Podcasts about Nick Drake

The Slowdown is taking a break. We'll be back soon with new episodes. This encore episode was originally released on April 3, 2026.Today's poem is from Perihelion: A History of Touch by Franny Choi. The Slowdown is your daily poetry ritual. In this episode, Maggie writes… “Today's poem is about the snow moon, the first full moon of February. The explanation behind the name “snow moon” is fairly straightforward: February is often the snowiest month. After reading this quiet stunner of a poem, I was inspired to turn on one of my favorite Nick Drake songs, “Pink Moon.” I highly recommend this poem/song pairing.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

In this episode, we invite the marvellous Brian Cullman to join us onscreen from a French farmhouse in the Dordogne. The author of How to Prepare for the Past talks us through his fascinating "travels in music and time" from New York City to North Africa via his writing for Crawdaddy, Musician and The Paris Review. Beginning with his boyhood in midtown Manhattan, Brian recalls his ecstatic discovery of pop radio and WBAI's Bob Fass; his befriending of the late Lillian Roxon; and his teenage immersion in the Max's Kansas City scene. The core of our conversation concerns the period our guest spent in early '70s London, where he fell in with rising folk-rock luminaries Sandy Denny and John & Beverley Martyn and hung out with an all-but-unknown Nick Drake. We hear clips from a 1982 audio interview with Martyn by Brian's Musician colleague John Hutchinson. We jump to the end of the decade as our guest recalls his friendship with R&B legend Big Joe Turner and discusses his dual experience of being a music writer and a performing singer-songwriter. After William quotes from newly-added library pieces by Derek Taylor (1968) and about Amy Winehouse (2004), Barney harks back to a Village Voice report on "Papa John" Phillips on Broadway (1975) and a Madonna profile by recent RBP recruit Barry Walters (2017).How to Prepare For The Past: Travels In Music and Time is published by ZE Books and available now. Pieces discussed: Derek & the Dominos: Marquee Club, London, The Amazing James Booker, Emerald Sapphire and Gold, John Martyn audio, Top Tunes: Martha and the Vandellas, Martha Reeves Goes Solo, Martha Reeves: Martha's Happier Than Ever Before, L.A.: Where It's At, Amy Winehouse: Hip Hop's Jane Austen?, John Phillips on the Great White Way and Madonna's Erotica, Sex: Why Musical Masterpiece, Defiant Book Still Matter.

Mike talks to biographer Richard Morton Jack about the timeless music and tragic life of Nick Drake, and his definitive biography, Nick Drake: The Life. Check out Richard Morton Jack's blog here: https://galacticramble.blogspot.com/ Richard's book, Nick Drake: The Life, is published by Da Capo and can be purchased on Amazon and other platforms. Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Copyright 2026 Ugly Things Magazine Learn more about your ad choices. Visit megaphone.fm/adchoices

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

‘Sandy Denny: A People's History' has just been published, memories from fellow musicians, old friends, producers, writers, fans and admirers. Linda Thompson met her when they were both 16 and was devoted to her ‘til she died in 1978 – “she's still with me, I talk to her all the time”. She looks back here at their lives in Soho bars, folk clubs and studios, the world they inhabited and the musicians they both knew. Among the many highlights … … meeting Sandy in 1966, onstage doing Jackson Frank's You Never Wanted Me. “Eight million cigarettes a day but such breath control!” … why her singing and songwriting were unique … high times at the Colony Club with Lucian Freud and Francis Bacon - “famously grumpy” … “she didn't put up with bullshit. Cross her and she'd deck you” … memories of Nick Drake – “spectral and gorgeous” … the repercussions of the Fairport car crash … memories of her family home in Wimbledon (on the cover of Unhalfbricking) … recording ad jingles for Ski Yoghurt and ‘flour so fine, it flows and it flows' - £15 an hour, “a fortune” … making demos of Nick Drake songs with Elton John, “so full of Valium I had to be held up to the mic” … sharing a flat with Tim Buckley in Holland Park … “anyone who can bear to listen to their own records must be no bloody good” … and the script Nick Hornby started about the life of Richard and Linda Thompson. Order ‘Sandy Denny: A People's History' here: https://burningshed.com/georgia-rose-lucas_sandy-denny-a-peoples-history_bookHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Una posible banda sonora para este fenómeno astronómico que la humanidad viene contemplando y admirando desde el comienzo de su existencia. O como el temor a la ira de los Dioses y presagio de infortunios se convirtió en un capricho cósmico y geométrico que se podía predecir.Playlist;JACCO GARDNER “Eclipse”ALLAH-LAS “Worship the sun”THE ZOMBIES “Time of the season”KEVIN AYERS “The Lady Rachel”JANE BIRKIN “Harvest moon”THE KINKS “Lazy old Sun”NICK DRAKE “Things behind the sun”THE DOORS “Moon light drive” (sunset sound version)LOVE and ROCKETS “Earth, Moon, Sun”DAVID BOWIE “Moonage daydream”THE ROLLING STONES “Moonlight mile”ROBERT DRASNIN “Chant of the moon”THE LIMIÑANAS “Faded”MARIANNE FAITHFULL “Burning moonlight”PINK FLOYD “Eclipse”Escuchar audio

‘Sandy Denny: A People's History' has just been published, memories from fellow musicians, old friends, producers, writers, fans and admirers. Linda Thompson met her when they were both 16 and was devoted to her ‘til she died in 1978 – “she's still with me, I talk to her all the time”. She looks back here at their lives in Soho bars, folk clubs and studios, the world they inhabited and the musicians they both knew. Among the many highlights … … meeting Sandy in 1966, onstage doing Jackson Frank's You Never Wanted Me. “Eight million cigarettes a day but such breath control!” … why her singing and songwriting were unique … high times at the Colony Club with Lucian Freud and Francis Bacon - “famously grumpy” … “she didn't put up with bullshit. Cross her and she'd deck you” … memories of Nick Drake – “spectral and gorgeous” … the repercussions of the Fairport car crash … memories of her family home in Wimbledon (on the cover of Unhalfbricking) … recording ad jingles for Ski Yoghurt and ‘flour so fine, it flows and it flows' - £15 an hour, “a fortune” … making demos of Nick Drake songs with Elton John, “so full of Valium I had to be held up to the mic” … sharing a flat with Tim Buckley in Holland Park … “anyone who can bear to listen to their own records must be no bloody good” … and the script Nick Hornby started about the life of Richard and Linda Thompson. Order ‘Sandy Denny: A People's History' here: https://burningshed.com/georgia-rose-lucas_sandy-denny-a-peoples-history_bookHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

