Podcasts about Muff

Hello! Due to some scheduling conflicts we are going to combine Muff's deep dive of RBI baseball into our next episode for Summer Vibe Games. For this episode, we are going to instead look deep into the Beat of the Month archives and find clips from old shows that have never been heard before. Some may be gaming related and some may be completely random. Some may have our "passable" audio quality you've grown to expect, and some clips may sound like garbage. If this is your first time joining us, I'd recommend not listening to this at all and go to an earlier episode. We kind if meander through random topics as many of these clips were taken prior to the episodes actually starting or after they had ended. But if you're feeling adventurous for a trip into the unknown then feel free to join us as we take a look into some forgotten Beat of the Month clips!

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

Muff the Sports Traveler fresh off attending another PGA Major Championship - this time, the U.S. Open at historic Oakmont. He breaks down his Friday adventure: early arrival, nine miles of walking, and catching a hole-in-one from Victor Perez. JJ Spaun shocked the field by finishing under par, but was Oakmont playing like its legendary self after all the rain? From Church Pews to controversy: Sam Burns' water ruling drama and Rory's temper tantrums (and media silence), and a live reaction to the fan-favorite “Sell the Team Bob” chants. We also dive into: * Joey Chestnut's glorious return to the hot dog throne * NFL minicamp QB watch - Jim's upset that one QB isn't part of this discussion * Antonio Brown's legal mess (again) * PGA Tour's power move hiring ex-NFL exec Brian Rolapp * NBA Finals: Conspiracy alert with Scott Foster? * Shohei Ohtani's return & Mizuhara behind bars Shoutout to all our new listeners and subscribers! We're rolling toward 100 on YouTube – and yes, we're giving away merch when we hit it. If you haven't liked / subscribed yet…what are you waiting for?

Brian, Blake, and Richard are back for Episode 569 of the Chasing Tone Podcast - Don't touch Mr Frost's Muff and Brian makes a huge confession   Good Morning tonechasers! Brian van Winkel has aroused himself from his slumber and he is suffering from a severe case of builders' crack but has invented the successor to MTV so all is well. Do you enjoy making music? Some Ai feller thinks that the fun is not in the playing and the guys rage apoplectic at this outrageous notion.  Brian tries to describe a famous cryptid and fails and the irony is observed. The rise of Ai videos has got the guys worried (again) so Richard asks the machine what Brian thinks about Pink Floyd...and he makes a huge surprise confession! Richard is sad about the death of Sly Stone and pays tribute to one of his favorite musical bandleaders of all time. Should Wampler make a new tweaked Tumnus? There was a post in the Wampler Facebook group and Richard challenges Brian with the idea. Richard has an idea for a new video series and Blake is not impressed as he repeats his explanations. He has also has visited the worst pub in the world and tells us about it. Blake is excited by the Wigan kebab. Kirk Hammett's secret sales, Zappa, Thierry Henry, The Tumnus company, Holy Holy, Scotch Eggs, Roadhouse Blues...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Youtube:https://www.youtube.com/@chasingtonepodcastAwesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.comSupport the show

Wednesday - Jim may be ready to get a cat! Kenny from Pet Alliance brings in a couple of kittens for Animal House. Orlando Sentinel columnist Scott Maxwell on Gov. DeSantis going after a reporter for investigating his Hope Florida charity. Rauce Padgett updates us on Good Sauce. Plus, JCS News, JCS Trivia & You Heard it Here First.

Try the Fringe Heals Red Light Pelvic Wand here:https://fringeheals.com/ref/467/Thank you so much for listening! I use fitness and movement to help women prevent and overcome pelvic floor challenges like incontinence and organ prolapse. There is help for women in all life stages! Every Woman Needs A Vagina Coach! Please make sure to LEAVE A REVIEW and SUBSCRIBE to the show for the best fitness and wellness advice south of your belly button. *******************I recommend checking out my comprehensive pelvic health education and fitness programs on my Buff Muff AppYou can also join my next 28 Day Buff Muff Challenge https://www.vaginacoach.com/buffmuffIf you are feeling social you can connect with me… On Facebook https://www.facebook.com/VagCoachOn Instagram https://www.instagram.com/vaginacoach/On Twitter https://twitter.com/VaginaCoachOn The Web www.vaginacoach.comGet your Feel Amazing Vaginal Moisturizer Here

