Podcast appearances and mentions of Martha Wainwright

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

Martha Wainwright is a key member of the Wainwright/McGarrigle clan, all of them big favourites of ours. She's currently on her 20th anniversary tour and looks back here at the first shows she ever saw and played which involves … … growing up in a folk dynasty in Montreal.   … the sight of Perla Batalla and Julie Christensen, backing singers on Leonard Cohen's I'm Your Man tour, “who made me want to be onstage too”. … the story of ‘Matapedia', the song Kate McGarrigle wrote when an old boyfriend thought she was her teenage daughter.   … her first shows playing Elvis, Dylan and Woody Guthrie songs on the coffeehouse circuit. … singing with her brother Rufus and her cousins with Kate & Anna McGarrigle at folk festivals. … onstage at the Roches' Christmas shows in New York. … the time her brother stole the show over Emmylou Harris: “I thought I want that kind of attention!” … seeing Pink Floyd's The Wall in a Montreal hockey stadium, aged 9 – “a very marking experience”. … the songs of her mother's she always plays: “I'm obsessed with her legacy”. Martha Wainwright 20th Anniversary tour tickets here: https://marthawainwright.com/showsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Martha Wainwright is a key member of the Wainwright/McGarrigle clan, all of them big favourites of ours. She's currently on her 20th anniversary tour and looks back here at the first shows she ever saw and played which involves … … growing up in a folk dynasty in Montreal.   … the sight of Perla Batalla and Julie Christensen, backing singers on Leonard Cohen's I'm Your Man tour, “who made me want to be onstage too”. … the story of ‘Matapedia', the song Kate McGarrigle wrote when an old boyfriend thought she was her teenage daughter.   … her first shows playing Elvis, Dylan and Woody Guthrie songs on the coffeehouse circuit. … singing with her brother Rufus and her cousins with Kate & Anna McGarrigle at folk festivals. … onstage at the Roches' Christmas shows in New York. … the time her brother stole the show over Emmylou Harris: “I thought I want that kind of attention!” … seeing Pink Floyd's The Wall in a Montreal hockey stadium, aged 9 – “a very marking experience”. … the songs of her mother's she always plays: “I'm obsessed with her legacy”. Martha Wainwright 20th Anniversary tour tickets here: https://marthawainwright.com/showsFind 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.

Martha Wainwright is a key member of the Wainwright/McGarrigle clan, all of them big favourites of ours. She's currently on her 20th anniversary tour and looks back here at the first shows she ever saw and played which involves … … growing up in a folk dynasty in Montreal.   … the sight of Perla Batalla and Julie Christensen, backing singers on Leonard Cohen's I'm Your Man tour, “who made me want to be onstage too”. … the story of ‘Matapedia', the song Kate McGarrigle wrote when an old boyfriend thought she was her teenage daughter.   … her first shows playing Elvis, Dylan and Woody Guthrie songs on the coffeehouse circuit. … singing with her brother Rufus and her cousins with Kate & Anna McGarrigle at folk festivals. … onstage at the Roches' Christmas shows in New York. … the time her brother stole the show over Emmylou Harris: “I thought I want that kind of attention!” … seeing Pink Floyd's The Wall in a Montreal hockey stadium, aged 9 – “a very marking experience”. … the songs of her mother's she always plays: “I'm obsessed with her legacy”. Martha Wainwright 20th Anniversary tour tickets here: https://marthawainwright.com/showsFind 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.

Martha Wainwright organise un concert-bénéfice pour sauver l’école secondaire de son fils. Lendemain de tragédie à Blainville. Grève dès aujourd’hui dans le monde de la construction résidentielle? Vers le bâillon pour le projet de loi 106. Un premier engagement électoral pour PSPP. Victoire des Panthers ! Tour de table entre Marianne Bessette, Alexandre Dubé et Mario Dumont. Regardez aussi cette discussion en vidéo via https://www.qub.ca/videos ou en vous abonnant à QUB télé : https://www.tvaplus.ca/qub ou sur la chaîne YouTube QUB https://www.youtube.com/@qub_radioPour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

What a Little Moonlight Can Do + Good Morning Heartache Cassandra Wilson Coming Forth by DayLegacy RecordingsSe Telefonando Gregoire Maret, Romain Collin, Cassandra Wilson, Gregory Porter Ennio ACT MusicI'd Rather Go Blind Etta James Tell Mama GeffenAlone With My Thoughts Norah Jones Autumn Jones UME - Global Clearing HouseBring Back My Heart (con Rufus Wainwright) +These Flowers Martha Wainwright Martha Wainwright (20th Anniversary Edition) Report Card Music Inc.If You Could See Me Now Zara McFarlane Sweet Whispers: Celebrating Sarah Vaughan Eternal Source Of LightLove Meshell Ndegeocello No More Water: The Gospel Of James Baldwin Blue Note RecordsRun Run + Drive Alessia Cara Love & Hyperbole EP Entertainment, LLC / Def JamEl humo y azul + Habana Rita Donte Ritual Ansonia RecordsEscuchar audio