‘Sandy Denny: A People's History' has just been published, memories from fellow musicians, old friends, producers, writers, fans and admirers. Linda Thompson met her when they were both 16 and was devoted to her ‘til she died in 1978 – “she's still with me, I talk to her all the time”. She looks back here at their lives in Soho bars, folk clubs and studios, the world they inhabited and the musicians they both knew. Among the many highlights … … meeting Sandy in 1966, onstage doing Jackson Frank's You Never Wanted Me. “Eight million cigarettes a day but such breath control!” … why her singing and songwriting were unique … high times at the Colony Club with Lucian Freud and Francis Bacon - “famously grumpy” … “she didn't put up with bullshit. Cross her and she'd deck you” … memories of Nick Drake – “spectral and gorgeous” … the repercussions of the Fairport car crash … memories of her family home in Wimbledon (on the cover of Unhalfbricking) … recording ad jingles for Ski Yoghurt and ‘flour so fine, it flows and it flows' - £15 an hour, “a fortune” … making demos of Nick Drake songs with Elton John, “so full of Valium I had to be held up to the mic” … sharing a flat with Tim Buckley in Holland Park … “anyone who can bear to listen to their own records must be no bloody good” … and the script Nick Hornby started about the life of Richard and Linda Thompson. Order ‘Sandy Denny: A People's History' here: https://burningshed.com/georgia-rose-lucas_sandy-denny-a-peoples-history_bookHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

Welcome to the Guestlist, where Justin has on guests...to make lists. This week Justin is joined by Sergie Loobkoff of the bands Ways Away, Samiam, and Knapsack. Sergie chose the prompt of "favorite albums" so we are talking about a few different styles of music from hardcore, thrash, folk, indie, and shoegaze. Ways Away - The Noise Pollution Series Vol. 2: I Should Have Brought a Gun - https://www.noisereal.com/product/ways-away-noise-pollution-series-volume-2-i-should-have-brought-a-gun Ways Away Instagram - https://www.instagram.com/waysawayband/?hl=en https://waysawaymerch.com/ Song Clips: I Should Have Brought a Gun by Ways Away Starpower by Sonic Youth Stars and Stripes by Circle Jerks Son of Mustang Ford by Swervedriver A Lesson in Violence by Exodus Things Behind the Sun by Nick Drake

No se puede atrapar el viento, pero podemos traerte la brisa del mar. Invocamos al frescor del verano en esta colección de canciones.Playlist:(sintonía) FLEETWOOD MAC “Albatross”DONOVAN “Catch the wind”THE BEACH BOYS “The warmth of the sun”OTIS REDDING “Sittin’ on the dock of the Bay” (demo, take 1)JONI MITCHELL “Carey”NICK DRAKE “Pink Moon”FRANK SINATRA “Summer wind”SEALS and CROFTS “Summer breeze”DON COSTA “The breeze and I”MARTIN DENNY “Trade winds”TONY JOE WHITE “Homemade ice cream”JIMI HENDRIX “The wind cries Mary”CHUCK PROPHET “Summertime thing”RAY COLLINS HOT CLUB “The breeze”NOLAN STRONG and THE DIABLOS “The wind”LOU REED “Ocean” (demo 1971)THE OZARK MOUNTAIN DAREDEVILS “Giving it all to the wind”Escuchar audio

Produção independente, música pop do Japão, trilhas sonoras de anime, synths, ska para animar os dias tristes, confusão de Nick Drake com Jeff Buckley, as recomendações musicais de Johnny Knoxville, explorar o mundo do folk e porradaria musical de qualidade feita por jovencitos foram alguns dos assuntos deste episódio do Troca Fitas, onde recebemos Natasha Durski, que está preparando o novo disco de seu projeto Feralkat!Abertura por ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Aletrix⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoio: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mutante Radio

Bridget St John in conversation with David Eastaugh English singer-songwriter and guitarist, best known for the three albums she recorded between 1969 and 1972 for John Peel's Dandelion record label. Peel produced her debut album, Ask Me No Questions. She also recorded a large number of BBC Radio and Peel sessions and toured regularly on the British college and festival circuit. St John appeared at leading folk venues in the UK, along with other folk and pop luminaries of the time such as Nick Drake, Paul Simon, and David Bowie, among others. In 1974 she was voted fifth most popular female singer in that year's Melody Maker readers poll. Blessed with a "rich cello-like" vocal style, she is also an accomplished guitar player who credits John Martyn and Michael Chapman as her "musical brothers".