We're back from a brief hiatus and diving headfirst into a jam-packed sports week! Muff makes waves on The Pat McAfee Show and gives us the inside scoop from TST in Cary, NC - autograph hunters, lots of rain, and an unexpected encounter with Hope Solo included. Aaron Rodgers to Pittsburgh? You heard it here first. Muff nailed the call, and now #8 is rocking the Black & Gold. Plus, NFL headlines galore: Jim Irsay's legacy, Nick Chubb's next chapter, and why the Tush Push just won't die. College football's playoff shake-up, the monumental NCAA ruling, and the EA Sports video game payout model all get airtime. Shoutout to new listeners and loyal followers — if you haven't subscribed on YouTube yet, we're giving away merch at 100 subs. Hit that button!Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Nick is losing his mind and Our Heroes are really into this shake. Eric's getting lots of a phone calls on the way back to the office then we get a chance to stir our mac before eating. That's how you know it's good, right? Right? What's that sound like? Support us directly https://www.patreon.com/100percenteat where you can join the discord with other 100 Percenters, stay up to date on everything, and get The Michael, Jordan Podcast every Friday. Follow us on IG & Twitter: @100percenteat Learn more about your ad choices. Visit megaphone.fm/adchoices

Time to set sail for True Crime Madness! Join us as we begin our journey towards the Palmyra Atoll Murders, aka 'the Sea Wind Murders.' In part one, "Meet the Grahams" we lay the groundwork for four of the main characters in the series and do our absolute best to explain the critical importance of materials science and going to court in order to save your girlfriend from going to prison!!!ALL OUR LINKS: https://bcr.link/sPATREON: https://www.patreon.com/BlackCatReportSupport the podcastBeer, Boos and Boogeymen (B3): ⁠https://ghost.beer/⁠⁠⁠CONNECT:Email: contact@blackcat.reportSubmit Episode Ideas: ⁠⁠⁠⁠⁠https://bcr.link/ideas⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠https://www.instagram.com/black_cat_report/⁠⁠⁠⁠⁠SOURCES: And the Sea Will Tell by Vincent Bugliosi: https://www.amazon.com/Sea-Will-Tell-Vincent-Bugliosi/dp/0393327965CHAPTERS:00:00 Intro to Ep 13303:57 Buck, Stephanie and the Iola's Backstory05:27 Buck's Backstory09:13 Fiberglass? or FiberA**?11:35 The Launch of the Iola and Its Superstitions19:40 The Catastrophic Launch of the Iola21:20 Meet the Grahams - Mac and Muff30:57 Mac and Muff's Plan34:22 Knuck if You Buck44:58 Muff Fears for the Worst46:03 Closing ThoughtsMUSIC CREDITS:Outro Music: Lounge Jungle by Curt S D Macdonald https://download.audiohero.com/track/41504269⁠⁠⁠⁠⁠Music Licensing Agreements: ⁠⁠⁠⁠⁠⁠https://blackcat.report/music-licensing-agreement⁠⁠ TAGS:#PalmyraAtoll #TrueCrime #Murder #SeaWindMurders #Comedy #TrueCrimeStories #SailingAdventures #PodcastCommunity

The man behind the creation of jingles of many heritage ILR Stations, kicks off the new series of Radio Greats. But who is the real Muff Murfin? The man behind the sounds of many stations.Well in this episode of Radio Greats, Muff sits down with Luke to reflect on his life and career in the music industry, how he got into creating radio jingles and how he would pitch jingles to potential stations. How a Capital jingle lead to him creating the theme music to Gladiators before moving on to run stations including Kix 96, The Bear, Mansfield and Sunshine. And relaunching Wyvern and BRMB and bringing back some old friends of the airwaves.Big Thanks to Aircheck Downloads and Radio Rewind for use of content.PRS: Your Song, Elton John PRS: Maggie May, Rod Stewart

It's Monday, April 14, and yes—it finally happened… Muff was at The Masters! Tune in as we get a boots-on-the-ground recap from Augusta, complete with pimento cheese, surprise celeb sightings (hello, JR Smith and Annika Sorenstam), epic gift shop lines, gnome grabs, and the magic of 10+ miles walked with no phones allowed. Muff even had a three-ring binder y'all. We dive deep into Rory McIlroy's historic comeback and grand slam-clinching win in cinematic fashion, Justin Rose's rollercoaster - oh, and shout out to Ken Griffey Jr. for lowkey working the event as a credentialed photographer. In March Madness, we break down Florida's wild championship run, Duke's statistical anomaly loss, and some ref drama in the final. Huge congrats to loyal listener Tim for winning the men's tourney bracket challenge!!! NFL and college football didn't sleep either: Geno's bag, Trey McBride's record-setting TE deal, and Joe Milton landing in Dallas. Plus, what's up with Nico Iamaleava leaving Tennessee? NIL chaos or calculated move? All this and more on this week's episode!!! As always, thanks to our listeners, new and old—shout out to our social crew and YouTube fam. Keep sharing, liking, and telling your friends. We're growing thanks to YOU!!!Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

