, à écouter sur RTL2. La playlist de l'émission : Franz Ferdinand - Hooked Electric Light Orchestra - Don't Bring Me Down The Stones Roses - I Wanna be Adored Linkin Park - Bleed It Out Heartworms - Warplane Dinosaur Jr. - Freak Scene Gary Glitter - Rock & Roll Part 2 Lacuna Ciol - The Siege Oasis - Supersonic Dexndre - I Don't Know Here The Stranglers - No More Heroes Sky Ferreira - Leash Motörhead - Louie Louie Arcade Fire - No Cars Go Guns N' Roses - Welcome To The Jungle Blondshell - T&A Deep Purple - Smoke On The Water Biffy Clyro - Black Chandelier Ben Harper - Burn To Shine (Live In Angers The Stooges - 1969 The White Stripes - I Just Don't Know What To Do With Myself Girlpuppy - I Just Do Stevie Ray Vaughan - Taxman Natalie Bergman - Shine Your Light On Me New Order - 60 Miles An Hour Patti Smith - Birdland

Former Black Flag singer/guitarist Dez Cadena traces his path from being the son of a jazz record producer to becoming a pivotal figure in the LA punk scene, discussing the records, rare recordings and eyewitness accounts in the formation of LA punk rock culture. Topics Include: Interview start, brief discussion of The Saints and Chris Bailey's passing Dez discovered Australian punk through Music Plus record store Early exposure to Ramones, The Damned, and The Saints Describes discovering Radio Birdman alongside The Saints Compares Radio Birdman's sound to Blue Öyster Cult Discusses early AC/DC fandom, specifically Bon Scott era Father Ozzie Cadena was record producer for jazz labels Family moved from New Jersey to California Father had connection to Lighthouse Cafe jazz venue Dez's childhood exposure to music through father's record store Father's recording techniques using minimal microphone setups Connection to Rudy Van Gelder's recording studio Father recorded blues artists like Lightnin' Hopkins Received first drum kit as child from father Influenced by TV show Hee Haw's multi-instrumental performers Father encouraged guitar learning over other instruments Father's reaction to Dez joining Black Flag Met Ron Reyes at garage sale playing punk records First encounter with Black Flag (then called Panic) Discusses early Black Flag recording sessions and demos Explains Louie Louie single release on Posh Boy Records Details Thirsty and Miserable Licorice Pizza promotional record Discusses relationship with Black Flag after leaving band Explains circumstances of Ron Reyes leaving Black Flag Describes chaotic Louie Louie performance after Reyes quit Discusses transition from singing to playing guitar Mentions potential singers considered before Henry Rollins Keith Morris briefly returning for one show Current Flag project and Punk Rock Bowling festival Discusses Punk Rock Museum and giving tours Mentions Johnny Thunders' guitar and other museum exhibits Recommends The Schizophonics band Promotes his current band Dondo Mentions producing 3rd Rate band's recent record See Dez at the Punk Rock Museum - Tickets here Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

We have the dynamic and always appreciated Owner and Director of Business of Fearless Restaurants Group, Sydney Grims joining us first.  With all the holiday festivities happening, Sydney and Amaris chatted about the recently opened Testa Rossa in Glen Mills, PA and the newest addition to the White Dog Cafe locations in Chester Springs, PA.  With newly added events across several of the Fearless Restaurants family of dining establishments, including chef-led classes where you take home what you make, their annual WDC PJ Brunch, and Galentine's celebrations - there was a lot to cover and even more exciting news to look forward to!  Tune in to find out how you can score tickets to one of their events, when they will happen, and even more locations in store for 2025!https://www.fearlessrestaurants.comIG/FB/TikTok/LI/YT: @fearlessrestaurantsWe almost had a round table discussion with our next guests, as one of our long-time friends of the show joined us with her new clients from Jalsa Indian Kitchen on the show. Chef, Culinary Instructor & Restaurant Consultant, and Food Host Chetna Macwan along with Jay & Kinjal Patel who are both Managers of Jalsa Indian Kitchen. Our very own FF&C's host recently attended Jalsa's Media Night to introduce the restaurant and event-spaces to those in attendance.  With a large variety of flavors and menu items to choose from, there was an abundance of dishes to sample from during the event--and when you visit too! The focus is to feel transported to India when you visit, immersed by way of the decor, friendly staff, and with every course of your family-style cuisine.  We were treated to a live dance demonstration when we were there, and you can too!  Listen till the end to find out more on what you can taste, experience, and see when you visit, including a new ticketed event where you can learn to belly dance!https://jalsaindiankitchen.comIG/FB/Yelp/Google: @Jalsa Indian Kitchen We ended our show with a little announcement: We're taking a much needed break in the new year until February 2025!  But don't fret - we'll still have shows for you, as we'll play some of your and our favorites!  So, until then....our team at Food Farms And Chefs is grateful to all of you and our guests, and we wish all of you a very happy holiday season!  