We all carry around an idea of success—the job promotion we crave, the car that'll make strangers on the street crane their necks in jealousy, the beautiful house that turns visitors quiet as they walk through the front door. Fewer ask where these ideas come from. Mostly, they're absorbed from our parents, from culture, and from the other dads we compare ourselves to without meaning to.We spend our lives chasing these ghosts. But nobody warns you what's on the other side—what might happen if you get everything you wanted and end up feeling hollow. For this month's podcast, I sat down with my good friend Toph—known to the rest of the world as SOHN, the British artist and producer behind the albums Tremors and Trust. SOHN signed a record deal with 4AD, played Coachella and the late-night US TV circuit, and has spent well over a decade living the “artist dream” while raising three boys. Six years ago, we met in the lift of a Barcelona hotel, and eventually bonded over something neither of us saw coming: an episode of depression after the birth of our second child.We pulled each other through that dark time, with long walks and honest conversations. Just before the launch of his fourth album Albadas (Dawn Songs), we sat down in his studio to talk about all of it. This is the most honest conversation about success, money and creative identity I've ever heard from a dad in the public eye. We talk about his five-year creative block, the album that only arrived when he stopped writing as SOHN and started writing as a dad, what it does to your head when your creative output is tied to the food you put on your kids' plates—and why, when what he was chasing turned out to be a trap, he sold the dream house, killed the ego he'd spent so long protecting, and started again.Listen and Subscribe On …SpotifyApple PodcastsYouTubePocket CastsWhere to Find SOHN* SOHN's website* His new ambient album Albadas (Dawn Songs)—stream it everywhere or grab the limited vinyl/CD on Bandcamp* Trust—the album we discuss throughout, drenched in themes of fatherhood* Follow him on InstagramEpisode References* Trust (2022)—SOHN's third album, written after a five-year block* Tremors (2014) and “The Wheel”—where the world first heard SOHN* The Streets—the Mike Skinner problem: what do you write about when the drama's gone?* Oasis, Be Here Now—the Rolls-Royce in the swimming pool* Elliott Smith and Nick Drake—and the myth of great art made in depression* Kevin's essay: “How to Raise Tiny Humans Without Losing Your Mind”—The Tunnel, and coming out of it at five yearsTimestamps0:00 — a new definition of success0:46 — a conversation between good friends2:01 — the fantasy of the artistic dream4:14 — neck pain and stress7:09 — what shocked SOHN about fatherhood: patience, autonomy, silence8:50 — from one kid to two kids12:58 — paternal postnatal depression14:51 — great artist vs. stable force: the identity collision18:44 — the five-year creative block20:42 — having nothing to say22:26 — Tundra, the record nobody heard24:20 — early struggling musician days25:06 — the buffet of success27:57 — signing with the guy whose music he hated31:52 — losing the compass33:42 — depression as a weather system35:13 — the myth of making great art while depressed36:51 — at peace with the kids, at war with yourself39:28 — the head f**k of creative money: “we're screwed” to “we're rich” overnight44:04 — selling the dream house47:27 — imposter syndrome49:25 — Trust: giving up as a creative strategy53:39 — when the fears came true55:39 — the ego death journey58:33 — listen up, parents: it gets easier1:00:34 — where are all my friends?1:05:34 — alternative to climbing the social ladder1:07:03 — three boys watch their dad on stageCreditsHost: Kevin MaguireManaging Producer: Elizabeth Van BrocklinSound Editor: Sam WilliamsTheme Music: SOHN Get full access to The New Fatherhood at www.thenewfatherhood.org/subscribe

Mark ‘Squeezebox Wally’ Wallace is an Australian-based accordion and keyboard player, who for more than forty years has played around the world with a range of outfits including Weddings Parties Anything and Mick Thomas’ Roving Commission.  We cover a lot of that career, in addition to some discussion on accordions in contemporary music, some great desert island disc selections and a whole bunch more. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   Mark’s musical upbringing and earning his stripes in a Scottish dance band from age 12. Auditioning and joining Weddings Parties Anything Wedding Parties Anything live in 1988 – Under The Clocks Weddings Parties Anything – Streets of Forbes Early days gigging with Weddings Parties Anything, including a residency at Fitzroy’s Jike Jika Hotel. Weddings Parties Anything’s first album – Scorn of the Women The Infanticide of Marie Farrar Weddings Parties Anything – Away Away The second album – Roaring Days Discussion on Weddings Parties rise and rise and supporting acts like Stevie Ray Vaughan, Robert Cray, Steve Earle and U2. The third album – The Big Don’t Argue The Ballad of Peggy and Col The fourth album – Difficult Loves The fifth album – King Tide Changes in band lineup and making Australia the ‘new Europe’ touring-wise. The sixth album – Donkey Serenade The last album – River’esque The ending of Weddings Parties Anything, the final gigs and stage diving with an accordion Touring with U2 and BB KingMark in action with Sally Dastey The brilliant Tiddas Playing on Mick Thomas and The Sure Thing albums – including Big Geographical The formation of Mick Thomas’ Roving Commission Three Roving Commission songs to check out: Back in the Day, Build This, Anything You Recognise (which in part retells the discussion with Mark on the breakup of Weddings Parties Anything) Mark’s accordions and go to keyboard: the Nord Electro 3 The solo album: Squeezebox Wally Thoughts on musical legacy The The – This Is The Day Desert Island Discs: Kite – Kirsty Maccoll, Five Leaves Left – Nick Drake, Dancer With Bruised Knees – Kate & Anna McGarrigle, Moon Safari – Air, How Will The Wolf Survive? – Los Lobos, Nina Simone At Town Hall – Nina Simone. Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations. A special thanks to Tim Pyers who introduced me to Weddings Parties anything way back in 1989. Do get in touch Tim!The post Mark ‘Squeezebox Wally’ Wallace, Weddings Parties Anything, Mick Thomas’ Roving Commission appeared first on The Keyboard Chronicles.

Action Church exists to REACH people where they are and CONNECT them to everything God has for their life. If you gave your life to Christ today, we would love to partner alongside you to walk you through next steps. Please let us know about your decision here: theactionchurch.com/card If you want be a part of the mission of Action Church to REACH people where they are and CONNECT them to everything God has for their life, you can be a part by worshiping God with your giving through Action Church by visiting: theactionchurch.com/give Stay Connected - Find a Location and Service Time Website: theactionchurch.com Instagram: instagram.com/theactionchurch Facebook: facebook.com/theactionchurch

 ¿Qué hace que una historia permanezca con nosotros? ¿Las palabras o la música que la acompaña? En este episodio de A Pie de Letra, Iñaki nos propone una perspectiva diferente: en lugar de traer una canción conocida por la radio o por un álbum, nos presenta una pieza que muchos descubrieron a través de un comercial. A partir de “Pink Moon” de Nick Drake, exploramos cómo la música, aun de fondo, puede trascender su papel como protagonista para convertirse en el vehículo que transforma una historia sencilla en una experiencia inolvidable. Conversamos sobre el poder de la música para cambiar el significado de una escena, despertar emociones que las imágenes por sí solas no consiguen transmitir y crear recuerdos que permanecen con nosotros mucho después de que termina la historia. Porque a veces una canción no solo cuenta una historia. A veces, es la razón por la que una historia jamás se olvida. Mándanos un mensaje.Agrégate nuestros playlists a tu Spotify: 'A Pie De Letra Temporada 1' y 'A Pie De Letra Temporada 2' y Temporada 3, para que nos acompañes cada semana con una nueva canción.