Martha Wainwright was born into a world of music and folk fame, with songwriter parents Loudon Wainwright III and Kate McGarrigle and brother Rufus. In this episode, Martha opens up about love and jealousy, the profound impact of losing her mother to cancer, and how she discovered new sexiness following her divorce. Martha Wainwright's memoir is called Stories I Might Regret Telling You. You can listen to a playlist of songs featured in the episode on Apple Music or Spotify. Podcast production by Andrew Dunn Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Martha Wainwright was born into a world of music and folk fame, with songwriter parents Loudon Wainwright III and Kate McGarrigle and brother Rufus. In this episode, Martha opens up about love and jealousy, the profound impact of losing her mother to cancer, and how she discovered new sexiness following her divorce. Martha Wainwright's memoir is called Stories I Might Regret Telling You. You can listen to a playlist of songs featured in the episode on Apple Music or Spotify. Podcast production by Andrew Dunn Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Martha Wainwright was born into a world of music and folk fame, with songwriter parents Loudon Wainwright III and Kate McGarrigle and brother Rufus. In this episode, Martha opens up about love and jealousy, the profound impact of losing her mother to cancer, and how she discovered new sexiness following her divorce. Martha Wainwright's memoir is called Stories I Might Regret Telling You. You can listen to a playlist of songs featured in the episode on Apple Music or Spotify. Podcast production by Andrew Dunn Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Martha Wainwright was born into a world of music and folk fame, with songwriter parents Loudon Wainwright III and Kate McGarrigle and brother Rufus. In this episode, Martha opens up about love and jealousy, the profound impact of losing her mother to cancer, and how she discovered new sexiness following her divorce. Martha Wainwright's memoir is called Stories I Might Regret Telling You. You can listen to a playlist of songs featured in the episode on Apple Music or Spotify. Podcast production by Andrew Dunn Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Martha Wainwright was born into a world of music and folk fame, with songwriter parents Loudon Wainwright III and Kate McGarrigle and brother Rufus. In this episode, Martha opens up about love and jealousy, the profound impact of losing her mother to cancer, and how she discovered new sexiness following her divorce. Martha Wainwright's memoir is called Stories I Might Regret Telling You. You can listen to a playlist of songs featured in the episode on Apple Music or Spotify. Podcast production by Andrew Dunn Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Singer-songwriter Martha Wainwright joins to discuss her latest album and new memoir about growing up in a family of rock ‘n' roll royalty and her experiences with love, loss, motherhood, divorce, and the music industry.

For this episode we're joined by a living musical legend whose career as an A&R man, manager, producer, label-owner and writer spans over 60 extraordinary years. On the day his monumental "journey through Global Music" And the Roots of Rhythm Remain is published, the peerless Joe Boyd visits RBP's Hammersmith HQ to talk about the book — and the 17+ years it took to write the follow-up to 2006's acclaimed memoir White Bicycles. After we hear about the 1987 meeting that led to the adoption of the now-discredited term "World Music" as a marketing category, discussion touches on the sound, rhythms and political impact of music from South Africa, Brazil, Bulgaria and — inevitably — Jamaica. Clips from John Hutchinson's 1982 audio interview with the late great Kate McGarrigle – mother of Rufus and Martha Wainwright — lead to our guest's recollections of working with her and sister Anna on their magical eponymous debut in 1975. Joe also reminisces about Junco Partner, the 1976 album he made with New Orleans piano genius James Booker. Talk of the week's featured RBP writer Robert Shelton — coinciding with the imminent reissue of the latter's epic Bob Dylan biography No Direction Home — prompts memories of the late New York Times critic from Joe, who (lest we forget) worked as stage manager at the 1965 Newport Folk Festival in which Dylan first "went electric". Many thanks to special guest Joe Boyd. And the Roots of Rhythm Remain is published by Faber in the UK and Ze Books in the US; visit Joe's website joeboyd.co.uk for more details. Pieces discussed: Joe Boyd: Freaky Galahad, Joe Boyd: An Interview, Joe Boyd on White Bicycles, Kate McGarrigle audio, Bob Dylan at Gerde's Folk City, New York, Pop Singers and Song Writers Racing Down Bob Dylan's Road and Bob Dylan: How does it feel on your own?.

Martha Wainwright is touring Australia this month and Rhythms Editor Brian Wise caught up with her by Zoom to talk about the tour, her return to touring, writing new songs and a tribute to singer/songwriter Connie Converse. The podcast starts with music from Martha's lates studio album Love Is Reborn.  Songs: Hole In My Heart/Getting Older/Love Will Be Reborn - Martha Wainwright (Love Will Be Reborn), Five Years Old - Loudon Wainwright III (Fame & Wealth), One By One - Martha Wainwright, Wild Mountain Thyme (feat. Anna McGarrigle, Chaim Tannenbaum, Lily Lanken, Lucy Wainwright Roche & Martha Wainwright) - Rufus Wainwright (Folkocracy). You can find Martha's tour dates at: https://www.marthawainwright.com/shows  