In this episode of The Cocktail Academy, host Damian sits down with Laura Bonner, founder of The Muff Liquor Company, for a deep dive into how a Donegal girl with a bold dream turned her family roots (and potatoes!) into a premium international spirits brand.Laura shares the very real ups and downs of building a business—from an idea sparked by her grandfather's poitin to launching a spirits range that's now taking the U.S. by storm. You'll hear the unfiltered story behind the cheeky brand name, the fight to be taken seriously, and how she landed global investors like Russell Crowe and Ed Sheeran.Whether you're into Irish spirits, brand-building, or just a sucker for a great origin story, this one is packed with lessons, laughs, and serious hustle.

Are You In The Muff Market? Are You A Muff Liquor Man?  Ok folks, we're going to have fun on this one.  When I started the research for this episode, I wasn't sure whether the "Muff Liquor Company" name was a tongue-in-somewhere thing or a hard lean-in. Turns out it's the latter with a healthy dose of the former. It is a company based in Muff, Ireland that makes liquor, and yes they know what the name means.  If you doubt it, check out their April Fool's Day post from this year...just delightfully dirty.  Once you're past the name, though, you've got to have a good product for me to care, and boy do they. I'm joined by Laura Bonner, founder of Muff Liquor Company and probably the closest connection I'll ever have to Jimmy Carr and Ed Sheeran. She's made Muff Liquors of these men, joining Russell Crowe and other notable celebs as spokespeople and investors.  The journey was long and hard, and nothing came easy (ok, last puns, I promise). COVID nearly put them under before they could begin. Now, they're thriving, and the US market awaits.  Muff Liquor's Irish Whiskey is a delicious pour, smoked apples and gentle, sweet peat, at a ridiculously affordable price point (all of their products are $34.99 MSRP, give or take). Take a shot - see if you enjoy diving into the Muff as much as I did (ok, THAT's the last one).  Thank you to Laura for entering to the Whiskey Ring! Thanks to our Presenting Sponsor, BAXUS Baxus is the world's leading collectible spirits marketplace, with user-friendly options for buyers, sellers, and collectors looking to vault their collections. Use my link below to visit the BAXUS.CO website and sign up!  BAXUS Website BAXUS on Instagram BAXUS on Facebook BAXUS on Twitter/X BAXUS on LinkedIn _________________________________________________________ If you haven't joined the Patreon community yet, please consider doing so at patreon.com/whiskeyinmyweddingring The Bottle Share Club - the $25/month Patreon level - is SOLD OUT! You can still support the podcast for as little as $1/month, and $5/month patrons will have first dibs if a $25/month member retires.  If you haven't yet, please follow Whiskey in my Wedding Ring and the Whiskey Ring Podcast on Instagram and Facebook, and subscribe to the newsletter on the website.  The Muff Liquor Company The Muff Liquor Company Website The Muff Liquor Company on Instagram The Muff Liquor Company on Facebook The Muff Liquor Company on X The Muff Liquor Company on YouTube

Hailing Frequencies Open - Send us a message!Marcy is lowered into the guest chair by black borg tubing to help Cameron digest his second contact with "First Contact." Riker remembers the morons, Worf needs some ointment, and Data gets a blow job. Meanwhile Cameron ignites his urine, Rob defends the best scene in movie history, Marcy misplaces Arnie, and John knows what to do with psycho ex-girlfriends. All this plus the most heated holodeck debate to date! Engage!Check out Marcy on her podcast, Idle Ride!Pick up some Green Shirt Merch

Whether it's Muff in Donegal, Twatt in Orkney, Lickey End in Worcestershire, we've all secretly dreamed of visiting places with rude names.Lickey End is Britain's best-kept secret. Join us as Norma the Nympho Nazi and loyal Betty navigate a world of nazi potato sacks, requesting discipline from John Wayne, abusing blow-ins, punch ups at jam making competitions, seducing postmen, shaming yourself on national television and getting down to the vinegar strokes with Nigel Farage.#comedysketches #britishhumour #middleEngland #satire Hosted on Acast. See acast.com/privacy for more information.