What's your most loved and least favorite song on Shake It Up?! Sam picked The Cars' fourth album to rank, group-average style. He even (again!) held up his old copy for all of our podcast listeners to see. The boys had different experiences with the Cars but all were fans of varying degrees. Adam got his bandmate, Cars mega-fan, and Smash Mouth lead singer Zach Goode to weigh in with his favorite track as well. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite car. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod.SPOILERS/FILE UNDER:1981, A Dream Away, All Is Forgiven, All Mixed Up, Roy Thomas Baker, The Beatles, Boston, Bow Wow Wow, Cars, Cruiser, Devo, Duran Duran, Elliot Easton, Emotion in Motion, The End, Girls On Film, Greg Hawkes, I'm not the one, Jellyfish, Let's Go, Louie Louie, Maybe Baby, Martin Mull, Gary Numan, Ric Ocasek, Benjamin Orr, Panorama, Queen, David Robinson, Shake It Off, Shake It Up, Shake Some Action, Since You're Gone, Sunfish, Taylor Swift, Tears For Fears, Think It Over, This Could Be Love, Touch And Go, Treacherous, Victim, Victim of Love

Rules do not apply when your leader is a criminal... a lot of people won't get supper or justice tonight. Which side are you on? Does it ache to know what you have done? Do you want to kill the poor or feed and help them? Frankly Mr Shankly, I am a sickening wreck, but I know that many will not miss Biden until he is gone. They sing Glory Glory and we head to the bar singing Louie Louie.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Dave BinckThe Kingsmen “Louie Louie" from the 1963 album "The Kingsmen In Person" released on Jerden 712, Wand 143. Written by Richard Berry and produced by Ken Chase and Jerry Denton.Personel:Lynn Easton: vocals, saxophoneMike Mitchell: guitar (maybe not)Don Gallucci: keyboardsNorm Sundholm: bass (maybe not)Gary Abbott: drumsJack Ely: lead vocals, guitarBob Nordby: bassCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Wilson Picket "Mustang Sally"The Righteous Brothers "You've Lost That Lovin' Feelin'"

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Dave BinckThe Kingsmen “Louie Louie" from the 1963 album "The Kingsmen In Person" released on Jerden 712, Wand 143. Written by Richard Berry and produced by Ken Chase and Jerry Denton.Personel:Lynn Easton: vocals, saxophoneMike Mitchell: guitar (maybe not)Don Gallucci: keyboardsNorm Sundholm: bass (maybe not)Gary Abbott: drumsJack Ely: lead vocals, guitarBob Nordby: bassCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:OasisThe NationalWar on DrugsThe BeatlesThe Rolling StonesBob DylanJimi HendrixKings of LeonMy Morning JacketNirvanaCreedDave Matthews BandThe CureSmashing Pumpkins “Gish”The Allman Brothers Band “Whipping Post”Lynyrd Skynyrd “Freebird”The Allman Brothers Band “Midnight Rider”Lynyrd Skynyrd “Sweet Home Alabama”The Allman Brothers Band “Ramblin Man”Lynyrd Skynyrd “Simple Man”Lynyrd Skynyrd “Gimme Three Steps”Little Feat “Dixie Chicken”ZZ Top “La Grange”The Marshall Tucker Band “Can't You See”The Black Crowes “Remedy”Ziggy MarleyBlues TravelerThe Righteous Brothers “You've Lost That Lovin' Feelin'”Rockin' Robin Roberts and the WailersRocindo Ruiz CuavendoRene TouzetRickie Rolera and the Rythym RockerChuck Berry “Havana Moon”Paul Rever and the RaidersThe Kinks “You Really Got Me”The Kinks “All Day and All of the Night”Jack WhiteTame ImpalaBlack Keys “Have Love, Will Travel”Booker T and the MGs “Green Onions”Jerry Lee LewisLink Wray “Rumble”Richie Valens “La Bamba”The Troggs “Wild Thing”Iggy PopThe StoogesBarrett Strong “Money (That's What I Want)”Peggy Lee “Fever”The Isley Brothers “Shout”Otis ReddingToots and the Maytails “Funky Kingston”Joan JettIke and Tina TurnerPink FloydTom PettyMotorheadLemmySteven TylerAerosmithJefferson AirplaneGrateful DeadFrank ZappaRichard Berry “You Are My Sunshine”