In 1974, musician Connie Converse drove away from home and was never heard from again. Howard Fishman's book is To Anyone Who Ever Asks: The Life, Music, and Mystery of Connie Converse. Martha Wainwright's cover of "One By One" is on Vanity of Vanities: A Tribute to Connie Converse. Julia Bullock's album is Walking in the Dark. You can find Connie Converse's music at http://connieconverse.com.  Say hello on Twitter, Facebook and Instagram. Sign up for our occasional newsletter, The Accomplice. Follow the show and review us on Apple Podcasts: iTunes.com/CriminalShow. Sign up for Criminal Plus to get behind-the-scenes bonus episodes of Criminal, ad-free listening of all of our shows, members-only merch, and more. Learn more and sign up here. Listen back through our archives at youtube.com/criminalpodcast. We also make This is Love and Phoebe Reads a Mystery. Artwork by Julienne Alexander. Check out our online shop. Episode transcripts are posted on our website. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Anoushka Lucas is a singer, songwriter, actor and theatre composer. Raised in London, Anoushka spoke French before she spoke English, and has a degree in Russian and Italian from Oxford University. Anoushka has been writing songs since the age of 14 and has been described as “an exceptional voice and a great songwriter” (Jamie Cullum, BBC Introducing 2017). Her debut album, Dark Soul, was produced by Martin Terefe (Jamie Cullum, KT Tunstall, Martha Wainwright) and was released in July 2019.   Anoushka is starring in U.Me: The Complete Musical, which boasts a new original soundtrack and is performed by the BBC Philharmonic Orchestra. The Book is by Simon Pitts and Theo Jamieson with music and lyrics by Jamieson (The Famous Five, Everybody's Talking About Jamie, Here Lies Love), and the music has been produced by music producer Steve Levine, who has worked with the likes of Culture Club, The Beach Boys, The Clash and many more. Listen here: https://www.bbc.co.uk/programmes/w13xtvgg Connect with Anoushka on: Instagram or her website. Make sure to follow this podcast everywhere you find podcasts, leave a rating and a review, and slip into our Instagram DMs at @wasitchance. More about Heather via @heather_vickeryandco on Instagram, @Braveheather on TikTok, and listen to The Brave Files More about Alan via @theatre_podcast on Instagram and listen to The Theatre Podcast with Alan Seales EPISODE TAKEAWAYS Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to never before heard demos and tracks from Nevertheless at the first Sun:sets Live episode filmed at Lusty Glaze Beach, Newquay.There will be a brand new Sun:sets live from all over the country with all the usual cock-ups available every month exclusively on Sun:sets Plus.On top of this my brand new podcast After Sun:sets will be available three times a month with some amazing guests lined up including Marcus Brigstocke, Billy Billingham, James Haskell and many more in store. Sun:sets Plus will also include behind the scenes, live Q&A's, meet & greets and exclusive tracks never heard before. 1. Sara Schillachi - Will Not Let You In2. Sunny Lax - Lionheart3. York - Iceflowers4. Soundtrack Selection: Chosen by Mark in Melbourne, AustraliaJames Newton Howard - Model City (Taken from the Netflix Series All The Light We Cannot See)5. Vampire Weekend - I Think UR a Contra6. Snow Patrol - Set the Fire to the Third Bar (feat. Martha Wainwright)7. Tina Dico - True North (Stella Polaris Remix)8. Snow Patrol - Spitting Games9. Jordy Medina - Let You Go10. Alex Breitling - Another Night11. Lumine - ID (If there's one thing)12. Jordin Post - Your Intent 13. Eugene Becker - Fatalist

Americana, Roots, Folk, Blues and Country music. Featured Artists . New and classic tracks.Episode includes Israel Nash, Martha Wainwright, Lainey Wilson , The Blue Nile and Gene Clark.

Folks. Hello. It's been quiet on the dusty Graventown podcast front. Tumbleweeds have been rustling in studio 26K. It's been a busy summer and the fall isn't slowing down anytime soon - but in lieu of that schedule sap-stuck flow from the podcast tree (am I mixing too many metaphors here? Probably) - I thought I'd throw up (figuratively, not literally) a few carcast episodes from the summer. After all - my car really is my journalpod while I'm on the road (and I was literally Kerouac this summer - ok, I'll stop) so I did a lot of thinking and talking. Please enjoy this pre montreal mindpainter as I was mid-tour with Dennis Ellsworth and about to play some tunes with my pal Gideloa Rock N Rolla (Gideon Yellin) at the cool cozy haunt that Martha Wainwright created called Ursa. Enjoy!Catch me in a town near you by visting my website to see where I'm playing. If people can hate for no reason, I can love for no reason - and I love you. Thanks for stopping by Graventown. Yer always welcome here. As a full time independent artist, you can support me by joining my SUPER RAD subscription service at https://ko-fi.com/gravencanada

Today's guest is the singer-songwriter Miki Berenyi. If you were a teenager in the late 80s or early 90s with even vaguely alternative taste you can't have missed Miki and her band, Lush. Miki's distinctive look and bright red hair was an icon for anyone who didn't quite fit in. When the band split, Miki went on to build a new career as a - wait for it - magazine sub-editor. A job that on the face of it could hardly be more different than the rock'n'roll glamour of life on the road. Holidays! Maternity leave! Leaving at 6!But once you've drunk the Kool Aid, there's no going back and now 56 Miki still plays and tours with her band Piroshka.I met Miki in her north London kitchen to talk - and talk and talk! Believe me, this conversation goes EVERYWHERE! From revisiting her teenage diaries for her memoir, Fingers Crossed, to breaking free of the wrong kind of woman narrative and how the macho music industry made her feel “over the hill” at 30. We also discussed, the double standards around ageing and the joy of freeing yourself from the anxiety of youth.Note: Miki refers to someone called Nora a few times in this episode. Nora was her paternal grandmother.If you liked this episode, you might enjoy my interviews with Martha Wainwright and Tracey Thorn. * You can buy all the books mentioned in this podcast at The Shift bookshop on Bookshop.org, including Fingers Crossed by Miki Berenyi and the book that inspired this podcast, The Shift: how I lost and found myself after 40 - and you can too, by me.* And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including exclusive transcripts of the podcast, why not join The Shift community, come and have a look around at www.theshiftwithsambaker.substack.com• The Shift (on life after 40) with Sam Baker is created and hosted by Sam Baker and edited by Juliette Nicholls @ Pineapple Productions. If you enjoyed this podcast, please rate/review/follow as it really does help other people find us. And let me know what you think on twitter @sambaker or instagram @theothersambaker Hosted on Acast. See acast.com/privacy for more information.