It's been a wild week in the sports world! In this episode, we're diving into the chaos of March Madness, with updates on the men's and women's tourneys, plus some fun betting insights from Muff and Alex. We'll recap Mat Madness and discuss Penn State's dominance, plus the viral upset at heavyweight. And yes, we're talking football—everything from NFL trades to rule changes and even college football drama! On the WVU front, we're weighing in on the latest coaching buzz—what do we think about Ross Hodge as the next WVU men's coach? We'll also touch on some big transfer portal news, including Darian DeVries' move to Indiana and Saint Francis reclassifying to DIII. Thanks for all the love on social media, and big thanks to our new listeners for your support! Don't forget to catch us on YouTube and keep helping the podcast grow. Let's dive in!Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Yeah...you heard that right. Ronan joins us on the show to talk about his love for Sydney, how he spent St. Patrick's Day and Chrissie plays a small game with him of "You Say It Best, When You Say Nothing At All," and he smashed it! Ronan Keating will be back in Australia later in the year for The Voice Australia new season as one of the coaches!See omnystudio.com/listener for privacy information.

We are back from a one week hiatus, and to put your mind at ease we are taking a look at Cozy Games! If you're a long time listener you might recall we did an episode on Relaxing Games back on episode 31 & 32. What's the difference between a Relaxing game and a Cozy game you ask? We decided to explore that topic since some of us weren't sure there was a difference... We also talk about what makes a game 'cozy' to us - and then get into the games! For this episode's lineup we've got an old favorite of the show being explored for the first time by Spiral - A Short Hike, indie platformer Gris, mobile game Hook 1 & 2, and then Killer Frequency which Muff applies the cozy label to - and more! And as is the case sometimes, we don't always stay on theme. Unfortunately the off theme game is the antithesis of cozy, so we hope you can still get comfy while you listen. As usual we round out with some trivia which...doesn't quite go as planned. So grab your safety blanket, your favorite stuffy, and join us - as we explore Cozy Games!

Brentford head to the South Coast this weekend looking to complete a double over impressive Bournemouth and repeat last season's win at The Vitality. Brentford have been better on their travels of late, but the Cherries will provide the toughest of tests, having been one of the most impressive sides we've played this season. Bill The Bee Grant and Dave Laney Lane got together to discuss last week's defeat to Aston Villa, KLP's chances of being called up for England as well as the up-coming Muff match. We are also joined by Jacob Gowler at Bees Breakdown, who provides stats and tech analysis of both games, while Jonathan Burchill fills us with more Facts and Funk! COYB! Hosted on Acast. See acast.com/privacy for more information.

Rover's door trim doesn't match. Does Jeffrey know what being a "muff diver" means? How much does Rover pay for car insurance annually for his one vehicle in Florida? Andrew Tate.

Rover's door trim doesn't match. Does Jeffrey know what being a "muff diver" means? How much does Rover pay for car insurance annually for his one vehicle in Florida? Andrew Tate.See omnystudio.com/listener for privacy information.

Garmisch-Partenkirchen – da kann man sich die Menschen schon mal mit Muff und großen Mützen vorstellen. Es ist aber ganz anders, sagt eine Person, die gerade einen sehr, sehr schönen Urlaub da ganz in der Nähe hatte. Wie hätte ein Leben dort aussehen können damals, mit einem Typen von der Army Base? Wie es jetzt ausgesehen hat, ist klar: Es wurde gewandert und viel gesehen. Wie in der Region im Osten Berlins. Gerade so einer Wildschweinrotte entkommen, gab es Soljanka, Kartoffelsalat mit Knacker und berührende bis aufmunternde Worte, die direkt ins Herz gegangen sind. Und wie schön ist das bitte, wenn man sich mit etwas nicht alleine fühlen muss! Unseren Instagram-Account findet ihr hier: https://www.instagram.com/zsvpodcast Und hier geht's direkt zu TikTok: https://www.tiktok.com/@zumscheiternverurteilt

The funniest duo are celebrating natural women in their own inimitable way. Join Ray and Jorma for an hour of fun.'This show is fuller than a Ryanair Toilet when a fat lass invites her fella to the Mile High Club' - Jorma.Highlights:Morgan Freeman talks grandchildren, Donald Trump and having sex with eskimoes' wives.Ray gives us the insider info on the town of Muff, Co. Donegal and explains how being called a Muff Liquor is exactly what Russell Crowe needs right now.Honzie the fraudulent South African Psychic rubs his crystal balls and makes surprisingly accurate predictions for the month of FebruaryAn IRA Man decides to trade a Little Armalite for a Little Cellulite.Check out the boys' Facebook page for a link to Jorma's recent Brexit interview and drop us a line at talkingistanbullocks@gmail.com if you have any poetry requests for Morgan or you'd like to comment or make a suggestion.Join Ray and Jorma for an hour of craic! Giggles Is Good For You!All sketches, songs and jingles written and performed by Jorma KirkkoProduced by James Kirk#Irishcomedy #Britishcomedy #expatpodcast #MorganFreemanPoetry #DonaldTrumpGreenland #BBWMagazine #BBW #Spoofhoroscopes #fakepsychic #rebelsongparody #celluliteisbeautiful Hosted on Acast. See acast.com/privacy for more information.