MeMeMes: The Force Awakens (film) The Last Jedi (film) The Rise of Skywalker (film) Tommy Emmanuel Maton Acoustic A Skin Too Few: The Days of Nick Drake (film) Visit Jacob's IG at lightsxshade

Brian Cullman is an acclaimed musician and journalist from New York whose memoir How to Prepare For The Past: Travels in Music and Time is one of my favorite reads of the year. The book tells tales of encounters with big names like Nick Drake, Van Morrison, Chuck Berry, Big Joe Turner, Bo Diddley, George Martin, and more. But, the stories in these pages are deeply relatable and human. After just a few minutes talking to Brian, I realized why. The Marinade is a free-flowing conversation about the creative process with creative people. Each episode we welcome musicians, actors, comedians, authors, visual artists, filmmakers- anyone who creates art to talk about how and why we make stuff. Support The Marinade on Patreon: http://patreon.com/marinadepodcast Follow all things Brian: https://www.briancullman.com/ Vote for The Marinade in Orlando Weekly's Best Of 2026: https://linktr.ee/marinadepodcast  

Annahstasia is one of the most exciting singers and songwriters in the modern folk space. Originally courted by major labels in her youth, she found herself drifting away from the bedroom pop and R&B genres where music business execs thought she belonged. Drawn to folkier material, she emerged in the 2020s with a sound that blends the soul jazz of Terry Callier with Nick Drake's hushed chamber folk, her magnificent voice way out front in the mix, sometimes recalling the fullness of singers like Odetta or the jazzy sway of Hejira-era Joni Mitchell.  In March of this year, she released a live album, Live at Glasshaus, recorded at the Brooklyn studio and performance space. Drawing her full discography, Annahstasia and her band re-imagine the material and present in a fresh and intimate way in front of a limited audience of only 100 attendees.  On this week's show, Annahstasia joins us to discuss the spaciousness and quietude required to get into a creative zone, the influence of Terry Callier, blazing her own trail as a self-described “Black girl playing her guitar.” We also get into her earliest memories of listening to her parents CDs, the most frequently cited book on Transmissions, Hazrat Inayat Khan's The Mysticism of Sound and Music, and how creating from the heart puts you in touch with the divine. Learn more about your ad choices. Visit megaphone.fm/adchoices

David Gray went through the roof with his White Ladder album in 2000 and he's toured and recorded ever since, ending this summer's loop at Latitude. He talks to us here about the rigours of seeing bands when you lived in rural Wales and the hilarious, hard-won lessons of the first gigs he played himself and every possible shade of crowd reaction. It's an absolute whirlwind from start to finish and features ... ... playing weddings, clubs, festivals and a Welsh village regatta … the role of music in the construction of your character … the turning point: “I arrived onstage to more applause than I'd ever had when leaving” … the time gave Morrissey his string of beads … the emotional architecture of live performance and how Elvis programmed his shows … vivid memories of seeing the Cult (“bloody nose”), the Mission (“headbutted”) and the Stranglers (“we left terrified”) … running from stage to stage at Glastonbury in ‘86 and the insular genius of the Cure … his Liverpool punk band in their perishing “Joycean” flat … the unbeatable sound of a crowd singing one of your songs … Nick Drake's frail sensibility and the value of growing a hard skin. David Gray tickets here: davidgray.comHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

David Gray went through the roof with his White Ladder album in 2000 and he's toured and recorded ever since, ending this summer's loop at Latitude. He talks to us here about the rigours of seeing bands when you lived in rural Wales and the hilarious, hard-won lessons of the first gigs he played himself and every possible shade of crowd reaction. It's an absolute whirlwind from start to finish and features ... ... playing weddings, clubs, festivals and a Welsh village regatta … the role of music in the construction of your character … the turning point: “I arrived onstage to more applause than I'd ever had when leaving” … the time gave Morrissey his string of beads … the emotional architecture of live performance and how Elvis programmed his shows … vivid memories of seeing the Cult (“bloody nose”), the Mission (“headbutted”) and the Stranglers (“we left terrified”) … running from stage to stage at Glastonbury in ‘86 and the insular genius of the Cure … his Liverpool punk band in their perishing “Joycean” flat … the unbeatable sound of a crowd singing one of your songs … Nick Drake's frail sensibility and the value of growing a hard skin. David Gray tickets here: davidgray.comDavid Gray's new album Nightjar, a companion to his 2005 No.1 record Life in Slow Motion, is out now via Bella Figura.Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

David Gray went through the roof with his White Ladder album in 2000 and he's toured and recorded ever since, ending this summer's loop at Latitude. He talks to us here about the rigours of seeing bands when you lived in rural Wales and the hilarious, hard-won lessons of the first gigs he played himself and every possible shade of crowd reaction. It's an absolute whirlwind from start to finish and features ... ... playing weddings, clubs, festivals and a Welsh village regatta … the role of music in the construction of your character … the turning point: “I arrived onstage to more applause than I'd ever had when leaving” … the time gave Morrissey his string of beads … the emotional architecture of live performance and how Elvis programmed his shows … vivid memories of seeing the Cult (“bloody nose”), the Mission (“headbutted”) and the Stranglers (“we left terrified”) … running from stage to stage at Glastonbury in ‘86 and the insular genius of the Cure … his Liverpool punk band in their perishing “Joycean” flat … the unbeatable sound of a crowd singing one of your songs … Nick Drake's frail sensibility and the value of growing a hard skin. David Gray tickets here: davidgray.comDavid Gray's new album Nightjar, a companion to his 2005 No.1 record Life in Slow Motion, is out now via Bella Figura.Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Anthony Phillips, founding Genesis guitarist, joins Jason Barnard to talk about the formation of Genesis, his departure, and his latest album, Gemini – Pieces For Piano. He traces the Genesis story back to Charterhouse and the summer of 1967, when he first heard a 12-string guitar. Peter Gabriel’s theatrical stage persona came about through necessity, filling dead time while Phillips and Mike Rutherford fought with temperamental instruments. The jump from From Genesis To Revelation to Trespass has always looked abrupt; Phillips explains it simply: he and Rutherford spent the eight months between recording and release writing constantly, with ‘Dusk,’ ‘White Mountain’ and ‘Stagnation’ sketched out before the debut had even flopped. Then there’s the stage fright. Not ordinary nerves but sudden mid-performance blanks that came on after glandular fever. He was eighteen and never told anyone. There’s also a brief exchange with Nick Drake, playing the same indifferent university crowds. When Drake learned Phillips had written ‘Let Us Now Make Love,’ he said one word back: “Dangerous.” The conversation also covers his classical studies, the troubled release of The Geese and the Ghost, and writing the title track of Gemini. Further information Anthony Phillips website, Gemini – Pieces For Piano Support The Strange Brew Podcasts also available: Anthony Phillips (2019), Tony Banks (2024),  Tony Banks (2019), Steve Hackett (2022), Steve Hackett (2020), Bill Bruford, Chester Thompson This podcast is also available on Apple Podcasts, Spotify, YouTube, Google apps and all usual platforms If you like what I do please support me on Ko-fi The post Anthony Phillips, Genesis, A Life In Music appeared first on The Strange Brew .