Digging deep into my library this week for some tracks from Matt Alber, Suzanne Vega, Leif Vollbekk, Martha Wainwright, Shelby Lynne, Neil Young, Leonard Cohen, Gillian Welch, Beck , Colin Hay, Brandi Carlile, Rose Cousins, Patty Griffin,Bettye Lavette and many many more artists.

Rufus Wainwright talks to Samira Ahmed about his new album Folkocracy, a collection of reimagined Folk songs. The album includes collaborations with artists including John Legend, Chaka Khan and his sister Martha Wainwright. Thomas Hardiman talks about his new film Medusa Deluxe, a gritty murder mystery set at a hairdressing competition. He explains where his unusual idea came from and why he uses his films to explore obsession, whether with hairdressing or carpet sales. Before Covid, many theatre productions didn't cast understudies at all but now plays are casting two for one role. The BBC's Carolyn Atkinson investigates the rise of the understudy. Presenter: Samira Ahmed Producer: Olivia Skinner

Singer-songwriter Martha Wainwright joins to discuss her latest album and new memoir about growing up in a family of rock ‘n' roll royalty and her experiences with love, loss, motherhood, divorce, and the music industry.

近期生活笔记。石家庄之行，喝多了念的诗，送别的朋友，不合时宜的音乐，你是我的月球。 "... and the darkness is clouding the heart, when the heart is the one thing I've got..." 曲目单： (00:00) Daughter - Be On Your Way (04:08) C Duncan - Pearly-Dewdrops' Drops (07:39) OK男女合唱团 - 恋曲1939 (12:49) Ziad Rahbani - Houdou Nisbi (17:10) 陈冠蒨 - 月球 (23:56) WOOM - Seigfried / Self Control / White Ferrari (Jamie Isaac Remix) (28:45) Arthur H - Cet Amour Me Tue (feat. Martha Wainwright) (32:40) Miles Davis - Générique (35:30) LYR - The First Time (Instrumental Version) (37:46) （夏宇 - Sway） (39:10) 张悬 - 并不 (44:44) Dire Straits - Private Investigations (50:22) Bon Iver - Perth (54:24) 万能青年旅店 - 河北墨麒麟（片段） (58:45) Emahoy Tsegué-Maryam Guèbrou - Mother's Love 写封信：soulwedger@163.com

She comes from a famous musical family. And she's always felt like she was number 4 on the totem pole behind her brother Rufus, her father Loudon Wainwright III and her mother Kate McGarrigle. These days Martha has come into her own, talking about her life in a memoir called Stories I Might Regret Telling You. There are tales about her parent's divorce and Martha's wild days as a druggie, drinker and party goer.  She also talks about how she got comfortable in her own skin and how much she loves being the mother of two boys. In a conversation that's honest, funny and raw Martha Wainwright bares all. “Now What?” is produced with the help of Steve Zimmer, Lucy Little and Jullian Androkae. Audio production is by Nick Ciavatta.

Today ARIA-winning singer, songwriter, multi-instrumentalist and producer of this podcast Georgia Mooney joins me for a delightful delve into Martha Wainwright's self-titled debut album. We dig into the Wainwright clan and how they explore their relationships through each other's music, seeing Martha play outside a prison and falling in love with her, Martha and Georgia's shared method of songwriting slowly, Martha's spiky directness in her lyrics, her vocal influence on Georgia, the song Bloody Mother-Fucking Asshole and much more. Plus Georgia talks about her beautiful new single ‘War Romance'.

I first met todays guest, Canadian singer-songwriter Martha Wainwright, when I interviewed her in Glasgow a few weeks ago. We got talking about the nuts and bolts of midlife in the green room and I was thrilled when she agreed to continue the conversation on The Shift.One of our foremost singer songwriters, Martha has released seven critically acclaimed albums. The latest of which, Love Will Be Reborn, is on repeat on my personal playlist.She's also - let's just get this out of the way now - the daughter of “folk royalty” Kate McGarrigle and Loudon Wainwright III and sister of singer Rufus Wainwright. In short, she comes from a family of very distinct voices, which made finding her own a particular challenge.Martha joined me from her home in Montreal to discuss her extraordinarily frank memoir, the aptly titled Stories I Might regret telling you. This conversation goes to all the places: the struggle to make motherhood and the music industry mix, surviving her grim divorce, finding new love with a good man, leaning into your looks, and the agony of being unable to conceive in her 40s. Martha is as candid as her songwriting. Oh and she gave us a guided tour of her enormous vagina painting!* You can buy all the books mentioned in this podcast at The Shift bookshop on Bookshop.org, including Stories I Might Regret Telling You by Martha Wainwright and the book that inspired this podcast, The Shift: how I lost and found myself after 40 - and you can too, by me. * And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including transcripts of the podcast, please consider joining The Shift community. Find out more at https://steadyhq.com/en/theshift/And if you already subscribe - did you know you can buy a Gift Membership of The Shift for a friend at https://steadyhq.com/en/theshift/gift_plans• The Shift (on life after 40) with Sam Baker is created and hosted by Sam Baker and edited by Emily Sandford. If you enjoyed this podcast, please rate/review/follow as it really does help other people find us. And let me know what you think on twitter @sambaker or instagram @theothersambaker. Hosted on Acast. See acast.com/privacy for more information.