#298 Patrik Muff | Vom Punk zum Prunk | Bele & Patrik Muff | FounderWie ein Schweizer Rebell und eine Münchner Designerin die Schmuckbranche revolutionierenIn dieser fesselnden Episode des Startcast Podcasts taucht Host Max Ostermeier in die glitzernde Welt von Patrik und Bele Muff ein, den kreativen Köpfen hinter der gleichnamigen Schmuckmarke. Von selbstgebastelten Ohrringen auf dem Schulhof bis hin zu einem globalen Schmuck-Phänomen - die Muffs teilen ihre außergewöhnliche Reise.Tauche ein in Patriks faszinierende Geschichte, die mit 13 Jahren und einem Taschengeld-Boost durch selbstgemachte Ohrringe für Jungs begann. Erfahre, wie er den Weg vom Schweizer Tüftler über Köln bis ins Herz Münchens fand und dabei die Schmuckwelt revolutionierte. Bele enthüllt, wie sie als Partnerin und kreative Kraft das Unternehmen mitgestaltet und vorantreibt.Höre, wie die Muffs in ihrem Atelier im historischen Graggenau-Viertel Münchens, wo schon im Mittelalter Handwerker ihr Gewerbe ausübten, Tradition mit Innovation verschmelzen. Sie erklären, wie sie aus über 2000 Kreationen eine unverwechselbare Handschrift entwickelt haben, die Biker und Banker gleichermaßen anspricht.Patrik und Bele geben exklusive Einblicke in ihren kreativen Prozess. Von der Inspiration durch archaische Symbole bis hin zur Zusammenarbeit mit Goldschmieden, Steingraveuren und Edelsteinfassern - erfahre, wie jedes Stück zu einem authentischen Selbstausdruck wird. Die Muffs verraten, warum sie bewusst auf Massenproduktion verzichten und wie sie den Spagat zwischen Exklusivität und Zugänglichkeit meistern.Entdecke, wie Patrik traditionelle Formen wie Charivaris neu interpretiert und ihnen eine einzigartige Ästhetik verleiht. Bele erklärt, wie sie gemeinsam Schmuck erschaffen, der mehr ist als ein austauschbares Accessoire - von kraftvollen Männerketten bis hin zu subtilen Talismanen.Diese Episode ist ein Muss für jeden, der verstehen möchte, wie man eine Passion in eine erfolgreiche Marke verwandelt. Die Muffs teilen wertvolle Lektionen darüber, wie man im Luxussegment Fuß fasst, ohne seine Wurzeln und Werte zu verlieren.Egal ob du selbst Kreativschaffender bist, dich für Handwerkskunst interessierst oder einfach nur neugierig auf die Geschichten hinter außergewöhnlichem Schmuck bist - diese Episode bietet dir frische Perspektiven und inspirierende Ideen. Tauche ein in die Welt von Patrik und Bele Muff, wo jedes Schmuckstück eine Geschichte erzählt und wo Handwerkskunst auf Rockstar-Attitude trifft.Schnall dich an für eine Reise durch die funkelnde Welt des Schmuckdesigns, gespickt mit den Muffs' Einsichten aus jahrzehntelanger Erfahrung und ihrer Vision für die Zukunft des Luxushandwerks. Entdecke, wie sie die Grenzen zwischen Tradition und Moderne, zwischen Kunst und Kommerz verwischen und dabei völlig neue Möglichkeiten des persönlichen Ausdrucks schaffen.Diese Episode ist deine Eintrittskarte in eine Welt, wo Schmuck mehr ist als glitzernder Zierrat - er ist ein Statement, eine Lebenseinstellung, ein Stück Geschichte am Körper. Lass dich von Patrik und Bele Muff inspirieren und erfahre, wie du selbst zum Architekten deines persönlichen Stils werden kannst.Citations:[1] https://patrikmuff.com[2] https://patrikmuff.com[3] https://patrikmuff.com/herren/[4] https://2030design.de/patrik-muff Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

William tackles his noisy neighbour problem with a masterfully written passive-aggressive text, while Jordan has suggested a sex toy ban (#notasexpodcast). The boys relive the highs and lows of their cottaging trip, including a sauna visit that revealed more than expected. Plus, G&Diva dilemmas bring us a heartwarming love story and a questionable use for the gym hairdryer. Join Sexted Extra and laugh along to William Hanson and Jordan North helping you navigate the challenges of modern life ad free at https://plus.acast.com/s/sextedmyboss. Hosted on Acast. See acast.com/privacy for more information.