Send us a textWE DO NOT OWN THE RIGHTS OR ANYTHING RELATED TO THE SONG LOUIE LOUIE. This is for rock and roll education and nothing more.Thank you all. Bonamassa drops everything in guitar land this week... JESUSIf your into mixing check out that behringer wing stuff. OH MY!John Mayer sig strings. Yea we get into that too.This episode is brought to you by Mean Beard, Green Beard, Franklin Straps, and Analog Pedals!!!Check their respective sites and tell the pirates sent you!

This week we take it in turns to report on the history of a different One Hit Wonder. We cover Louie Louie by The Kingsman, The Safety Dance by Men Without Hats and Who Let The Dogs Out by Baha Men. Recorded live at the Melbourne International Comedy Festival.This is a comedy/history podcast, the report begins at approximately 04:37 (though as always, we go off on tangents throughout the report).Support the show and get rewards like bonus episodes: patreon.com/DoGoOnPodSupport the show on Apple podcasts and get bonus episodes in the app: http://apple.co/dogoon Live show tickets: https://dogoonpod.com/live-shows/ Watch Do Go On The Quiz Show: https://youtu.be/GgzcPMx1EdM?si=ir7iubozIzlzvWfKSubmit a topic idea directly to the hat: dogoonpod.com/suggest-a-topic/Check out our merch: https://do-go-on-podcast.creator-spring.com/ Twitter: @DoGoOnPodInstagram: @DoGoOnPodFacebook: https://www.facebook.com/DoGoOnPod/Email us: dogoonpod@gmail.com Check out our other podcasts:Book Cheat: https://play.acast.com/s/book-cheatPrime Mates: https://play.acast.com/s/prime-mates/Listen Now: https://play.acast.com/s/listen-now/Who Knew It with Matt Stewart: https://play.acast.com/s/who-knew-it-with-matt-stewart/ Our awesome theme song by Evan Munro-Smith and logo by Peader ThomasDo Go On acknowledges the traditional owners of the land we record on, the Wurundjeri people, in the Kulin nation. We pay our respects to elders, past and present. REFERENCES AND FURTHER READING:https://www.imdb.com/title/tt9617782/ https://www.vice.com/en/article/ppm93v/the-baha-men-will-outlive-us-all-000https://www.smithsonianmag.com/smart-news/the-fbi-investigated-the-song-louie-louie-for-two-years-78752777/ Hosted on Acast. See acast.com/privacy for more information.

He may be nicknamed “The Beverage Whisperer,” but when Ken Sadowsky speaks he's heard loud and clear.  A longtime industry advisor and investor, Ken is one of the most respected and influential voices in the beverage business. Ken is currently the executive director of The Northeastern Independent Distributors Association, known as NIDA, a group of wholesalers that operate in states from Maine to Pennsylvania. He's also a senior advisor with Verlivest, the Belgium-based investment holding company founded by the owners of Anheuser-Busch InBev, which holds stakes in Oatly, Vita Coco and Hint Water. Ken is personally invested in and an advisor to several beverage companies including LifeAid, Icelandic Glacial, Recess and Dyla Brands.  This episode is the third of a trilogy with Ken, who also joined us for conversations in 2016 and 2019. Ken and Taste Radio editor Ray Latif sample drinks representing fast-growing, bleeding-edge and established categories, including better-for-you sodas, cannabis libations, nonalcoholic cocktails, and shots of the juice variety. As they sip their way through a mish-mash of beverages, Ken shares his perspective on trendy concepts, package design, formulation his investment thesis, and successful retail strategies. Show notes: 0:35: Ken Sadowsky, The Beverage Whisperer – Ken and Ray engage in some Sox talk before they dive into a mass of beverages, foreign and domestic. Ken talks about cutting his teeth back in 1983 and his ability to understand what brands have what it takes to go from “the core consumer to the more consumer” and why he's not bullish on non-nutritive sugar alternatives. They sip on some Chamberlain Coffee and chat about how the cold brew coffee category has morphed and whether non-alcoholic cocktails are – at this point – more sizzle than steak. Ken also explains why he's a fan of entrepreneurs with industry experience and why it's important to be nice to your distributors, before sipping on Olipop's limited-edition Barbie collaboration and sharing his take on the future of better-for-you sodas. He also admits to being an “illegal cannabis consumer” (not really), why you should sample beverages warm, getting retailers to merchandise your brand in two locations and the Catch-22 of fundraising. Brands in this episode: Mountain Dew, Chamberlain Coffee, Throne Sport Coffee, Vitaminwater, De Soi, Little Saints, Lapo's, Seedlip, Parch, Honest Tea, Prime, Alani Nu, Olipop, Slim Fast, Poppi, Evolution Fresh, Nantucket Nectars, Nixie, Late July, Cape Cod Potato Chips, Milonga, Recess, Magic Cactus, Alldae, Guayaki, Yerbae, Louie Louie, Fhirst, Wunderground's Brain Wash, Califia Farms, Starbucks, Loom, The Turmeric Co., Icelandic Glacial