"Sonically good without the sonic soul is crap!" Michael talked about why it's the emotional stuff, not the technical stuff that makes a great mix, how to understand multi-bus mix compression, why plugins are fun, and mixing in Atmos on headphones. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Michael Brauer a Grammy-winning New York mix engineer. His many credits include "Best Pop Vocal Album" for John Mayer's Continuum, "Best Alternative Album" for Coldplay's Parachutes, and also "Best Rock Album" for Coldplay's "Viva la Vida or Death and All His Friends". Other artists include The Rolling Stones, Aerosmith, Jeff Buckley, David Byrne, Paul McCartney, Ben Folds, KT Tunstall, and Martha Wainwright. He also invented the technique known as 'Brauerizing', in which mixes are routed through multiple compressors and busses to create a blended sound. And he is a co-founder of Mix With The Masters which has been running for over a decade.  Michael has been a guest on the show previously to talk about his background in music and mixing so please chack out that episode at RSR300. And at that time he had relocated outside the heart of the city in NY to settle into his home studio for mixing. He also completed his journey of migrating his mix template over from a hybrid setup to a full “in the box” method with the help of his engineer Fernando Reyes. Michael created a fantastic course on Puremix.net called Brauerize ITB to teach his mixing setup so you can recreate the whole thing in your home studio if you choose.  So I am excited to have Michael joining us to talk about his philosophy of mixing and the migration over to mixing “in the box”. THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.solidstatelogic.com https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com/Rockstars use code ROCK10 to get 10% off any individual plugin https://jzmic.com use code ROCKSTAR to get 40% off the Vintage series mics https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/01JiSbrOjLxJeeRDlhtnPL?si=5d281e765c8f4fb0 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/390

Host Piya Chattopadhyay revisits some of our favourite conversations with notable Canadians from the past year. Dr. Roberta Bondar reflects on her historic space mission and legacy, Moses Znaimer looks back on 50 years since the launch of Citytv, Simu Liu shares his real-life immigrant superhero origin story, and Martha Wainwright performs and talks about growing up in a famous musical family, then going into the family business herself. Discover more at https://www.cbc.ca/sunday

Welcome to our 79th edition podcast focused on the male sex right with anchor and interviewer, aurora linnea, lesbian feminist extraordinaire, Sheila Jeffreys, and commentary from Sekhmet SheOwl. This month's World News Segment was written and delivered by Emiliann Lorenzen for the last time. As Emily moves on to new projects in her life, we wish her well and thank her for her years of service to WLRN. We will miss you, sister! The music featured in this month's show comes to us from Martha Wainwright with her song Four Black Sheep. The oil painting for our cover comes from Canadian artist Jane Paul and was selected by WLRN member April Neault. Thanks, as always, dear listener, for tuning in to your community- powered radio station in the Femisphere, WLRN. Please listen, like and share widely as we depend on YOU to get this fabulous feminist content out there. Also, if you'd like to support the work we do, please consider a donation to the cause by clicking here: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=ULAE4ZHPARLFE.

We're back to our time travel again this month, heading back to 2006 where we'll be exploring our favourite songs from the year Pluto had it's planetary status cruelly ripped from it's icy mountains. We discuss Pop, Folk, Post-Metal, Emo, & Whatever the hell Scott Walker was doing at that point. We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine. Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Aliens, Lily Allen, Brand New, Camera Obscura, Jarvis Cocker, Cult Of Luna, Devin Townsend Band, The Dresden Dolls, Espers, The Flaming Lips, The Hold Steady, Isis, Kayo Dot, The Knife, LCD Soundsystem, Jenny Lewis, Mogwai, Satyricon, Snow Patrol (Ft. Martha Wainwright), Pernice Brothers, The Pipettes, Damien Rice, Sonic Youth, Srapping Young Lad, Justin Timberlake, The Twilight Singers, Scott Walker, Willard Grant Conspiracy, Yo La Tengo, & Thom Yorke Find all songs in alphabetical order here - https://open.spotify.com/playlist/7EpWTstCYdmon3A4fV9YEM?si=69747f8425494896 Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQ If you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes, you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdg Ian's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqA and Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9Nw The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows - 1st place - 20 points 2nd place - 18 points 3rd place – 16 points 4th place – 14 points 5th place – 12 points 6th place – 9 points 7th place – 7 points 8th place – 5 points 9th place – 3 points 10th place -1 point Hosts - Ian Clarke, Colin Jackson-Brown & Tracey B Guest starring Helen Jackson-Brown. Playlist compiling/distributing – Lydia Clarke Recorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig Podcasts Thanks to Peter Latimer for help with the scoring system. Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_network You can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.com