Multi-platinum songwriter and musician Fiona Bevan and pianist Keelan Carew are Jeffrey and Anna's studio guests as they add five more tracks, taking us from Ray Charles letting loose for the first time, to a famous riverboat steamer on the Mississippi via Mozart and Nick Drake.Producer Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Mess Around by Ray Charles Kyrie from the Mass in C Minor by Mozart From the Morning by Nick Drake Fields of Gold by Eva Cassidy Proud Mary by Ike & Tina Turner Other music in this episode:Soul Bossa Nova by Quincy Jones Violin Partita No. 2 in D Minor (the Chaconne) by J.S. Bach Over the Rainbow by Eva Cassidy Fields of Gold by Sting Little Things by One Direction

"Of Ghosts And Gods" The New Jersey-born, Harvard educated David Berkeley is one of modern music's true renaissance men. Now, people throw that term out a tad lazily but in the case of Berkeley, it truly fits. Aside from releasing close to ten perfect albums, including The Confluence, Some Kind Of Cure and Oh Quiet World, Berkeley is an author, a label owner, and he's been a river rafting guide, a band manager, a travel writer and a creative writing teacher. A writer of tremendous depth, focus and sensitivity, much like Paul Simon or Nick Drake, Berkeley has the uncanny ability to slow the world down and hold it still. Informed by actual geography as well as the geography of loss and emotional reconstruction, Berkeley's songbook is a wondrous collection of compositions that gaze out at the map of the human heart with effortless poeticism and grace. He's toured with Billy Bragg, Ben Lee and Gary Jules, appeared on This American Life and played South By Southwest and he's one of the most consistently critically-acclaimed musicians around. He's also one half of the aforementioned transatlantic folk duo Sons Of Town Hall. Along with singer/songwriter Ben Parker, Sons Of Town Hall are hard to describe, but I'm going to try. Under the guises of Parker's George Ulysses Brown and Berkeley's Josiah Chester Jones, Sons Of Town Hall are fictitious 19th Century Victorian-era vagabonds who sing about their travels by way of a kind of magical hand-built raft. Falling somewhere between Coleridge, Lord Byron by way of Simon and Garfunkel's Wednesday Morning, 3AM, Sons Of Town Hall's new album Of Ghosts and Gods is a stirring collection of songs about travel, friendship, following your heart and staying afloat while doing it. www.davidberkeley.com (http://www.davidberkeley.com) www.sonsoftownhall.com (http://www.sonsoftownhall.com) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast: IG + BLUESKY + THREADS: @emberspodcast

As primeiras fases da etapa neozelandesa não causou surpresa.A temporada 2026 da WSL é um Tour de force bananeiro, parecido com Royce Gracie em 1993 e 94- há sempre luta, o Brasil não tem adversários.Quando os estrangeiros colocam a cabeça pra fora d'água, aparece logo outra onda para oferecer um caldo ainda mais longo.A trilha do episodio tem Isolation com os Balu Brigada, Seu Jorge (com Beck!) tocando um Cover do Nick Drake, River Man e Muito, clássico do Caetano Veloso, do disco homônimo de 1978.

Potterhouse - "Hands of Time" - Tickin' https://www.wfmu.org/playlists/shows/163901

In the fifteen years since Emma Louise wowed us with her debut single 'Jungle', she's shown all sides of herself, singing her story with vulnerability and reflection.Last year, Emma released the collaborative album Dumb with producer Flume. But it's been 8 years since her last solo album, the daring and romantic Lilac Everything. This week, she returns with Sunshine for Happiness, an album that was actually recorded in 2019. Emma Louise joined Zan to talk more about the changes in her life between recording and release and to share her song selections in the theme of 'Before and After'.Emma Louise's song choices:Paul Simon – Still Crazy After All These YearsNick Drake – Pink MoonBruno Mars – Versace on the FloorDijon – The DressAlice Coltrane – Govinda Jai Jai00:51 Introduction to Emma Louise05:27 The theme of Before and After10:15 Paul Simon - 'Still Crazy After All These Years'11:30 Mexico holiday and Nick Drake14:35 Nick Drake - 'Pink Moon'15:45 New album and longlining for things21:55 How a pricey ride home led to discovering Bruno Mars25:26 Bruno Mars - 'Versace on the Floor'27:02 Sneak peak of Djion29:33 Djion - 'The Dress'30:45 Suffering, redemption and recognising the good times37:15 Alice Coltrane – 'Govinda Jai Jai'38:20 Wrap-up and next weeks guestShow notes:If you need someone to talk to, call Lifeline on 13 11 14.Edited by Craig Schuftan.

Nick Drake lést langt fyrir aldur fram, hafandi ekki hugmynd um þau áhrif sem stuttur tónlistarferill hans myndi hafa á fjölmargar kynslóðir á eftir honum. Þriðja og síðasta platan hans, Pink Moon frá 1972, er sú besta. Athugið að í þessum þætti er fjallað um sjálfsvíg. Ef ein­stak­ling­ar glíma við sjálfs­vígs­hugs­an­ir er bent á hjálp­arsíma Rauða kross­ins 1717 og netspjall Rauða krossins á 1717.is.