On this episode BK has it their way with new TF figs, Newage has some Blaster repaints, and DNA Designs has more kits to make our figures better. All this and more, on this episode of TransMissions! Order our TransMissions Exclusive Cover Variant of Skybound’s Transformers #1! Want some TransMissions swag? Check out our online shop, powered by TeePublic! Like what we’re doing and want to help make our podcast even better? Show Notes: If you enjoy TransMissions, please rate us and subscribe on Apple Podcasts, Google Podcasts, and Spotify! These ratings greatly help podcasts become more discoverable to other people using those services and is an easy way to help out our show. Contact Us Continue reading The post TransMissions 604 – Louie, Louie appeared first on TransMissions Podcast Network.

On this episode BK has it their way with new TF figs, Newage has some Blaster repaints, and DNA Designs has more kits to make our figures better. All this and more, on this episode of TransMissions! Order our TransMissions Exclusive Cover Variant of Skybound’s Transformers #1! Want some TransMissions swag? Check out our online shop, powered by TeePublic! Like what we’re doing and want to help make our podcast even better? Show Notes: If you enjoy TransMissions, please rate us and subscribe on Apple Podcasts, Google Podcasts, and Spotify! These ratings greatly help podcasts become more discoverable to other people using those services and is an easy way to help out our show. Contact Us Continue reading The post TransMissions 604 – Louie, Louie appeared first on TransMissions Podcast Network.

When the 2018 Federal Farm Bill was signed into law, repealing the nation's 82-year prohibition on hemp, Louisiana's legislature rapidly opened the door for a booming new industry here in our state. In just a few years, the hemp industry has grown to represent over $33 million in state commerce annually. On this week's show, we explore this fibrous cannabis plant and meet the people who are extracting it, infusing it, and serving it up at your favorite local bar. We begin with Paige Melancon, president of Louisiana Hemp Extractors. Since 2020, his facility in Arnaudville, Louisiana has processed over 2000 pounds of industrial hemp for local farmers, turning it into oils, lotions, gummies, and drinks for wholesale and retail markets. In 2022, Paige branched into manufacturing his own products under the BakPak label. He tells us about the hemp business today and looks at its future in the current political climate. Then, we meet Eric Becker and Ken Jackson – two founders of the cannabis-infused seltzer brand, Louie Louie. With each can including five milligrams of both the cannabinoids CBD and THC, the company offers what they call a "sessionable" product designed as an alcohol alternative. And Louisianans are drinking it up – even in old-line restaurants like the Napoleon House! Braithe Tidwell, corporate beverage director for the Ralph Brennan Restaurant Group stops by to tell us how THC cocktails have made their way onto their restaurant menus. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

It's May 16th. This day in 1964, the FBI drops its years-long investigation into the pop song "Louie Louie."Jody, NIki, and Kellie discuss why there was a moral and political panic over the song and its indecipherable lyrics -- and look into what the song is actually about.This Day In Esoteric Political History is a proud member of Radiotopia from PRX.Your support helps foster independent, artist-owned podcasts and award-winning stories.If you want to support the show directly, you can do so on our website: ThisDayPod.comGet in touch if you have any ideas for future topics, or just want to say hello. Follow us on social @thisdaypodOur team: Jacob Feldman, Researcher/Producer; Brittani Brown, Producer; Khawla Nakua, Transcripts; music by Teen Daze and Blue Dot Sessions; Audrey Mardavich is our Executive Producer at Radiotopia

Coach Vernon Dozier is interviewed about his days dancing door to door for food between coaching gigs and how how housewives made him dance to the “degrading” and “filthy” song “Louie Louie.” Sign up for a Backstage Pass and enjoy a 30,000 plus hour archive, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…