We're back to our time travel again this month, heading back to 2006 where we'll be exploring our favourite songs from the year Pluto had it's planetary status cruelly ripped from it's icy mountains. We discuss Pop, Folk, Post-Metal, Emo, & Whatever the hell Scott Walker was doing at that point.We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Aliens, Lily Allen, Brand New, Camera Obscura, Jarvis Cocker, Cult Of Luna, Devin Townsend Band, The Dresden Dolls, Espers, The Flaming Lips, The Hold Steady, Isis, Kayo Dot, The Knife, LCD Soundsystem, Jenny Lewis, Mogwai, Satyricon, Snow Patrol (Ft. Martha Wainwright), Pernice Brothers, The Pipettes, Damien Rice, Sonic Youth, Srapping Young Lad, Justin Timberlake, The Twilight Singers, Scott Walker, Willard Grant Conspiracy, Yo La Tengo, & Thom YorkeFind all songs in alphabetical order here - https://open.spotify.com/playlist/7EpWTstCYdmon3A4fV9YEM?si=69747f8425494896Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQ If you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes, you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdg Ian's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqA and Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9Nw The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Lydia ClarkeRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_network You can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.com

Come for a ride down Interstate 5 with Suzzy Roche and Lucy-Wainwright Roche as I talk to them on their way to the next gig on their west coast tour.  Suzzy is one-third of The Roches, a group of sisters whose records since the 1970s have been creating fanatic enthusiasts around the world, myself included. Her daughter Lucy has released several killer solo records in the last couple of decades, and the new album “I Can Still Hear You” is the third that the two of them made together.  This one's an especially big deal for me, because I'm a huge fan on the Roches and their extended universe, including Lucy and her siblings Rufus and Martha Wainwright, not to mention their father Loudon Wainwright III.  Earlier this year, I took my family to see Suzzy and Lucy perform in Seattle a few days before recording this interview while they were on the road (and I joined by speakerphone technology).  Today we're talking about the Roches legacy, including being among the first artists to earn the classification “folk punk,” Suzzy and Lucy's experience collaborating remotely on an album that was meant to happen in a Nashville studio, balancing humor and sincerity in their music, the adjustments necessary to incorporate Roches songs into their set, and Suzzy's most recent novel “The Town Crazy.”Links related to this story can be found on this episode's page at https://www.lowprofilepodcast.comEpisode Artwork by Lani MorrisonProduced by Markly MorrisonThis show is supported by you at patreon.com/LowProfile and in-kind supporters Old School Pizzeria, Rainy Day Records, Schwartz's Deli, San Francisco Street Bakery and Scherler Easy Premium Shitty American Lager.  Bonus track "Love To See You (Roches)" by Stephen Steinbrink.

Nobody who has listened to Martha Wainwright's music could be in any doubt of her powerful voice, her blistering honesty and her disarming humanity. Her memoir, Stories I Might Regret Telling You, is one to excite established fans and lovers of graceful, candid writing alike. From her childhood amongst musical royalty – daughter to folk legends Kate McGarrigle and Loudon Wainwright III and sister to Rufus Wainwright – to a career with all the highs and lows of the music industry, to tales of motherhood, love and loss, divorce and the search for personal peace, it's an unforgettable work of searing emotional honesty. In conversation via video with host Julia Zemiro, Martha shares the stories, truths and triumphs behind the music. Sydney Writers' Festival podcasts are available on all major podcast platforms. If you enjoyed this episode, please rate and subscribe to our channel.See omnystudio.com/listener for privacy information.

Singer-songwriter Martha Wainwright discusses her recent memoir Stories I Might Regret Telling You, how she approaches writing both songs and prose, and being done with old narratives. The critically lauded artist also shares her thoughts on using open tunings, why she found acting wasn't compatible with songwriting, and her plans for the future.

Elle le reconnaît elle-même: Martha Wainwright soumet les réponses qu'elle offre en entrevue à très peu de filtres. Dans ce dernier épisode de la 4e saison de DTCTV, la musicienne explique pourquoi les Wainwright/McGarrigle parlent à ce point de leur intimité dans leurs chansons. Elle se confie au sujet de sa relation compliquée avec son père et du souvenir vivace de sa défunte mère, qui l'accompagne au quotidien. Elle témoigne des défis que représente la vie d'une mère artiste, à la suite d'un divorce, et explique pourquoi il est préférable de ne pas accorder d'entretien à un journaliste anglais après avoir bu plusieurs verres. Elle raconte aussi la naissance de son amitié avec Pete Townshend des Who.

In her book "Stories I Might Regret Telling You," singer-songwriter Martha Wainwright reflects on her place in a famous musical family, and what it took to find her own unique voice.See omnystudio.com/listener for privacy information.

The singer-songwriter goes beyond being a boldface name, a performer, a member of a famous family and opens herself up in a searing and moving memoir, "Stories I Might Regret Telling You."See omnystudio.com/listener for privacy information.

Our summer music series continues with singer-songwriter Martha Wainwright discussing her new memoir about growing up in a bohemian musical family, and her experiences with love, loss, motherhood, divorce, and the ever-changing music industry. See omnystudio.com/listener for privacy information.