This weeks episode has Alex break down what it was like being introduced to collegiate wrestling as well as watching the hockey classic movie "Goon". We do a position group comparison for The Big Game in the NFL this Sunday along with Muff talking about how the podcast ended up in the boardroom this past week. Other interesting news in sports is ... well ... interesting.Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

While Alex is being a medical professional (as opposed to degenerate), Jim, Muff, and Nate discuss the NFL Conference Championships and initial thoughts on the Super Bowl. It should come as no surprise that Jim has an opinion on the Jim Knowles move to Penn State, but how Columbus is this opinion? You be the judge.Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

After losing their teammate and friend Evan Craig to cancer in September last year, players from Naomh Pádraig Uisce Chaoin in Muff, Co Donegal rallied to win the county final, fulfilling a promise they had made to Evan. They continue each day and each game to keep his memory alive. Daniel McCauley, Manager of Naomh Pádraig Uisce Chaoin.

Sean Ó Domhnaill and Seán Óg De Paor look ahead to An Cheathrú Rua's All-Ireland Junior Final against Naomh Pádraig of Muff and preview Galway's National League opener against Armagh. Subscribe for more content!

Alex continues to make a strong push for the crown as the football betting season draws to a close. Jim takes an unusual strategy as the stakes get higher and Muff is just trying to hold on for the season-long PAYDAY!Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Muff just keeps the punishment coming his way as another Buckeye fan joins the show this week - Tyler. The crew dives into the CFP Quarterfinals along with a Semifinal preview along with NFL Week 18 and their early thoughts on matchups throughout football. Tyler even challenges some of Jim's Buckeye opinions and there may be trouble in Ohio State fandom.Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

There are only so many football games left to bet this year. Alex has to tend to real business during this one and takes off to be a true medical degenerate. Jim and Muff try to hold the conversation in talking about a less than exciting NFL Week 18 slate and CFB Bowl Games that aren't capturing the attention / interest of degenerates anywhere. But, there is a lively discussion on former Saban assistants and what type of uncle they would be in your family - so that's nice!Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Alex has climbed above .500 and has overtaken Jim for the second spot while Muff continues to stay on top. There are only so many games left in CFB and NFL so there are some desperate measures being taken by some of your favorite degenerates.Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

#278 Patrik Muff | Vom Punk zum Prunk | Bele & Patrik Muff | FounderWie ein Schweizer Rebell und eine Münchner Designerin die Schmuckbranche revolutionierenIn dieser fesselnden Episode des Startcast Podcasts taucht Host Max Ostermeier in die glitzernde Welt von Patrik und Bele Muff ein, den kreativen Köpfen hinter der gleichnamigen Schmuckmarke. Von selbstgebastelten Ohrringen auf dem Schulhof bis hin zu einem globalen Schmuck-Phänomen - die Muffs teilen ihre außergewöhnliche Reise.Tauche ein in Patriks faszinierende Geschichte, die mit 13 Jahren und einem Taschengeld-Boost durch selbstgemachte Ohrringe für Jungs begann. Erfahre, wie er den Weg vom Schweizer Tüftler über Köln bis ins Herz Münchens fand und dabei die Schmuckwelt revolutionierte. Bele enthüllt, wie sie als Partnerin und kreative Kraft das Unternehmen mitgestaltet und vorantreibt.Höre, wie die Muffs in ihrem Atelier im historischen Graggenau-Viertel Münchens, wo schon im Mittelalter Handwerker ihr Gewerbe ausübten, Tradition mit Innovation verschmelzen. Sie erklären, wie sie aus über 2000 Kreationen eine unverwechselbare Handschrift entwickelt haben, die Biker und Banker gleichermaßen anspricht.Patrik und Bele geben exklusive Einblicke in ihren kreativen Prozess. Von der Inspiration durch archaische Symbole bis hin zur Zusammenarbeit mit Goldschmieden, Steingraveuren und Edelsteinfassern - erfahre, wie jedes Stück zu einem authentischen Selbstausdruck wird. Die Muffs verraten, warum sie bewusst auf Massenproduktion verzichten und wie sie den Spagat zwischen Exklusivität und Zugänglichkeit meistern.Entdecke, wie Patrik traditionelle Formen wie Charivaris neu interpretiert und ihnen eine einzigartige Ästhetik verleiht. Bele erklärt, wie sie gemeinsam Schmuck erschaffen, der mehr ist als ein austauschbares Accessoire - von kraftvollen Männerketten bis hin zu subtilen Talismanen.Diese Episode ist ein Muss für jeden, der verstehen möchte, wie man eine Passion in eine erfolgreiche Marke verwandelt. Die Muffs teilen wertvolle Lektionen darüber, wie man im Luxussegment Fuß fasst, ohne seine Wurzeln und Werte zu verlieren.Egal ob du selbst Kreativschaffender bist, dich für Handwerkskunst interessierst oder einfach nur neugierig auf die Geschichten hinter außergewöhnlichem Schmuck bist - diese Episode bietet dir frische Perspektiven und inspirierende Ideen. Tauche ein in die Welt von Patrik und Bele Muff, wo jedes Schmuckstück eine Geschichte erzählt und wo Handwerkskunst auf Rockstar-Attitude trifft.Schnall dich an für eine Reise durch die funkelnde Welt des Schmuckdesigns, gespickt mit den Muffs' Einsichten aus jahrzehntelanger Erfahrung und ihrer Vision für die Zukunft des Luxushandwerks. Entdecke, wie sie die Grenzen zwischen Tradition und Moderne, zwischen Kunst und Kommerz verwischen und dabei völlig neue Möglichkeiten des persönlichen Ausdrucks schaffen.Diese Episode ist deine Eintrittskarte in eine Welt, wo Schmuck mehr ist als glitzernder Zierrat - er ist ein Statement, eine Lebenseinstellung, ein Stück Geschichte am Körper. Lass dich von Patrik und Bele Muff inspirieren und erfahre, wie du selbst zum Architekten deines persönlichen Stils werden kannst.Citations:[1] https://patrikmuff.com[2] https://patrikmuff.com[3] https://patrikmuff.com/herren/[4] https://2030design.de/patrik-muff Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Sarah surprises Vinnie with a new muff (for his mic) and Matty has a thirst trap.