Evan Tanenbaum of Simple Son joined us on the podcast and shared how his background as a cellist and influences like Nick Drake and Joanie Mitchell influence his open tuned finger styled guitar playing.    For more from Simple Son:  https://www.instagram.com/the_simple_son https://thesimpleson.bandcamp.com/album/the-other-side https://open.qobuz.com/simpleson    

Today's poem is from Perihelion: A History of Touch by Franny Choi. The Slowdown is your daily poetry ritual. In this episode, Maggie writes… “Today's poem is about the snow moon, the first full moon of February. The explanation behind the name “snow moon” is fairly straightforward: February is often the snowiest month. After reading this quiet stunner of a poem, I was inspired to turn on one of my favorite Nick Drake songs, “Pink Moon.” I highly recommend this poem/song pairing.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

When he was 19, New Yorker Brian Cullman covered the London music scene for Crawdaddy, landing at the birth of folk-rock and the singer-songwriter boom and watching its leading lights from unimaginably close quarters - Sandy Denny, Nick Drake, John Martyn among them. He even played on the same bill as Drake at Les Cousins club, all this recorded in his book ‘How To Prepare for the Past: Travels in Music and Time'. He talks to us here about that golden age and the American stars he met later, stopping off at … … Ed Sullivan at the shoe-shine: “in six months the Beatles will be lucky to be playing a bowling alley!” … Nick Drake in the same clothes he wore on the cover of Five Leaves Left … Sandy Denny: “She knew she was extraordinary but didn't know if she was any good” … Jackson Browne, onstage from the age of 12 … being hired by rock encyclopaedist Lillian Roxon, “my fairy godmother” … Tim Hardin making Bird On A Wire, “so wasted they followed him round the room with a microphone” ... and “14 hotdogs”? The cavernous appetite of Big Joe Turner. Order ‘How To Prepare for the Past' here: https://www.amazon.co.uk/How-Prepare-Past-Travels-Music/dp/B0FTS8ZPTW Or here: https://www.zebooks.com/books/how-to-prepare-for-the-pastHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

When he was 19, New Yorker Brian Cullman covered the London music scene for Crawdaddy, landing at the birth of folk-rock and the singer-songwriter boom and watching its leading lights from unimaginably close quarters - Sandy Denny, Nick Drake, John Martyn among them. He even played on the same bill as Drake at Les Cousins club, all this recorded in his book ‘How To Prepare for the Past: Travels in Music and Time'. He talks to us here about that golden age and the American stars he met later, stopping off at … … Ed Sullivan at the shoe-shine: “in six months the Beatles will be lucky to be playing a bowling alley!” … Nick Drake in the same clothes he wore on the cover of Five Leaves Left … Sandy Denny: “She knew she was extraordinary but didn't know if she was any good” … Jackson Browne, onstage from the age of 12 … being hired by rock encyclopaedist Lillian Roxon, “my fairy godmother” … Tim Hardin making Bird On A Wire, “so wasted they followed him round the room with a microphone” ... and “14 hotdogs”? The cavernous appetite of Big Joe Turner. Order ‘How To Prepare for the Past' here: https://www.amazon.co.uk/How-Prepare-Past-Travels-Music/dp/B0FTS8ZPTW Or here: https://www.zebooks.com/books/how-to-prepare-for-the-pastHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

When he was 19, New Yorker Brian Cullman covered the London music scene for Crawdaddy, landing at the birth of folk-rock and the singer-songwriter boom and watching its leading lights from unimaginably close quarters - Sandy Denny, Nick Drake, John Martyn among them. He even played on the same bill as Drake at Les Cousins club, all this recorded in his book ‘How To Prepare for the Past: Travels in Music and Time'. He talks to us here about that golden age and the American stars he met later, stopping off at … … Ed Sullivan at the shoe-shine: “in six months the Beatles will be lucky to be playing a bowling alley!” … Nick Drake in the same clothes he wore on the cover of Five Leaves Left … Sandy Denny: “She knew she was extraordinary but didn't know if she was any good” … Jackson Browne, onstage from the age of 12 … being hired by rock encyclopaedist Lillian Roxon, “my fairy godmother” … Tim Hardin making Bird On A Wire, “so wasted they followed him round the room with a microphone” ... and “14 hotdogs”? The cavernous appetite of Big Joe Turner. Order ‘How To Prepare for the Past' here: https://www.amazon.co.uk/How-Prepare-Past-Travels-Music/dp/B0FTS8ZPTW Or here: https://www.zebooks.com/books/how-to-prepare-for-the-pastHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Nick Drake shares a message on how Jesus is a good shepherd to us.

Send a textIntro: Party in the U.S.A. by Miley CyrusAlbum 16: Live at the BBC by The Beatles (1994)Song 1: I'll Be On My WaySong 2: The Honeymoon SongSong 3: I Just Don't UnderstandAlbum 15: Five Leaves Left by Nick Drake (1969)Song 1: River ManSong 2: Day is DoneSong 3: Fruit Tree

Stuart Adamson co-founded the Skids and Big Country but was profoundly ill-suited to the spoils of his success. Author Scott Rowley unpacks his passage from Dunfermline to Nashville and Hawaii to get a sense of his demons and what drove and inspired him. He talks to us here about his compelling new memoir ‘Stay Alive: the Life and Death of Stuart Adamson' and touches on … … hints of troubled family life in his early lyrics and the shadows of his father and grandfather … that famous three-word review: “More crusading porridge!” … the guilt of his success when he returned to his Dunfermline roots … why learning to sing is unwise! … how Big Country were saved by Steve Lillywhite and the resentment about their being sold as a pop group … Nick Drake, Sinead O'Connor … “people who should never have been given a record contract” … insurmountable friction with Richard Jobson … how Nevermind made the old rock landscape look outmoded … “guitars that sounded like bagpipes!” and other hoary old clichés … “empty, breast-beating, bombastic!”: the rigours of the rock press consensus … and how Big Country nearly played Live Aid. Order ‘Stay Alive: the Life and Death of Stuart Adamson' here: https://www.simonandschuster.co.uk/books/Stay-Alive-The-Life-and-Death-of-Stuart-Adamson/Scott-Rowley/9781917923538Help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Stuart Adamson co-founded the Skids and Big Country but was profoundly ill-suited to the spoils of his success. Author Scott Rowley unpacks his passage from Dunfermline to Nashville and Hawaii to get a sense of his demons and what drove and inspired him. He talks to us here about his compelling new memoir ‘Stay Alive: the Life and Death of Stuart Adamson' and touches on … … hints of troubled family life in his early lyrics and the shadows of his father and grandfather … that famous three-word review: “More crusading porridge!” … the guilt of his success when he returned to his Dunfermline roots … why learning to sing is unwise! … how Big Country were saved by Steve Lillywhite and the resentment about their being sold as a pop group … Nick Drake, Sinead O'Connor … “people who should never have been given a record contract” … insurmountable friction with Richard Jobson … how Nevermind made the old rock landscape look outmoded … “guitars that sounded like bagpipes!” and other hoary old clichés … “empty, breast-beating, bombastic!”: the rigours of the rock press consensus … and how Big Country nearly played Live Aid. Order ‘Stay Alive: the Life and Death of Stuart Adamson' here: https://www.simonandschuster.co.uk/books/Stay-Alive-The-Life-and-Death-of-Stuart-Adamson/Scott-Rowley/9781917923538Help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Una nueva entrega dedicada a recordar canciones que abrían icónicos álbumes de la cosecha de 1971.Playlist;CURTIS MAYFIELD “Get down” (Roots)MARVIN GAYE “What’s going on” (What’s going on)SMOKEY ROBINSON and THE MIRACLES “No wonder love’s a wonder” (One dozen roses)JANIS JOPLIN “Move over” (Pearl)JIMI HENDRIX “Freedom” (The cry of love)SLY and THE FAMILY STONE “Luv n’haight” (There’s a riot goin’ on)GIL SCOTT-HERON “The revolution will not be televised” (Pieces of a man)CAROLE KING “I feel the Earth move” (Tapestry)LEON RUSSELL “Stranger in a strange land” (Leon Russell and The Shelter People)DON McLEAN “American pie” (American pie)NICK DRAKE “Introduction and Hazey Jane II” (Bryter Layter)JONI MITCHELL “All I want” (Blue)Escuchar audio