DE 340 Elyssa Vulpes is a globe-trotting multi-instrumentalist indie folk musician with over a dozen albums under her belt. Having cured her anxieties (including stage fright) through a combination of her day job as a mindset, performance and artist coach and writing and performing music, Elyssa hopes to inspire others to release their “scorpion energy” – confronting their fears and regularly shedding skins. Her music is meditative yet motivational, with not only a classic singer-songwriter style but elements of Neo-folk, Indie-rock and Americana. Born in Italy, now based in Scotland and New Zealand her music revolves around themes of life's suffering, hope and transformation.  Soaking up the cultural elements of these disparate places, from the Celtic Folk Traditions of Ireland and Scotland to the celebrated Italian singer-songwriters of the 1970s, her music showcases a variety of musical hues that go from sombre to comedic. Influences include Amanda Palmer, Neko Case and Martha Wainwright. So strap up your seatbelts and let's take a ride to New Zealand on this episode of the dHarmic Evolution podcast.   As a Preview In this episode, we speak to our most eclectic artist ever on the show. Having lived in Italy, Scotland and now New Zealand, you can say so about her. We talk about her experiences in each of these countries, her initial foray into music, how her first marriage helped her discover a new genre of music she loves, her close shot at stardom, coaching, her favorite instrument and a whole lot of others, all here on the dHarmic Evolution Podcast.  More about Elyssa Vulpes Find out more about Elyssa and hear her music through different platforms. All the links are provided below! Check out her website, social media pages and music platforms that you can visit. Quotes “A home is not  necessarily a country for me but basically wherever I am”-Elyssa. “The architecture needs to be good because I really have a thing for architecture, I need to live in a place that looks good” -Elyssa. “Hear yourself! Who is ever going to be interested in a mourning person” -Elyssa. “Some artists feel nervous, even though the music is going good, because of their nervousness they don't do well” -Elyssa. “Voice is my first and always will be my first instrument” -Elyssa. “Focus on what you want and not what you don't want” -Elyssa.   Time Stamps 02:42 How does Elyssa have multiple accents 03:57 Elyssa's Italian roots 05:03 How Elyssa's first marriage introduced her to electric music 06:01 Elyssa's dive into comedy 07:13 Elyssa's collaboration album 07:24 Elyssa's band 08:26 James' love for comedy 09:15 Listen to Attrazione by Elyssa 12:46 The background between the Attrazione  14:50 How did Elyssa get into Celtic music 15:52 Elyssa's time at Scotland 17:10 Elyssa's love for Edinburgh 17:22 Why Elyssa's rejected her admission to study Celtics 18:27 Why Elyssa's one shot of fame failed 20:10 How did Elyssa choose to relocate to Scotland 21:30 The music scene at New Zealand 24:04 Gigs at New Zealand 25:20 What is Elyssa currently doing 25:45 Listen to Where have all the good guys gone by Elyssa 30:01 The background behind Where have all the good guys gone 31:45 The musical composition behind Where have all the good guys gone 34:30 How Elyssa creatively saved the day while composing where have all the good guys gone 35:25 Elyssa's new book “Dare to be Seen” 35:40 About Elysaa's upcoming book 37:32 How Elyssa uses her day job to recondition her mind and become a better musician 39:41 Elyssa's podcast 41:10 What is Elyssa currently working on? 42:32 What is Elyssa's favourite instrument 44:10 Where to connect most with Elyssa? 44:48 Elyssa's parting words 45:50 Listen to “Ride On” from James Kevin O'Connor Spotify Playlist:   Make sure you're not missing out on all our “Rising dHarmic Stars Spotify Playlists”. We already have four (4) playlists where you can find over a hundred songs from our very own dHarmic Evolution alumni. Don't forget to share them with your family and friends as well and let the world support these amazing indie artists! Check out the links here:   dHarmic Rising Stars: Aquila   https://open.spotify.com/playlist/4loDaYF0OuWRjZeMXvEjK4   dHarmic Rising Stars: Orion   https://open.spotify.com/playlist/5CnL9tl0xbU4oDh6jtJBZx   dHarmic Rising Stars: Lyra   https://open.spotify.com/playlist/1ov0OqNMJmPhHrxZjsXthS   dHarmic Rising Stars: Scorpius   https://open.spotify.com/playlist/5oQ4Sc4LAJSexsDgDcixt8   dHarmic Evolution links:  Stay up-to-date with our new releases! You just simply need to go to dharmicevolution.com and subscribe to your favorite podcast platform – there are a lot to choose from! Let me know what you think as well by leaving comments or reviews! And if you're digging this show, please share it with somebody either on social media or just forward it to a friend and let them join the growing community of dHarmic Evolution!  Hey, do you know someone who is suffering from anxiety and depression? Please help them out by suggesting the book “7 Steps to Mental Freedom.” It will be a great read for them. You can easily find it as well on the main page of the website or you can just send them to 7stepstomentalfreedom.com  Keep yourself updated with what's going on with dHarmic evolution; check out our Facebook Page: https://www.facebook.com/dharmicevolution and, if you are an artist, an author, or a keynote speaker, who is trying to find a safe place to post your content to, you can check out our own Facebook community page and let the world support you! Check out the link here: dHarmic Evolution Community.    Special Links and Mentions Celtic music Folk revival of  Music in the 70s Attrazione Facile by Elyssa Where have all the good guys gone by Elyssa The Incredible String Band Interrail Trip Edinburgh, Scotland Ride On by James   Connect with Elyssa Website Soundcloud Spotify Youtube Facebook Twitter Instagram Coaching Free "Dare to Be Seen" Book  