Helloooooooo FTF crew! We have another cracker of an ep for you this week! We have a great ‘Justin' and dickish behaviour in from two listeners and we finish with trying to give a listener some help and advice with a dilemma.  We love hearing you! You can find the pod on social media platforms just search Finding the Funny podcast and you can find us on Instagram, @ruth_corden and @angecorden, or you can send us an email findingthefunnypodcast@gmail.com

Happer breaks his mic, ScoFro is back, and we have a new product idea!

This week's episode welcomes back Neme and Alex returns after a debaucherous Thanksgiving Eve to talk about all the CFB Conference Championship fun. Jim is still mourning and Muff takes advantage by trying to lead Jim down a degenerate hole - did Jim give in? Listen to find out!Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Don't forget to get your tickets to our holiday screenings of CAROL!This week Katie Janx from MUFF and Brodie Lancaster (not the boy from Albury Wodonga) have a couple of corrections about Francis Ford Coppola and the white rapper Addison Rae's mum actually dated. No one on Threads or Bluesky are funny, kind of like those chicks on RHONY. Jinxy is back on board with RHOSLC, but less so with Gladiator II. Brodie wants to work for Martha Stewart, and both of us kind of want to raid Guru Jagat aka Kundalini Katie's closet after watching Breath of Fire.Get more See Also when you sign up to the Hogg Hive on PatreonSee AlsosBL's column about Martha StewartHayley Phelan's Vanity Fair article, The Second Coming of Guru JagatThe Vanity Fair article about Breath of Fire, which is based on that Vanity Fair articleAlso AlsosNew Deborah Levy book, The Position Of SpoonsKim Deal's debut solo record Nobody Loves You MoreWill & Harper (Netflix)Ziggy Pleat Dress from ALPHA60 My Brilliant Career at MTC directed by Anne Louise SarksACMI's new program, Focus on Peter Weir (Wed 29 Jan – Fri 14 Feb 2025) Hosted on Acast. See acast.com/privacy for more information.

Mike Mussman joins the Vikings conversation as the guys try to make sense of another less than stellar Vikings victory

Mike Mussman joins the Vikings conversation as the guys try to make sense of another less than stellar Vikings victory

In today's Sloppy Seconds, Danny, Billy and Lillie-Mae give the "Director's Muff" on all things "Who Killed Danny Beard?"Want to be a Gossip Goddess or a Question Queen and win a badge?Get involved…Send us your crazy and dirty confessions! They could be your own saucy tales or the goss you have on your friends! Send them in here: https://forms.gle/5uwNGBb9QAkgXKKz5 or you can even get in touch via Whatsapp! Texts/ voice notes, go wild! If you wish to remain anon, just say. We will never out you and can even disguise your voice. Whatsapp the show: https://wa.me/message/NJKXUPHEB7AAI1 Hosted on Acast. See acast.com/privacy for more information.