Interview with singer songwriter Robert Deeble. Born in 1966 in Long Beach, California, Robert cut his teeth as a songwriter in the gritty underground of the LBC, which introduced him to longtime collaborators like drummer Stephen Hodges (Mike Watt/Tom Waits) and folk heroine Victoria Williams, who helped launch his early records. His 1998 release, EarthSide Down, earned notice for its orchestral textures and spirit- infused lyrics—reminiscent of Leonard Cohen and Nick Drake. By his third album, Paste had described him as “truly an arresting talent, able to gain entry to places rarely imagined by most songwriters. Following his This Bar Has No One Left EP in 2005, Deeble completed a Master's degree in psychology—a journey that has deeply informed his songwriting and emotional perspective. His 2012 album Heart Like Feathers marked his musical return, with themes of Robert Deeble - Bio depression and struggle but with “a redemptive hope that brought glimmers of light (Performer Magazine).” Robert emerged again in 2018, with one of his more personal works, Beloved. Born from his experience of fostering and then adopting a child with his wife, the album captures the agony and tenderness of temporarily caring for a child, the heartbreak of letting her go, and, finally, becoming her parent. Robert's recordings over the years have featured such industry veterans as Rachel Blumberg (The Decemberists), Jen Wood (The Postal Service), Tomo Nakayama and others. He has shared bills with artists such as Low, IDA, Jason Molina, Sam Phillips, M. Ward, Over the Rhine, Mike Watt, Damien Jurado, David Bazan and Victoria Williams. The Space Between Us shows Deeble to be a craftsman of understated, emotionally resonant songwriting. Or as Bandcamp put it, "Every new record from Seattle musician Robert Deeble is like stumbling across some secret grotto.   Robert's info:  https://robertdeeble.com/ https://en.wikipedia.org/wiki/Robert_Deeble https://robertdeeble.bandcamp.com/music https://www.instagram.com/rdeeble/?hl=en https://www.facebook.com/robert.deeble.music/ https://open.spotify.com/artist/42LPbMxQThbZsibL4OdqMZ  

Unredacted exchanges about the rock and roll underworld this week highlight the following … … real or made-up stars' kids' names: Speck Wildhorse? Blue Ivy? Everly Bear? Motorhead Michelob? … man plays drum solo with his head! … Olivia Dean, Lola Young, FKA Twigs: what do today's ‘professionals' learn at the BRIT School and what happened to the age of the amateurs? … why Joni Mitchell's life was even more extraordinary before she was famous … Three Dog Night, Kiss, Grand Funk Railroad, Linda Ronstadt: American acts that never broke Britain … rude, racy, naughty, delightful: our love of old pulp paperbacks … “Go to your room, young lady, and play a Nick Drake album in its entirety!” … and when Dandelion became Angela. Plus birthday guest Paul Higham and why most stars' stories need a lively biographer.Help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Students of classical music know that Johann Sebastian Bach was one of the most important and influential composers of all time…his use of instruments, four-part harmonies, and use of innovative structures in his material were all brilliant… When he was alive, he commanded plenty of respect…but after he died in March 1685, he was almost forgotten…the only reason we talk about him today is that there was a Bach revival in the 19th century…he became a retro hero in the world of classical music… No one knew anything about Robert Johnson when he was alive other than some myths and legends among hardcore fans of Delta Blues…but when his records were reissued in 1961, 23 years after he died, did his reputation explode… Charles Mingus was revered by fellow jazz artists…it was only after he passed away in 1979 that his influence on jazz was celebrated… We can also talk about posthumous praise for Nick Drake, Jeff Buckley, and Elliott Smith…and although Tupac and Biggie were big stars when they were shot, they became even bigger stars in death… I'm going to add another name to this list: Ian Curtis and Joy Division…when Ian took his own life in May 1980, he and the band were so skint that he had to give his dog away because he and his wife couldn't afford to feed him… Today, though, Ian and Joy Division are acknowledged as one of the most important and most influential post-punk bands ever…why?...what was the big deal about Joy Division? And why do they continue to be a big deal?...let's examine this. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's Talkhouse Podcast, we've paired up two songwriters who love to wander musically but whose recordings are tough to mistake for anyone else's. It's Luke Temple and Will Westerman. Temple has been making incredible records at a pretty solid clip since around 2005, first making a real splash as part of a trio called Here We Go Magic, whose four-album catalog is legendary in certain circles. But Temple has also recorded fantastic records under his own name, under the alias Art Feynman, and, more recently, with Luke Temple and the Cascading Moms. That name is a little funny, kind of like his music—there's humor but also a little bit of menace hiding underneath sounds that sometimes flirt with ‘70s soft-rock in the best ways. Check out “Echo Park Donut,” which is out this month on the new Cascading Moms record, Hungry Animal. The other half of today's chat, Will Westerman, invited Temple to play on his 2023 album An Inbuilt Fault, and as you'll hear they sound eager to meet and perhaps work together again. Westerman has been releasing music under his last name since 2020, crafting subtly mellow records that reveal something more intense when you listen to his lyrics. The third and latest Westerman album, A Jackal's Wedding, came out last fall, and it's another evolution in his sound—it's been compared to mellow greats like Talk Talk, Tindersticks, and Nick Drake, so if those names mean anything to you—and they should—give it a shot. Check out “Mosquito” from A Jackal's Wedding right here. This conversation between Temple and Westerman may have been the furthest geographically we've ever recorded: Temple was at home in Los Angeles and Westerman at home in Milan, where he recently moved after spending several years in Greece. These two talk about being recently married, about growing as artists and perhaps tricking yourself in the process, and about the very different places they now live. Enjoy. 0:00 – Intro 2:35 – Start of the chat 4:35 – On Los Angeles and gentrification in Echo Park 9:39 – Westerman on Milan, Greece, and learning new languages 13:20 – On Luke Temple's new album, Hungry Animal 19:50 – On tricking yourself to keep the creative process fresh 20:57 – On art and "the capitalist need to innovate" 24:50 – Comparing the musical heritage between the US and UK 28:25 – On the spirit of Jazz and Hip-Hop 30:38 – How technology caused the death of regionalism Thanks for listening to the Talkhouse Podcast, and thanks to Will Westerman and Luke Temple for chatting. If you liked what you heard, please check out both of their great new records, and please follow Talkhouse on your favorite podcasting platform. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by The Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Listing Joe Boyd’s most significant accomplishments as a producer, label owner, and music historian is a tall order. A short list of artists he’s worked with includes Nick Drake (heard here), Pink Floyd, Fairport Convention, Sandy Denny, Richard Thompson, The Incredible String Band, R.E.M., Vashti Bunyan, Billy Bragg, and 10,000 Maniacs. Additionally, he was the founder of Hannibal Records, the label responsible for bringing the term “world music” into the lexicon, as well as serving as a music producer for Warner Bros., where he collaborated with Stanley Kubrick on the soundtrack of A Clockwork Orange and 1972’s Deliverance. His most recent work is as the author of White Bicycles: Making Music in the 1960s, as well as And the Roots of Rhythm Remain: A Journey Through Global Music, which came out in 2024. On this episode, hear how songs by Fats Domino, Fairport Convention, and Carlos Gardel shaped his sensibilities. Boyd will be a part of this year’s Big Ears Festival taking place in Knoxville, TN in March of 2026.See omnystudio.com/listener for privacy information.