The folk singer on the songs in her blood, Montreal, and the intergenerational conflict between professional creativity and family

The folk singer on the songs in her blood and the intergenerational conflict between professional creativity and family

Martha Wainwright traîne depuis sept ans le manuscrit de ses mémoires. C'est à l'aube de ses 46 ans que l'autrice-compositrice-interprète décide enfin de les publier, sous le titre Rien n'est grave n'est encore arrivé; On lance le bal du Combat national des livres 2022 avec Blaise Ndala, Isabelle Picard, Serge Brideau, Jean Grand-Maître et Charlotte Aubin.

This week on the Grow Your Video Business Podcast Ryan sits down with Josh Usheroff to uncover some of the greatest growth hacks in the industry, how to find your niche, building a team, and much more. Josh Usheroff is a producer and cinematographer based in Montreal, Canada. Since 2008, he has been running Black Box Productions with his business partner Ben Goloff. Josh primarily works with brands and agencies to produce commercials and branded content. Past clients include Air Canada, Samsung, Budweiser, IBM, BMW, Mattel, and many more. Over the years, he's filmed videos with countless celebrities, 3 prime ministers and the Dalai Lama. He's directed music videos for Broken Social Scene and Martha Wainwright, as well as DP'd projects with Sam Roberts Band and Azealia Banks. Whether working with brands or musicians, Josh always strives to insert craft and creativity into his work. He's currently launching a new video agency called The Fun Machine focusing on the toy and gaming industry. Today, he's going to share with us his lessons from the field after operating a production company for over a dozen years... Find Josh Usheroff online at BlackBox Productions & The Fun MachineFollow Josh on Instagram | Facebook | Twitter Links Join the Grow Your Video Business Facebook Group Get the ASCEND Method Cheat Sheet Follow Ryan Koral on Instagram Follow Grow Your Video Business on Instagram What's your question for the podcast? Share a video or audio response! Additional Links: Check out the full show notes page If you haven't already, we'd love it if you would take 1 minute to leave us a review on iTunes!

In her memoir, Stories I Might Regret Telling You, Martha Wainwright describes her journey from awkward, earnest, and rebellious daughter, through her intense competition with her brother. - Caitriona McLaughlin is directing a new production of Brian Friel's play Translations, a co-production between the Abbey Theatre and the Lyric Theatre.

How does Martha Wainwright survive growing up in the shadow of not only her father, Loudon Wainwright III, and her mother, Kate McGarrigle, but also her beautiful and extremely talented brother, Rufus Wainwright? It's all described in Martha's memoir, Stories I Might Regret Telling You. Martha steps into the What Difference Does It Make virtual studio to discuss her childhood, and finding her own way in her artistic family. Listen to all of Martha's music including her latest, Love Will Be Reborn, with a free month of Amazon Music, courtesy of your 80s music aficionados at What Difference Does It Make Podcast. We are a proud member of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

How does Martha Wainwright survive growing up in the shadow of not only her father, Loudon Wainwright III, and her mother, Kate McGarrigle, but also her beautiful and extremely talented brother, Rufus Wainwright? It's all described in Martha's memoir, Stories I Might Regret Telling You. Martha steps into the What Difference Does It Make virtual studio to discuss her childhood, and finding her own way in her artistic family.Listen to all of Martha's music including her latest, Love Will Be Reborn, with a free month of Amazon Music, courtesy of your 80s music aficionados at What Difference Does It Make Podcast. We are a proud member of Pantheon Podcasts.

How does Martha Wainwright survive growing up in the shadow of not only her father, Loudon Wainwright III, and her mother, Kate McGarrigle, but also her beautiful and extremely talented brother, Rufus Wainwright? It's all described in Martha's memoir, Stories I Might Regret Telling You. Martha steps into the What Difference Does It Make virtual studio to discuss her childhood, and finding her own way in her artistic family. Listen to all of Martha's music including her latest, Love Will Be Reborn, with a free month of Amazon Music, courtesy of your 80s music aficionados at What Difference Does It Make Podcast. We are a proud member of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

How does Martha Wainwright survive growing up in the shadow of not only her father, Loudon Wainwright III, and her mother, Kate McGarrigle, but also her beautiful and extremely talented brother, Rufus Wainwright? It's all described in Martha's memoir, Stories I Might Regret Telling You. Martha steps into the What Difference Does It Make virtual studio to discuss her childhood, and finding her own way in her artistic family.Listen to all of Martha's music including her latest, Love Will Be Reborn, with a free month of Amazon Music, courtesy of your 80s music aficionados at What Difference Does It Make Podcast. We are a proud member of Pantheon Podcasts.

This week on The Sunday Magazine with Piya Chattopadhyay • We explore how allegations of Russian war crimes in Ukraine could stack up at the International Criminal Court • Entertainer Lilly Singh talks about recovering from personal and professional setback • Singer/songwriter Martha Wainwright performs and reflects on growing up in a famous musical family, then going into the family business herself • Station Eleven author Emily St. John Mandel returns with her visionary new novel Sea of Tranquility Discover more at https://www.cbc.ca/sunday