When Malcom "Mac" Graham III and his wife Eleanor "Muff" LaVerne Graham sailed their ketch the Sea Wind to Palmyra in 1974 they had no idea it was going to be their final trip. They had the misfortune of meeting Duane Buck Walker and his girlfriend Stephanie Sterns and that was the beginning of the end for the happily married couple. Support the showInstagram @vintagehomicidepodcastFacebook Vintage Homicide Podcasthttps://www.buymeacoffee.com/lachesis19vemail vintagehomicidepodcast@gmail.comwebsite https://vintagehomicide.buzzsprout.com

The crew is without Alex this week, but you should check out the YouTube version of the episode to see how we decided to include Alex this week. Jim, Nate, and Muff review the week that was in football in the NFL and CFB worlds, including the anticipation of this week's Top 5 matchup between Ohio State and Penn State. Don't forget to catch the 300th episode, airing live on YouTube and out Thursday morning on ALL the platforms.Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Braves up for Gold Gloves, Schwellenbach all-rookie team, NLCS & ALCS breakdowns, Aaron Judge finally homers, John Sterling calls Yankees "drunks", is Giancarlo Stanton a Hall of Famer? Dodgers pitching record, CFB redshirts, SEC parity? Army & Navy in polls, movie filmed during UGA game, Super Bowl back in Atlanta, Falcons moves & stats, big NFL trades, Tom Brady now owns Raiders, Jerry Jones nuts up then doubles up, Fireman Ed smells a rat in Jets land, Jim Harbaugh has heart, Deshaun Watson bad stat, new Hawks rookie the real deal, we still suck at soccer, women college volleyball players revolt against being forced to play crazy men, Georgetown's bad tweet about former player trying to kill a cop, Finnish hockey player is finished, Ravens fan in big trouble, too many flags, rally snake, Georgia-Georgia Tech game moved, stingrays survive Milton, no more hoodies at practice, Tom Watson, Mike Tyson, Jersey Joe Walcott, Goose Goslin, Dave DeBusschere, Tim McCarver vs Deion, Chris Doleman, Manute Bol, Bryce Harper, Ty Cobb, Nap Lajoie, Snodgrass' Muff not to be confused with Merkle's Boner, Lou Gehrig parole officer, Hank Greenberg, Willie McCovey makes the Peanuts cartoon strip, Yogi Berra fired, plus Pete's Tweets and a quote from Andy Van Slyke 

This week's episode brings Jim, Muff, and Alex to discuss their experiences of the Saturday that was in college football. Jim recounts his journey through the Ohio State game - and eventual loss - including who he puts the most blame on for the L. Alex and Muff share their experience from the WVU - Iowa State Coal Rush game, including pregame festivities, drone show, and Iowa State fans in enemy territory. Lastly, Muff goes through the highs and lows of the Penn State - USC game and shares with the world why Alex is the real MVP for using magic to get the game on a television for Muff to enjoy.Don't forget to follow us on all our socials: - @sportsjimmuff on Instagram / Twitter - Sports Stuff with Jim & Muff on Facebook / YouTube Subcribe, comment, rate, review, poke, like, tickle, and get the damn bell on!!!

Soph's been trying to get back into the swing of things with the school routine in full force, while Emma is blown away by the wonders of modern postal technology. The ladies also learn a new term for a queef, and Sophiena spills her secret about a car park encounter. Hosted on Acast. See acast.com/privacy for more information.

Rob talked about somebody questioning if he was Jewish. He also discussed a recent experience getting an MRI. The gang offered opinions on Linkin Park's new vocalist and the band in general (Sid is not a fan). Rob ranked Mets players with walk off home runs who took their shirts off. We get into a spirited discussion about MMF and spend a little too much time talking about Sara Jay. Sid talks about poop.Watch the episode on Youtube for free. Join our Patreon and get two bonus episodes each month, and other behind-the-scenes goodies. More info here.Follow us on: Twitch, Instagram, Facebook, Twitter, Youtube and our Discord Chat. Also don't forget about our Spotify playlist. We also have merch if you're into that kind of sharing. Hosted on Acast. See acast.com/privacy for more information.

Aloha! We are back for some more nonsense. Today we need out with some inside baseball on our recording setup and how to attack a lost and found. Have a great day everyone! Support Fiddly Dicking Merch Store - fiddlyshop.com (https://www.fiddlyshop.com) Tip Jar - Donate Today (https://www.paypal.com/donate?hosted_button_id=MJJXJ895WU3NY) Twitter: @fdicking (https://twitter.com/FDicking) Facebook: Fiddly Dicking Facebook Page (https://www.facebook.com/fiddlydicking/) Instagram: Fiddly Dicking Instagram (https://www.instagram.com/fiddlydicking/) YouTube: The Fiddly Dicking Show (https://www.youtube.com/channel/UC2hQjlthkalz2IMEknmt0fg)

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