We caught up with unique indie artist Robert Deeble to talk about his new release “The Space Between Us” coming out February 6th. Roberts story driven lyrics and production have a classic vibe with a modern twist. Robert Deeble's spirit-infused lyrics are paired with a subtle, minimalist style that echoes old folk heroes like Leonard Cohen and Nick Drake. His first album, released with his band, Days Like These, was a critical success and featured a duet with Victoria Williams, "Rock A Bye." Days Like These never performed outside of the L.A. area and disbanded soon after their first release. His second album, a solo effort entitled Earthside Down, was released in 1998 and featured the production work of Anthony Arvizu and Stephen Hodges (best known for his drum work with Tom Waits). They helped augment Deeble's spare sound with cellos, timpani, gongs, and electronic elements, creating a sound that treads a line between folk and ambient music. ~ Stacia Proefrock, Rovi  Robert's links www.hyperfollow.com/RobertDeeble www.Youtube.com/@Robert.deeble  About Music Matters with Darrell Craig Harris The Music Matters Podcast is hosted by Darrell Craig Harris, a globally published music journalist, professional musician, and Getty Images photographer. Music Matters is now available on Spotify, iTunes, Podbean, and more. Each week, Darrell interviews renowned artists, musicians, music journalists, and insiders from the music industry. Visit us at: www.MusicMattersPodcast.comFollow us on Twitter: www.Twitter.com/musicmattersdh For inquiries, contact: musicmatterspodcastshow@gmail.com Support our mission via PayPal: www.paypal.me/payDarrell  voice over intro by Nigel J. Farmer    

Welcome to another special edition of our Buzz's Book Club week where Buzz shares top recommendations of new books on music, just in time for your holiday shopping. Join Buzz Knight on “Takin’ A Walk” for an extraordinary conversation with legendary music producer and author Joe Boyd, whose new book “And the Roots and Rhythm Remain: A Journey Through Global Music” chronicles decades of discovering and championing world music. From producing Pink Floyd’s first singles and Nick Drake’s timeless albums to founding Hannibal Records and bringing global artists to international audiences, Boyd’s career reads like a roadmap of modern music history. In this episode, Boyd takes us on a sonic journey across continents, sharing stories from his groundbreaking work with artists like Toumani Diabaté, Ali Farka Touré, and the Incredible String Band. The conversation explores how traditional music from Mali, Brazil, Bulgaria, and beyond has influenced contemporary sounds, and why these ancient roots and rhythms continue to resonate in today’s music landscape. Boyd discusses the cultural and political forces shaping world music, the challenges of preserving traditional sounds in a globalized world, and his experiences documenting music from remote villages to major concert halls. From his early days at the UFO Club in 1960s London to recent field recordings in Africa and South America, Boyd offers insights into what makes music transcend borders and generations. Listeners will discover behind-the-scenes stories from Boyd’s legendary production work, his philosophy on authentic music preservation versus commercial adaptation, and why he believes the roots and rhythm of traditional music hold keys to understanding our shared humanity. Whether you’re a world music enthusiast, a student of music history, or simply curious about sounds beyond the mainstream, this episode offers a masterclass in listening deeply and thinking globally.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

dopeycon tix:https://buytickets.at/thedopeyfoundation/1765668Patreon:www.patreon.com/dopeypodcastA new kind of Dopey! A kinder, Gentler Dopey? Me and New Yorker Rock Critic, Amanda Petrusich sit down to discuss recovering from grief. Amanda lost her husband suddenly during covid from a random seizure. Hear how Amanda got through it raising their one daughter, Nico alone. Plus some of Amanda's experiences covering Phish, Aerosmith, Nick Drake, Bob Dylan and more!Plus Ben Croxton's shooting story(but not how you think), a horrible kratom death, and me basking in the adulation of being included in Rolling Stone Magazine! Plus a bunch of other stuff - all here!Also More on this Dopeycon Eve's offering of the good old Dopey Show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.